首页社会【精品推荐】顾景舟紫砂壶

【精品推荐】顾景舟紫砂壶

来源：生活好品牌时间：2021年03月04日 10:25

原标题：【精品推荐】顾景舟紫砂壶

论及紫砂壶，有一座绕不开的丰碑，那就是顾景舟。他是建国初期紫砂厂“七老艺人”之一，紫砂领域第一位中国工艺美术大师，他建立的紫砂教育体系沿用至今，桃李天下。

When it comes to teapots, there is a monument that cannot be opened around, that is Gu Jingzhou. He was one of the "seven old artists" in Zisha Factory in the early days of the founding of the People's Republic of China. He was the first master of Chinese arts and crafts in the field of Zisha. The Zisha education system he established is still in use today.

顾景舟的紫砂壶，在上世纪40年代上海仿古时期的价格为一块银元，可以抵一个普通工人半个月到一个月的薪水。50年代~70年代末大约是1元人民币，大约可以买6斤米。80年代由于台湾掀起紫砂热，1985年顾景舟的壶已经从28元飚升到了千元左右了，是普通工人2年的月薪;到八十年代末九十年代初，顾景舟的优秀代表作已经达到十万以上;至九十年代中后期，已经可以卖到几十万了。进入新世纪，特别是到了2010年后进入拍卖市场后，时常有几百万、几千万元的天价成交记录。所以，从上世纪40年代开始，顾景舟的壶就不是一般普通老百姓能买得起的。正是由于产量少，就是有钱也未必能买的到。

Gu Jingzhou's purple sand teapot, go up century 40 time Shanghai archaize the price of period is a silver dollar, can reach an ordinary worker half a month to the salary of a month. From the 1950s to the late 1970s, it was about 1 RMB, which could buy about 6 jin of rice. In the 1980s, because of the purple sand fever in Taiwan, Gu Jingzhou's pot had soared from 28 yuan to about 1,000 yuan in 1985, which was two years' monthly salary for ordinary workers. By the end of the 1980s and the beginning of the 1990s, Gu Jingzhou's outstanding works had reached more than 100,000; By the mid to late 1990s, they were selling for hundreds of thousands. In the new century, especially after entering the auction market in 2010, there are often millions, tens of millions of yuan of sky-high prices into the record. Therefore, from the 1940s, Gu Jingzhou's pot was not affordable for ordinary people. It is because the production is small that money may not be able to buy.

宜兴紫砂壶器型设计有方器、圆器、花货、筋纹四种，其中方、圆并称光素器为主要器型，又以方器比圆器更为难做，在紫砂界有“一方顶十圆”的说法。

Yixing zisha pot design has four types: square, round, flower and rib. The Chinese side and round are called light element ware as the main type, and square ware is more difficult to make than round ware. There is a saying of "one square top ten circles" in the zisha field.

因为方器成型手法为手工将多面镶接成型，不同于圆器的拍打成型，这种制作方法对于泥片的湿度、弯曲度要求很高，泥片干湿度不适合，成壶后易开裂或坍塌；弯曲度不适合，过平则成壶无肌理丰盈之感，过曲则失方器之刚毅力度。稍有差错，轻则成器的气势和神韵不见，重则沦为低等劣品，因此，对制壶者的功力要求甚高。

Because the molding technique of the square is to insert and form multiple sides by hand, which is different from the flapping molding of the round tool, this production method has high requirements for the humidity and bending degree of the clay pieces. The dry humidity of the clay pieces is not suitable, and it is easy to crack or collapse after the pot is made. The bending degree is not suitable. If it is too flat, the pot will have no sense of texture richness. If it is too curved, the firmness of the pot will be lost. Slight mistakes, the momentum and charm of the generator is not seen, the heavy is reduced to inferior products, therefore, the skill of the pot maker is very high.

一把方壶，壶身需数块泥片相接，每一块泥片用一个样板裁切出来。在裁切的时候，下刀的位置，刀切成的角度，都会影响方壶的成型。角度不对，或者偏差稍大，当两块泥片在相接的时候，中间的空隙就可能因为过大而需要更多脂泥来补充。但泥片与脂泥的颗粒紧密度不一样，在窑烧的过程中，各自的变形就不一样，烧成之后的方壶就可能变形不好，或有堆砌的痕迹。差别虽然细微，但确实关系到一把方壶的成败。方壶因其形状特殊，制作工艺也比圆壶更复杂，制作难度更大，窑烧变形更难，烧成率更低。因此也有“圆壶易得，方壶难求”的说法。

A square pot needs several pieces of clay connected to each other, and each piece of clay is cut out with a sample. When cutting, the position of the cutting tool and the Angle of the cutting knife will affect the forming of the square pot. The Angle is not right, or the deviation is slightly large, when the two pieces of mud are connected, the gap between them may be too large and need more fat mud to fill. However, the particle compactness of the slime and the fat slime is different. In the process of kiln firing, the deformation of each slime is different. After firing, the square pot may not be deformed well, or there are marks of stacking. The difference is subtle, but it does make or break a square pot. Because of its special shape, the production process of square pot is more complicated than that of round pot. It is more difficult to make, and the kiln deformation is more difficult, and the firing rate is lower. Hence the saying, "Round POTS are easy to get, but square ones are hard to find."

此壶身曲面，块面非平面，而是像肌肉一样，有微微的鼓出，气韵充沛。为了要做出方器的肌理感，对于拍打泥片的功力要求是很深厚的，否则做不出这样的弧度，或者烧成后开裂、变形。

The body of the pot is curved, the block surface is not flat, but like muscle, with slightly bulging, full of spirit. In order to make the texture of the cube, the power requirement for slapping the mud is very deep, otherwise it can not be made of such a radian, or after burning, cracking and deformation.

顾景舟先生被誉为紫砂泰斗、一代宗师，他一生创制了不少经典的作品，至今都是业内的标准形，一般都是以顾壶的架子为标准。

Mr. Gu Jingzhou is known as the purple sand master, a generation of master, he created a lot of classic works in his life, so far are the industry's standard form, generally take the Gu pot shelf as the standard.

顾景舟在垂暮之年，将自己一生几十年的创作实践经验总结归纳，亲自编著《宜兴紫砂珍赏》巨作，由香港三联书店出版发行，在紫砂陶史上写下了光辉的一页。顾景舟穷毕生精力于紫砂陶艺，不断进取，勇于创新，并带领几代人为紫砂事业增光添彩。他以博大的胸怀，精湛的技术，在紫砂发展史上写下了辉煌的篇章，不愧为一座重要的里程碑。正如著名美术大师亚明先生所评：“紫砂始于明正德，至今五百年，高手不过十余人。顾兄景舟当为近代大师，顾壶可见华夏之哲学精神、文学气息、绘画神韵。”

In his late years of life, Gu Jingzhou summed up his decades of practical experience in creation and compiled a masterpiece entitled "Treasures of Purple Sand in Yixing", which was published and distributed by Hong Kong Sanlian Bookstore, and wrote a glorious page in the history of Purple Sand pottery. Gu Jingzhou has devoted all his life to the purple clay pottery. He is constantly forging ahead and brave in innovation, and has led several generations of people to add luster to the purple clay industry. With his broad mind and exquisite technology, he wrote a brilliant chapter in the history of the development of purple sand, which is worthy of being an important milestone. Just as the famous art master Mr. Yaming commented: "Zisha began from Ming Zhengde and has been practiced for five hundred years, but there are only more than ten masters. Brother Gu Jingzhou as a modern master, Gu pot can be seen the Chinese philosophy spirit, literary flavor, painting verve."

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