Manson pot origin examination

The social order of the Qianjia and Jia dynasties was relatively stable and the economy was rich, which was the heyday of the collection of cultural relics in the Qing Dynasty, which was also related to the Qianlong Emperor's preference for calligraphy and painting collection. The Qianlong Emperor received a good Han cultural education from an early age, and became extremely interested in collecting ancient paintings and calligraphy, and during his 60-year reign, almost all important private collections were incorporated into the Inner Province through different channels. In the eighth year of Qianlong (1743), the Qianlong Emperor began to organize personnel to thoroughly sort out and catalog the collections of the Inner Palace, and registered the paintings and scriptures on Buddhist and Taoist religious themes, completed the twenty-four volumes of the "Secret Temple Zhulin", and other calligraphy and painting works were compiled into forty-four volumes of "Shiqu Baodi". After that, as the collections of folk collectors successively entered the Inner Palace, from the fifty-sixth year of Qianlong (1791) and the twenty-first year of Jiaqing (1816), Wang Jie, Ruan Yuan and others carried out the continuation of "Secret Hall Zhulin" and "Shiqu Baodi", and Yinghe, Wu Qiyan, Hu Jing and others completed the three compilations of "Secret Temple Zhulin" and "Shiqu Baodi". Ruan Yuan and Hu Jing wrote two books, "Essays on Shiqu" and "Notes of the Western Qing Dynasty", respectively, which recorded the collation and appraisal of the calligraphy and paintings collected by the Qing Palace.

The upward and downward effects have aroused the attention of the upper class and the literati and inkers to the inscriptions, epitaphs, gold stones, inscriptions and other cultural relics of the Qin and Han Dynasties, the Six Dynasties, and the Tang Dynasty, and the collection atmosphere has become increasingly strong, through a large number of collections, visits, and in-depth and meticulous examination of their own collections, writings and statements, setting off a tide of ancient learning in the Qing Dynasty, becoming the best way to pursue art. At the same time, it opened the prelude to the "Prosperous Collection", and the Purple Sand Collection is no exception.

The influence of "Yang Envy Famous TaoLu" on Chen Hongshou

Since the Ming and Qing dynasties, in the history of Purple Sand Pottery in Yixing, there have been four figures who have had an important influence on Purple Sand Pottery: namely, The Spring Supply of the Ming Zhengde Period (1506-1521); Shi Dabin of the Wanli Period (1573-1620); Chen Mingyuan of the Kangxi Period (1662-1722); and Chen Hongshou of the Qianjia Period (1768-1822). Fu Chun was an artist who created purple sand clay pots due to his hobby, and was revered as a pottery saint by posterity. Shi Dabin and Chen Mingyuan were famous for their excellent pot making. "Mansheng Jug" is the unintentional product of Chen Hongshou, an artistic crystallization that integrates the wisdom of everyone, and through the perfect combination of literati and purple sand artists, the artistic level of the purple sand pot is pushed to an unprecedented height.

Anyone who can independently make a purple sand tea pot must go through four aspects of learning: first of all, the understanding of the basic theoretical knowledge of purple sand, such as the inheritance of purple sand artists, the ability to distinguish sand quality and the selection of materials; second, a comprehensive understanding of the craft of making pots; then from the heirloom utensils can be seen in the obvious relationship between teachers and inheritance; and finally through their own artistic accomplishment, complete the design of the pot type, and produce a perfect purple sand pot.

Jinglan pot Collection of Shanghai Museum

Starting from these four aspects, this article unfolds the origin of the "Mansheng Pot", and associates and speculates from the clues and traces of historical materials, and if he can prove that the conclusion of the above speculation is correct from the Chen Hongshou Codex and the ink that have not yet been made public at home and abroad, it will be gratifying.

Chen Hongshou's lifelong obsession with the ancients, before entering the shi, the collection of tasting, research, trading throughout his entire artistic life, became his main source of life, but also his financial channels to fund friends and donations.

