Square pot is also called pot beam. Ancient Chinese name. The square pot is one of the purple clay pots. The square pot is also the old name of Penghu.
Fanghu - Donghai Xianshan
According to the ancient legend, when the fish loaded the mountains or the earth, the movement of the fish would lead to earthquakes, vicissitudes of life and changes of mountains and rivers. In the myth, there are five sacred mountains in the east of Bohai Sea under the rule of emperor Tiandi. But the roots of the five sacred mountains are not connected. They often move up and down with the tide, and they are not stable for a moment. The gods and saints hated it, so they reported it to the emperor. "Emperor" (the title has been seen in the literature as early as the Yin Dynasty) was afraid that the holy mountain would move to the "West pole" and break the existing balance of the universe. In order to make the residents of Shenshan lose their homes, Yuqiang, the God of Beihai, was sent to drive 15 giant AOS to be divided into five groups. They lived on the Shenshan for 60000 years, so that the five sacred mountains began to stabilize and no longer flow. However, there was a giant in longbozhi. After a few steps, he reached the place where the five sacred mountains were, and caught six giant AOS with one hook As a result, "Daiyu" and "Yuanqiao" lost their giant AOS and drifted to the north pole and sank into the vast ocean. From then on, there were only three sacred mountains left. In the book of songs of Chu, Tian Wen asks, "why should I be safe when I am in the mountains?". In the biography of the immortals, there is also a saying that "the Ao of the giant spirit carries the mountain of Penglai and dances in the sea". The idea of immortality came into being on weekends and prevailed in the Warring States period. During the Warring States period, many legends about immortals and the realm of immortals have been widely spread among the people. Among them, the fairy mountain in the East China Sea and Kunlun Mountain are the most magical and widely spread, which become the origin of the two major myth systems in China. The ancestors believed that there were five sacred mountains on the sea: Daiyu, Yuanqiao, fanghu, Yingzhou and Penglai. According to Lie Zi Tang Wen, "the mountain is 30000 Li high and low, the top is 9000 Li flat, and the middle phase of the mountain is 70000 li away. I think it's a neighbor.". The view on the stage is all gold and jade, and the animals on it are all pure chimera. Zhu Gan's tree nodes are thick and thick, and Hua Shi has its own taste, and the food is not old and does not die. All the people who live there are the seeds of immortals and saints. There are countless people who come and go with each other day and night. The roots of the five mountains have nothing to do with them, and they often travel up and down with the tide. In the end, the two mountains drifted away, leaving only fanghu (Abbot), Yingzhou and Penglai. Donghai Xianshan is said to be located in the coastal area of Penglai County, Shandong Province. According to Shiji Xiaowu Benji, "it governs Dachi in the north and gradually rises to more than 20 Zhang in height. It is called Taiye pool. There are Penglai, Fangzhang, Yingzhou and huliang in it, which is like the genus of turtle and fish in Shenshan mountain in the sea." this idea of pursuing immortality also directly affected the development mode of Chinese royal gardens in the past dynasties. In order to be closer to the immortals, the emperors dug pools and built islands in the gardens to simulate the image of the sea fairy mountains. In the Han Dynasty, Jianzhang palace, a royal garden with complete Sanxian mountain, appeared. Since then, "one pool and three mountains" has become the main mode of royal garden, which has been followed until the Qing Dynasty. There is a scenic spot of "square pot Wonderland" in Yuanmingyuan.
The name of the square pot
[name]: square pot [type]: purple clay pot [age]: Late Ming Dynasty [author]: Chen Xinqing [cultural relic status quo]: collection of the Cultural Relics Museum of the Chinese University of Hong Kong
Chen Xinqing was a master of purple sand in the late period. He was famous for imitating Shi Dabin and Li Zhongfang. This pot is a combination of various geometric shapes. It has a plain surface on all sides. The clay colored Venus is shining and elegant.
the commonly used tools for making square pots include: determining the dimensions of pot body, pot cover, pot mouth, pot handle and pot button with a sample, and using bamboo clappers, laces, sharp knives, knife and other tools.
1. Beat the mud section into thick, thin and even pieces of mud and strips with wooden taps. 2. The bottom, cover, mouth and wall of the pot should be cut well with the template, and the clay sheet should be regular. The angle dimension should be paid attention to when cutting. 3. Inlay the body tube, and stick the edge with grease to form the pot body. 4. Use bamboo tools to scrape and press the interface of the pot body, and gently tap the four sides with a bamboo clapper to make it regular and straight. 5. Glue the pot mouth to keep the pot body hollow and warm without deformation. 6. Compound and moisten with grease and mud, and clean and process with clay. 7. Cut the spout with a template, and inlay it with grease to form a square spout. 8. Cut the handle of the pot with the pattern. 9. Drill the spout hole on the pot body, and glue the spout and handle. 10. Open the spout with a knife to match the size of the lid. 11. Cut the lid of the pot with the template, and glue it with the cover plate and the mouth of the lid, and process and clean it to make it regular. 12. Glue the pot button with grease and clean it. 13. Process details with sharp knife. 14. Process and trim the line surface with the handle to make it smooth, straight and even. 15. Scrape the surface of each part with a clear needle (ox horn piece). 16. After the processing and finishing of the whole utensil, the seal of the pot artist shall be put on it. 17. After the production, let it dry naturally, then it can be fired in the kiln.
