东方雅韵，匠心传承 精品瓷器共赏（二十九）

紫砂茶具起始于宋，盛于明清，流传至今。明清两代，宜兴紫砂艺术突飞猛进地发展起来，到了清代，紫砂艺术进入了鼎盛时期。乾隆晚期到嘉、道年间，宜兴紫砂又步入了一个新的阶段，紫砂茶具式样繁多，所谓“方非一式，圆不一相”。在稍后的20世纪初叶，由于中国资产阶级蓬勃兴起，商业的逐渐发展，宜兴紫砂自营的小作坊如雨后春笋般迅速发展起来，诞生了一些制壶名家，其中顾景舟老师少年即立志于紫砂陶艺创作，从其祖母邵氏学艺，潜心磨练制作技巧，数十年来饱览历代紫砂精品，深入钻研紫砂陶瓷相关工艺知识。丰富的人文素养加上精练制壶技艺，蕴酿出其紫砂创作的独特艺术风格。本文主要介绍一件顾景舟紫砂壶。

Purple sand tea set originated in Song Dynasty and flourished in Ming and Qing Dynasty. It has been handed down till now. In the Ming and Qing Dynasties, Yixing purple sand art developed rapidly. By the Qing Dynasty, purple sand art entered its peak period. From the late Qianlong Dynasty to the Jia and Dao Dynasties, Yixing purple sand entered a new stage. There are many kinds of purple sand tea sets. The so-called "square is not the same, round is not the same". Later in the early 20th century, owing to the booming rise of the Chinese bourgeoisie and the gradual development of commerce, the small workshops run by Yixing purple sand sprang up like bamboo shoots after a spring rain, and some famous pot makers were born. Gu Jingzhou, a young teacher, was determined to create purple sand pottery art, and devoted himself to honing production skills from his grandmother Shao's School of art. Qiao has enjoyed the fine purple sand products of past dynasties for decades, and deeply studied the relevant technology knowledge of purple sand ceramics. Rich humanistic literacy combined with refined pot making skills, brew its unique artistic style of purple sand creation. This paper mainly introduces a purple sand pot of Gu Jingzhou.

Gu Jingzhou Purple Sand Pot

重(W)：586g 高(D)：12.1cm

编号(NO.)：WES-2019-010-686

此件紫砂壶纱色纯正，光泽圆润，底部落款为“顾景舟”三字。壶体呈扁圆柱形，线条挺括而又清晰。线条明承暗合，转折适度，自有韵味。壶嘴自然胥出，壶把简洁有力，形态灵动自如，纽盖塑形别致，口盖严丝合缝，尽显功力。紫砂的颜色纯正，有着玉石般的韵味，其光质为黯然光。整器布局巧妙，别出心载，气韵端庄稳重，转合之间极尽精微又浑然天成，借着陶都窑火的艺术铸成永恒，文人情怀跃然而出。此壶制作精良严谨，器型圆润饱满，转折过渡处理自然、老练。壶嘴与壶把、壶身紧密呼应，嘴把上扬舒展，且比例恰到好处，甚见功力。

This purple sand pot has pure yarn color and round luster. The bottom tribe style is "Gu Jingzhou". The pot body is flat cylindrical, with straight and clear lines. The lines are bright and implicit, the turning point is moderate, and they have their own charm. The spout is natural, the handle is simple and powerful, the shape is flexible and free, the shape of the button cover is unique, the mouth cover is tight and seamless, showing its power. Purple sand is pure in color and has a jade-like charm. Its light quality is gloomy. The layout of the whole instrument is ingenious, unique, solemn and solemn, and the transition is extremely delicate and natural. Through the art of Taodu kiln fire, the literati's feelings leap out. This pot is exquisite and rigorous in production, round and full in shape, natural and sophisticated in transition. The spout closely corresponds to the handle and the body of the pot, and the mouth handle rises and stretches, and the proportion is just right, which is of great merit.

顾景舟(1915-1996),原名景洲。别称:曼希、瘦萍、武陵逸人、荆南山樵。自号壶叟、老萍。宜兴紫砂名艺人,中国美术家协会会员,中国工艺美术大师。18岁拜名师学艺。三十年代后期至上海制壶仿古。1954年进入宜兴蜀山陶业合作社。1956年被江苏省政府任命为技术辅导,带徒徐汉棠、高海庚、李昌鸿、沈遽华、束凤英、吴群祥等人。一生三次参加全国工艺美术代表大会,在港、澳、台、东南亚影响特大,被海内外誉为“壶艺泰斗”,作品为海内外各大博物馆、文物馆收藏。

Gu Jingzhou (1915-1996), formerly known as Jingzhou. Nicknames: Mancy, Slender Ping, Wuling Yiren, Jingnan Shanqiao. Self-titled potter, Lao Ping. Yixing Zisha famous artist, member of China Artists Association, master of Chinese arts and crafts. At the age of 18, he studied art with famous teachers. From the late 1930s to Shanghai, the pot was made to imitate antiquity. In 1954, he joined the Yixing Shushan Ceramic Co-operative. In 1956, he was appointed by Jiangsu Provincial Government as a technical counselor, with Xu Hantang, Gao Haigeng, Li Changhong, Shen Quhua, Shu Fengying, Wu Qunxiang and others. He participated in the National Congress of Arts and Crafts three times in his life, which had great influence in Hong Kong, Macao, Taiwan and Southeast Asia. He was praised as a "pot art master" at home and abroad, and his works were collected by major museums and cultural relics at home and abroad.

紫砂壶造型无论是传统还是在现代，都是非常讲究其点、线、面的立体美感。讲究壶体整体的设计美感、新颖，这就要求制壶老师以人为本，加以人性化的设计，才能达到这样的效果出来。紫砂壶体讲究气度，而壶咀、壶把、壶钮的功能搭配协调。壶体结构搭配是否协调，这是关键，如果是光货表面是否平滑，咀把过渡是否自然，做工是否精细、干净、利落。此件紫砂壶为顾景舟紫砂壶，作品造型完整，技术高超，顾景舟老师将紫砂技术发扬光大，并与中国文化艺术结合起来，他的作品，应尊为神品，极具收藏价值。

The shape of purple clay pot, whether traditional or modern, is very particular about the three-dimensional aesthetic feeling of point, line and surface. Pay attention to the overall design of the pot aesthetic sense, novel, which requires the pot-making teacher to people-oriented, humanized design, in order to achieve such an effect. The purple sand pot body pays attention to temperament, while the functions of the pot spout, handle and button are coordinated. Whether the structure of the pot is coordinated or not is the key. If the surface of the bare goods is smooth, whether the transition of the mouth handle is natural, and whether the work is fine, clean and neat. This purple clay pot is Gu Jingzhou's purple clay pot. Its work is complete in shape and highly skilled. Gu Jingzhou has developed purple clay technology and combined it with Chinese culture and art. His work should be regarded as a divine work with great collection value.

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