When Chen Hongshou was young, he was very fond of tasting tea, such as "Cold Spring Pavilion Na Liang" Cloud: "The hot sky is full of fans, and the prison falls and increases the bushes." How to cool off the heat, rarely cool. The Western Vulture flew thousands of wings. A flood of cold and blue, the peaks of the knot secret. Rumors smell the pine wind, and the empty pavilion turns cool and blows. Sit for a long time to clear the tea and try the taste of the outside. ”

In the fifty-fifth year of Qianlong (1790), Chen Hongshou, through the introduction of his grandfather Xu Daoji and his brother Zhou Chun, became acquainted with Wu Qian, a great collector of Haichang, and engraved and printed the "Wu's Rabbit Bed Calligraphy and Painting Seal" for Wu Qian, and since then, he has formed a deep collection relationship with the four major collectors of rare books and ancient books in the Qing Dynasty.

Acacia pot Tang Yun Memorial Collection

Zhou Chun, like Wu Qian, also loves pots and appreciates pots. There are four poems of Ming Ju poems: "The museum chest stores the "Seven Records" Hao, and the idle window is left to pay the name pottery." Open the letter paper ink incense, seal into the smoker bolu cream. Porcelain pot small sample is the most suitable tea, sweet and thick floating green milk flower. The three major ones passed on the old lineage, and the long teacher was careful to take care of the buds. It is said that the pottery-shaped ritual is in season, and the jade river wind liquid is fried by hand. He Dang summoned Songling Ke and supplemented the Jingnan tea set poem. Yang Xian newly engraved dizhi, Yanling poetry old Fei search. He was collected in the Tujing for many years, and he had to know many Taoxi dialects. ”

Wu Qian (1733-1813), also spelled Chakra, also spelled Kuili, number rabbit bed. Haining, Zhejiang. During his lifetime, he wrote a lot of works, including "Baijinglou Poetry Collection" and "Yang Envy Famous TaoLu" and other collections. Wu's ancestors were originally from Xiuning, Huizhou, and moved to Haining from his great-grandfather Wu Wanzhong. Chen Yu wrote in the preface to Wu Qian's "Yugu Wencun": "Mr. Wu Chake is of very high character, very ancient, and very rich in learning, and his writings are equal. Disdain for the vulgar literature, the sages and doctors of the world have returned to each other and discussed with them up and down. In his later years, he was self-sufficient in his studies and scholars near and far. ”

Shi Dabin made round pot Jincheng Museum collection

Shi Dabin hexagonal pot Yangzhou Museum collection

Wu Qian's collection is rich and exquisite, especially named after the collection of books, building a "prayer building". In addition, the "Thousand Yuan And Ten Driving Book Room" was built, which specially collected the old books of the Song and Yuan Dynasties, selected the books collected by the BaijingLou as the base, and engraved the "Baijinglou Series" in a total of 18 volumes, collecting more than 30 kinds of books, most of which were rare and ancient books of the Song and Yuan dynasties collected by the Baijinglou. "Pubei Shanfang Poetry" Yun: "ChaKe Xi searched for Song and Yuan engravings, such as Tao Yuanming and Xie Xuanhui's collections, and re-engraved them." Scholars treasure it as a secret treasure. ”

The quality of Wu Qian's engraved books and the high foothold of the book are pushed by commentators to be the first in the sea.

Wu Qian not only loved classics, but also devoted himself to the energy of his life, and often communicated with collectors in Jiangsu and Zhejiang, borrowing and borrowing schools. He not only proofread his own books and wrote inscriptions, but also invited celebrity bachelors to identify and proofread books. On the Song and Yuan inscriptions and manuscripts collected in the "Baijing Lou", there are appraisals and inscriptions by famous artists such as Hang Shijun, Lu Jianzeng, Qian Xinlin, Zhou Chun, Bao Tingbo, Zhou Gengya, Zhu Chaoqin, Zhang Yanchang, Qian Luxiao, Chen Feng, and Huang Pilie, which are particularly precious.

