Zisha teapot Duo Zhi, handmade by skillful artist, 廖飞强 LIAO Fei Qiang 老紫泥 紫砂壶 掇只”

Name: Duo zhi （Stacked Ball 掇只）

Material: DUAN NI

Capacity:  330cc

Shape

The Duozhi teapot, created by the renowned Yixing master Shao Daheng, draws its inspiration from a traditional container used in Yixing for condiments and candies, known as "duozi". Over time, it came to be referred to as "duozhi", as the pronunciation of "zi" has shifted in modern Mandarin. 

In the realm of Yixing pottery, connoisseurs often liken the Duozhi teapot to its counterparts, the Lian Zi（lotus seed ）and the Duo Qiu (stacked ball). 

The Lian Zi teapot is among the earliest designs to emerge, dating back to the reign of Emperor Yongzheng in the Qing Dynasty, or even earlier. Its original form mimics the structure of lotus seeds, with each layer stacking atop the next, symbolizing the traditional Chinese notion of "continuous birth of sons", signifying perpetual renewal and prosperity. 

The Duozhi teapot is a refined adaptation of the Lian Zi teapot, characterized by the removal of the ears beneath the lotus seed handle and the transformation of the lid into a double layer. Some suggest that this evolution stemmed from the stacking of objects, hence the name "duozhi".  

Subsequently, Yixing masters Feng Youting and his disciple Cheng Shouzhen raised the neck of the Duozhi teapot, altered the lid to a more semi-circular shape, and rounded the knob, resembling three stacked balls, hence termed as "duoqiu". However, the exact chronology of the duozhi and duoqiu teapots remains unclear. 

The Duozhi teapot boasts a simple and elegant design, with a lustrous and full-bodied appearance, exuding understated sophistication through its concise lines. Esteemed Chinese master Gu Jingzhou once lauded the creator of the Duozhi teapot, Shao Daheng, as a pinnacle figure in Yixing pottery artistry, whose creations epitomize mastery and refinement, leaving an indelible mark on the craft.

掇只壶为宜兴制壶大师邵大亨所创制。因其造型像宜兴当地以前使用的一种装调料、糖果的容器“掇子”，所以又被称为“掇子”，因为“子”是入声，现在汉语普通话中没有“入”声发音，逐渐传为“掇只”。 

莲子、掇只、掇球三者器型一脉相承，各有千秋，是光器的经典。

莲子壶是最早出现的，早在清代雍正年或更早就已经莲子壶器形的存在了。原始的莲子器形，一圆叠一圆，从小到大，一而再再而三，表现中国传统寓意中的“连生贵子”。 

而掇只壶，是由莲子壶改变的壶型，把莲子把下的耳朵去掉了。盖里也变化成双层，这也许是掇，就是码起来的最初起因吧。由于掇在汉语里有连缀堆叠的意思，因此，这种造型的壶被称为掇只壶。 

后来冯友庭与程寿珍师徒把掇只脖子加高，盖更接近半圆型，壶钮也更圆。这样就像三个落起来的球，所以叫掇球。 

掇只壶造型简洁大方，整器莹润饱满、浑朴典雅，以简练的线条来体现其内蕴，昂扬挺拔，气韵夺人。 

中国工艺美术大师顾景舟在《宜兴紫砂壶艺概要》中是这样评价掇只的创制人的：“经我数十年的揣摹，觉得他（邵大亨）的各式传器，堪称集砂艺大成，刷一代纤巧糜繁之风。从他选泥的精练，造型上审美之奥邃，创作形式上的精美，技艺的高超，博得一时传颂，盛誉之高，大有‘前不见古人，后不见来者’之慨。”

Curving 刻绘：by 亦石

唐 王维 《山居秋暝 》

空山新雨后,天气晚来秋
明月松间照,清泉石上流
竹喧归浣女,莲动下渔舟
随意春芳歇,王孙自可留

这首诗写山居所见秋山雨后黄昏的迷人景色,和融怡陶醉的心境。
诗的境界清澄透明,玲珑剔透,恰似一泓秋水,其中洋溢着浓郁的生活气息，于诗情画意当中,寄托着诗人的高洁情怀和对理想生活的执着追求。
其中的“明月松间照,清泉石上流” 经常 出现在 孟臣 小平壶的底款。