[Yixing Zisha Pot Master-Lu] Appreciation of Zisha Works

senior artist and craftsman

Senior technician of rural revitalization

Member of Jiangsu Fine Arts Society

Executive Director of China Zisha Culture Research Association

All-manual lecturer of Jiangsu red porcelain training base

Member of Jiangsu Yixing red porcelain association

Cloud shoulder ruyi pot

The theme and form of this teapot are rich and varied, with ruyi pattern, palindrome and auspicious cloud elements, all of which are auspicious patterns.

The neck of the pot is straight, and the lid is decorated with palindromes, which echo up and down. The button of the pot is lotus-shaped, and the continuous pattern of cloud shoulder pattern is piled on the shoulder of the pot. The handle of the pot flow is symmetrically decorated with the cloud shoulder pattern with the pot bottom, which naturally coincides with the cloud shoulder pattern, and the transition is ingenious, which means wealth and continuity.

This pot epitomizes the traditional teapot. Through round and plump modeling and rich Ji Xiangwen decoration, the auspicious theme is fully interpreted, which not only conforms to the traditional aesthetic taste of China people, but also expresses people's long-cherished wish.

Upper Joshin L.

This pot won the gold medal of "China Art Cup" in the 5th National Art Tourism and Home Accessories Expo.

1 9 8 1 year, Lu entered the apprentice class of Zisha Factory, and the master helped the students to make his innovative work "On the New Bridge Pot". Because the students studied hard, the quality of "Shangxinqiao Pot" passed, the samples won the recognition of customers, won orders for the factory, and also inspired the students' enthusiasm for learning technology. As a memorial, Lu still retains the prototype of On the New Bridge Pot, which he taught in those days.

Fengze Lake

The straight spout, round button and flat lid of this pot are simple and traditional in shape, which is very close to the vessel shape in the Republic of China, that is, the shape in the era of Dr. Sun Yat-sen.

The whole pot body is round, but the middle part is straight, which symbolizes Dr. Sun Yat-sen's flexible and wise revolutionary art, awe-inspiring and indomitable revolutionary spirit.

Although the revolution advocated by Dr. Sun Yat-sen was not completely successful, the dawn in the dark is even more precious. When Dr. Sun Yat-sen can be praised and remembered for his great achievements, the first word "feng" in the name of the pot can be used as a metaphor. Similarly, as the forerunner of the revolution, Dr. Sun Yat-sen's contribution to the China revolution is indeed beneficial to future generations, so he took it as the second word of the pot name "Ze". "Fengze Valley" means bumper harvest, nourishing, enriching the country and strengthening the people, which is exactly the goal that Dr. Sun Yat-sen is striving for. So I use the name and shape of this pot to express my respect and nostalgia for Dr. Sun Yat-sen!

As a column, the pot is upright, straight and simple, with a flat shoulder and a flat cover and a straight spout echoing the pot body, which are all "simple". "Flat" is easy to deform, and the shape of this pot is crisp and round in the "flat" shape, which embodies the skills of making pots. The transition between the shoulder and the bottom of the pot is soft and smooth, and the handle is slightly straight. These soft shapes and rounded spherical pot buttons balance the rigidity of other parts, making the overall pot shape look both rigid and flexible. A pot of fragrant tea is "Ze", fragrant tea is "Feng", and the pot is an elegant picture. (Teacher Lu said to him)

This pot was made by Lu, a famous teapot maker in Yixing, and its surface decoration was provided by Du, a famous painter and member of Xiling Printing Society, which gave it a strong cultural atmosphere and enhanced the cultural value and collection value of Fengze pot.

Qin Gong Guo

For collectors, the solitary pot embodies a sense of responsibility, which makes the work more valuable because of its uniqueness.

As a purple sand artist, whether you can make an isolated pot, whether you can persist in making an isolated pot, and whether you can make your works less and more refined, you must first make it clear whether you are pursuing the commercial value or artistic value of your works. In my opinion, making a solitary pot is a form of pursuing the artistic value of the work. The second is artistic difficulty. Being an orphan pot doesn't mean that this pot is valuable, because there is only one. The key depends on the artistic level of this pot and its unique existence value. So every time I make an orphan pot, I have to carefully design and make it. The standard is to satisfy yourself and the collectors. (Lu Ziwei)

Xiaoqu Tiliang Lake

This kind of beam-lifting pot is enlightened and mellow, and looks steady and quaint. The pot surface is mixed with mottled light-colored fine sand, and the lines are looming, just like ripe pear skin. People can't help but want to play, and the beauty of the texture of mud is looming.

The pot body is full and round, with three bends in one go, and the lid is slightly hemispherical. Coupled with the tight hanging beam, the visual shock, the virtual space formed by the hanging beam contrasts with the entity of the pot body, which is beautiful.

The language of love for the pot.

In 20 12, he won the gold medal of "My favorite purple sand artist and works online selection".

These two pots are a pair of pots, representing men and women respectively. Men are masculine and powerful, and women are plump and graceful. This pot is like a pair of lovers in love, flying with me with deep affection. This pot also reveals that the author hopes that all lovers in the world will be well. This pot seems to be the language of love-rhyme and desire.