When Dabin made a round pot with a foot cover, the Zhangpu County Museum collection

Shi Dabin's pear piti beam pot Collection of Nanjing Museum

Every time Wu Qian bought his favorite classics, he asked the famous seal engravers at that time to take a souvenir, or to name the building with the book, or to name his children and grandchildren in the book, in order to remember his events and express the excitement of his collection and the degree of cherishing. For example, after he purchased the Ninety-one volumes of the Xian chun Lin'an Zhi, the three volumes of the Qiandao Zhi, and the six volumes of the Chun You Zhi, he was very happy and so he carved a seal, saying "Lin'an Zhi Hundred Volumes of Renjia". After he received the Song periodical "Hundred Notes on Mr. Dongpo's Collection", he named the collection of Su poems in the shuzhai collection "Su Ge". Later, he gave this "Hundred Family Notes on Mr. Dongpo Collection" to his second son Wu Shouyang.

Wu Shouyang, zi Yu Chen, su ge. Previously, on the day of ShouYang's birth, Wu Qian received a Song engraving of the Zhou Li Tu (周礼纂图) that pays attention to each other's words and meanings, and the Zhou Li is also known as "Zhou Guan" in ancient texts, so he also took the word "Zhou Guan" from Shou Yang, all of which are related to the collection of books he purchased. It is precisely because he is obsessed with books that the "Prayer Building" is rich and has a collection of more than 100,000 volumes.

In addition to books, Wu Qian also collected many miscellaneous items, including gold and stone ancient tools, drawings, inscriptions, Ding Yi, sword halberds, coin cloth, Gui Bi, seals, Dan lacquer, pottery, elephant rhinoceros, bamboo and wood utensils. Wu Qian's all-encompassing collection has become an important channel for Chen Hongshou to absorb the source of knowledge from the collection.

"Cultivating the Spirit"

In the spring of the fifty-first year of Qianlong (1786), Wu Qian wrote the book "Records of YangXian Famous Pottery". The book is divided into two volumes, from the origin of purple sand, material selection, art, family traceability, Tan Cong, Wenhan six chapters to introduce the whole picture of purple sand pot in detail, is the history of "Tea Pot", another monograph on the study of purple sand. At this time, Chen Hongshou lived in Haichang to study, and Wu Qian, who had a wealth of knowledge of purple sand, naturally became Chen Hongshou's teacher, so that Chen Hongshou had a clear understanding of how to identify sand, understand the inheritance of pottery, and change of style.

The influence of the heirloom tea pot of Fu Chun and Shi Dabin on Chen Hongshou

For Spring, also known as Gong Chun, Xuexian Wu Yishan's house servant, the ancestor of purple sand pot art. Yishan Mingshi (颐山名士), Zi Kexue (字克學), Yixing ren ,正德九年(1514)進士,以提學副使 promoted to Sichuan political participation.

Wu Qianyun: "The styles of teapots made for spring are different, although they are porcelain, they are treasured in the sea, and they are used to hold tea without losing their original taste, so the name Gong Juqing and Gaoren Mo Shiheng do not hesitate to buy them at a heavy price, followed by Shi Dabin, More refined, the more the price wins." ”

Shi Dabin initially imitated the spring to succeed, and later formed a whole set of sand pot production process, and passed it on to future generations.

Shi Dabin, Shaoshan, the purple sand master of the Ming Dynasty, exquisite pot making, exquisite craftsmanship, and praised by people at the time. The "Yang Envy Pot Record" contains: "There is a body in several cases, and the people who are idle and thinking, before and after the famous masters can not reach, so they are in the tao people's mark of daya's legacy, and the eyes of the empty group are good." ”

Judging from the information currently available, Chen Hongshou certainly had never seen the spring pot, not to mention that the spring pot was already precious at that time.

The "Record of Yang Envy Famous Pottery" says: "But the pottery of Yixing, the system is refined and takes the fagu, until the victory of the country, the names flow out, where a pot and a few and Shang Yi Zhou Ding and are cherished by the appreciators, Si You is good at retro people? In the name of Yu Shulai Jingnan and Yamu people, he wanted to visit the counting machine and break the work of decades, and the gain was very small. ”

Yuan Ming once saw a big pot when he saw it, that is, he was born with a sigh of "both hateful and hateful, but since ancient times, how late to see it" sighed.