There are two molding methods. One is the traditional manual inlay molding; the other is the mold molding. All manual inlay is to inlay with clay. Stack to desired shape, including accessories. Mold forming mainly refers to the block of the pot body and the printing of accessories. In fact, the use of mold in the production of purple clay pot has existed for a long time. However, the mold at that time was not made of gypsum, but made of purple clay. The difference between manual inlaying and mould blocking is that the general manual inlaying products are full of spirit and strong. However, the strength of the block forming is insufficient, because after the manual forming, it is inserted into the flapping shaping, and the force is exerted on the outside of the body, so that the mineral composition and particle accumulation of the slurry become closer and closer, and the deformation resistance is strong. In mold forming, in order to adapt to the blank blocking, the slurry is softer than the manual forming, and the force is added inside the pot body to make it fit with the mold, which will make the particle structure loose. Although it also needs to be patted and reshaped, the hidden danger of deformation has been left. Of course, it's not impossible to make a square pot with a mold, just because of the shape. In short, the straight barrel and sharp corner are formed by blocking blank, the effect is generally not good, and the turning parts are weak. If it is obtuse angle, the deformation of curve with arc is small. Even some of the molding effect of blocking blank is better than manual. In a word, if a high file product is made by mould, it should be based on the premise that the quality of the product will not be affected. If a high file product has obvious mould traces, it will not be a great disaster.
Generally speaking, the words used to describe a square pot are vigorous, straight, dignified and powerful, just like a man full of masculinity. The angle of the square teapot is an important factor to show the bearing of the teapot. A shape, according to the intention of the design concept, determines the angle treatment. Acute angle is usually elegant and neat, while obtuse angle is thick and steady. Some people think that the obtuse angle or rounded corner has lost the special charm of the square pot, which is a misunderstanding, but it is not interesting to put the circle in the square. In fact, the fillet formed by hand is more difficult to make than the sharp corner, and the non experienced can't make large and thick fillet, which is my experience. As for some of them, they are extremely profitable, and some of them come out of the corner. This is because everyone likes them. We can't force consistency.
The hardest thing to do
When choosing a teapot, you should choose a teapot with flat lid and tight rotation. The square pot has several basic shapes, such as rectangle, square, hexagonal and octagonal. The cover head is roughly divided into inlay cover, cover, flat cover and virtual cover. According to my experience, the octagonal and tetragonal lid is more difficult to make than the hexagonal lid, the rectangular lid is more difficult to make, and the inlay lid is a little easier than the gland. Compared with the round pot, the deformation of the square pot lid is much larger. The pulling force of the handle is common, while the angle of the square pot is unique, and the angle must be thicker than the wall. There are also obvious differences between the square pot and the round pot. The round pot takes the center of the circle as the center, and there is no difference between the head and the tail when using tools, so the force can be more uniform. However, when making a square pot with tools, it must start and end, and then change the order. It is difficult to maintain the same strength, and uneven force is actually a factor of deformation. Do pot cover, cover piece, virtual piece, mouth (LIP) between the soft and hard collocation must be mastered. The relationship between hard and soft is not unchangeable, and there is no clear standard. It all depends on hand feeling and experience. The embedded cover is different from the gland. Due to the difference in the structure of the cover, there must be different treatment methods. If there is any negligence, it will deform. Even when baking, because the lid is too tight, it hinders the self contraction of the lid and the mouth, and it will also deform. It is very difficult to make a teapot that has a tight and flat lid without renovation. Therefore, it is inevitable that there will be traces of renovation outside the kiln at the mouth and the cover. Now, in order to eliminate the traces of renovation outside the kiln, some people use re roasting. There is a saying in the kiln: "seek wealth in the fire". Often the traces of renovation are eliminated, and other problems arise. Such as foaming, slag falling, iron and even cracking.
In purple clay pot, whether round pot or square pot, it is more common to adopt the method of flat mouth surface covering. However, some works seem to have a flat mouth, which is due to the illusion of vision. If the flat one seems to be sunken, and if it really looks sunken, the production of square pots must take the illusion of vision into account. The main reason for flat surface subsidence is that auxiliary tools are not used properly. We call it ladybug. In the production process, there is no need to beat. When patting the bottom, the mouth is not padded with a ladle, so the full mouth will be as flat as the turntable. When it sinks down, it won't bulge up. The same is true of round pots.
Marks of inlay or stacking
: inlaying and stacking, mud is the adhesive. The mark of inlay angle, the vessel of acute angle is not good
Chinese PinYin : Fang Hu
Release Time:2022-01-26 22:45:11
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