Zisha teapot DUO ZHI, handmade by Level 4 Artist(L4-2020) CHEN Qing陈青 ZHU NI 朱泥“掇只”

Zisha teapot DUO ZHI, handmade by Level 4 Artist(L4-2020) CHEN Qing陈青 ZHU NI 朱泥“掇只”

  • $520.00


SHAPE 壶型:Duo Zhi (掇只)

Materials 泥料:ZHU NI 皱皮 小煤窑朱泥 

Capacity 容量:250 ml

THE 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.

器型

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”。

紫砂壶友 都说,莲子、掇只、掇球就像三兄弟。
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。
有一说,究竟是先有掇只、还是掇球,实在是无从考究。

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。”

泥料

原矿朱泥,胎骨坚硬而沉实,色泽朱红略泛桔光,温润透明质感之佳,与清中期好的朱泥无异;大器无法烧成,小品烧成后穀皱纹隐现,颇具古代朱泥风华。

朱泥的土质成份,其特色是含有极高的氧化铁,约在14%到18%之间,这是朱泥烧成后壶身成为红色的主要原因。
由于朱泥的泥性甚娇,成型工艺难度亦高,而朱泥由生坯至烧成,因收缩率高达30%至40%,故一般成品良率约仅七成。 温馨提醒:朱泥壶使用前须先温壶。

【窑温】约1065~1700度

【收缩比】25%以上

【矿产地】江苏宜兴

【泥性】须以高窑温攻之,收缩比高

【难度】较易跳砂、变型、窑裂;泥胚疏松故成型易开裂,结合较难掌握,制作时开口易掉砂,细部处理须高技巧与耐心。收缩比率大、成品率低、大器难烧成

【特点】周身密布粗犷颗粒,形成特殊风格;红润又具砂感,器身明显成双气孔结构,空气对流顺畅,别于一般陶器;质朴拙雅,美冠群伦,人气之佳历数百年而不衰

【冲茗特性】热淋变色率高,养后愈显红润,易现包浆之美;亲茶性高,冲茗醇厚甘甜,易掌时间,不熟汤气,隔夜不馊

工艺师:

CHEN Qing 陈青 Level 4 Artist (Awarded 2020)


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