In the fifty-eighth year of Qianlong (1793), Chen Hongshou threw himself into Ruan Yuan's men and entered the first-class literary and art and collection circles of the Qianjia period. Ruan Yuan and his disciples have a habit of collecting, and Ruan Yuan himself is a big collector. It is recorded in the "Eight Bricks Yinguan Carved Candle Collection" that on the occasion of Ruan Yuan's forty birth dynasty, he took out more than 100 famous painting fans from past dynasties, selected the six dynasties and ten seals of the Qin and Han Dynasties, and produced twenty-six Shang Zhou wine vessels, and recruited the inscriptions of Lang Huan's teachers and friends, which was passed down as a good story. Under its influence, most of the men under his door collected Yan Qi's study. Zhang Tingji named the "Eight Bricks Yinguan" for the collection of han and Jin eight bricks; Qu Zhongrong named it "Guquan Mountain Pavilion" for the treasured Five Baht Spring Mountain; Yuan Tingji used the Xiande family to collect the Five Bricks and build the "Five Bricks Building", which contains 10,000 volumes. The custom of Collection, which Qianjia scholars liked, was all the rage.

Wu Qian's father was also fond of tea, and the tea sets he bought were exquisite.

The "Yang Envy Famous TaoLu" says: "When tasting it, the big bin small pot, such as the diamond flower octagon, has a model character on the side." Fu Junyun: 'The magic of pot making, that is, a lid can be tested. Close it casually and lift it to suck up the whole pot. ’”

The father of his friend Zhang Yanchang, Gua Pu Weng, hid a tea pot with a big monk's hat. Wu Qian saw it, that is, endowed the "MingJing of The Qiantang MingJing to zun fu Gua Pu Weng old Tibetan Shaoshan tea pot to see, make mellow, shaped monk hats, and return for the poetry" poem Cloud: "Shugang Tao covered Su Ancestral Neighbor, born with great divine powers. Thousands of strange things come out, and the poems of Po po are new. Qinghe regarded me as a thousand golden treasures, and Yun had a good hand at that time. I want to see the sand refining, passing on the night of the young monk's hat. A line of inscription Kun Wu carved, the year of the C prophecy affirms the Wanli Calendar. Finger streamer two hundred autumns, real people kuhua lotus tin. (Wu Meiding) "Tea Pot Fu" Yun: "Carved sangmen hat, then lotus leaf Qingtai." "Yesterday, the three return pavilions were temporarily reserved, and the sound of sheng chimes was often made in the middle of the gong. Suddenly, I saw nothing but the boiling sea of bamboo stove soup. Moon Pine Wind Qing is the god of knowledge, and the spirit of the thing is not alone. May this be the return of the pool, so as not to let the dragon light bull fight occupy. Oh boy be careful not to be careful, everything in the world is chopping sand. He came to look for Therap, and the spring breeze also sipped Zhao Zhou tea. ”

Zhang Yanchang (1738-1814) zi qiantang, number Wenyu, Jitang, Jinsu Shanren and so on. Haiyan people of Zhejiang. In the first year of Jiaqing (1796), he held up filial piety and honesty, and insisted on resigning. A lifelong obsession with gold stone examination, proficient in engraving Ji jin characters. He is the author of "Jin ShiQi", "Feibai Shulu", "Continuation of the Mandarin Duck Lake Song", "Stone Drum Wen Interpretation", "Seal of The Hall of TheOry" and other collections.

Ruan Yuan carved the Tianyi Pavilion to expand the Northern Song Dynasty stone drum text, embedded in the Minglun Hall of the Hangzhou Academy, which was written by Zhang Yanchang. Chen Hongshou and Zhang Yanchang are both corporals Ruan Yuanmen, and they share common preferences and communicate with each other.

In the seventh year of Jiaqing (1802), Zhang Tingji bought a large Bin Han square pot from the Yinquan Wang clan, which was an old object of Mr. Youfu, a junior soldier of the Country, which aroused the attention of the students around Ruan Yuan to the purple sand utensils.

The "Continuation of the Yang Envy Famous Tao Record" reads: "Tim De Xiao Zhai a tea pot, Shaoshan Jia made a special fruit." Never from the plain earth, and the joy shape of the square is not broken. Fresh noodles should be entered into paintings (brothers are super drawings), and the poetry intestines are full of sorrow. The Jinsha monks offer spring sacrifices, which is the old model of Jingnan. Cut the bamboo engraving to leave twenty character inscriptions, actually Kaifa Ben Huang Ting. (Zhou Gaoqi said: "Dabin uses a bamboo knife, and the calligraphy is realistic " Changing The Goose Sutra".) The pen is folded three times where the cloud marks are broken, and the snow spots are covered with sand and a few stars. Ben Dao Qianjin injected tiles, from teaching seven bowls of tea to make up the sutra. Yanling Bibliography Zhengjun said, good to send a postbox to ask Daning (Haining Wu Zhangtu bed wrote "Yang Envy Famous Tao Record", Haiyan Jiawen Yu Brother wrote "Yang Xian Tao Said", both Jun are Bo Ji, this pot Daning Tang money must have examination also). ”

In the seventeenth year of Jiaqing (1812), Chen Hongshou visited Zhang Tingji and gave a gift of the best impression. Zhang Tingji gave back the old Tibetan Huangyi "Zhuliguan Mojie Sentence" seal, and Chen Hongshou recorded the experience of this trip in the seal: "Yuju Jiaxing Xinhuangli, occasionally visiting the West Lake, yu Huangshi got this seal. I am overjoyed, that is, with the name of 'Takeri', every time I come to the county town, I will wear this painting of the seal. YunLou has been obedient to each other, and he loves to see it. To the west of Shiyun Loulu, newly purchased villas, planted bamboo poles, Xiao Ran sat right, because he also rhymed with his residence: 'Bamboo Pavilion'. The time has passed the period of the Song people's carving. Today, he visited Mansheng Chen Jun and gave it to him with a unique gift. Yu gu cut love to repay, Yong Ya shi good, that is, Qian Man Sheng played the sword to remember. ”

Therefore, Zhang Tingji's collection of this Shi Dabin square pot, Chen Hongshou must have played with it carefully. Besides, in the seventeenth year of Jiaqing (1812), Chen Hongshou had been slaughtering Liyang for more than a year, was this visit a special trip to Dabin Fanghu? Moreover, a few months later, "Cultivating the Spirit of Nature" came out, and the causes and consequences here must be related to the implications.

Zhang Tingji (1768-1848), formerly known as Rulin, was a native of Haiyan, Zhejiang. In the third year of Jiaqing (1798), Xie Yuan repeatedly failed to pass the examination of the Ministry of Rites, so he returned to hermitage and built the "Qing Yi Pavilion" to collect gold and stone calligraphy and paintings for self-entertainment. He is the author of "Qing Yi Ge Collection Ancient Style Examination", "Qing Yi Ge Inscription", "Qing Yi Ge Seal Spectrum", "Mei Shou Tang Collection", "Gui Xin Tang Collection" and other collections.

We may wish to compare the handed down "Mansheng pot" pot style with the purple sand tea pot made by Shi Dabin, then at a glance, we can see the obvious relationship between the teacher and the inheritance, and chen Hongshou's tight and wide shape has some similarities with the tea pot made by Shi Dabin.

The influence of the pot-making experience of Tang Zhongmian, Sun Yuanxiang and others on Chen Hongshou

Tang Zhongmian (1753-1827), zi liu yu, tao shan, hunan shanhua people, official to Haizhou Zhixian, author of "Tao Shan poetry", "Liu Ru Ju Shi Wai Collection" and other collections. He once mastered Jingxi County to make antique tea pots.

Tang Zhongmian also had a habit of ancientism, and when he was the main Jingxi, he built the "National Mountain Monument Pavilion" to protect it. Tang Zhongmian's friendship with Chen Hongshou began in the ninth year of Jiaqing (1804), Tang Zhongmian was appointed to Haizhou Zhi County, and Yuan Ting prayed to Chen Hongshou, Chen Wenshu, Yi Bingshou and other friends to collect the "Spring Water House" for him.

The information about Tang Zhongmian's production of purple sand tea pots is also from Wu Qian's "Yang Envy Famous Pottery Record", which saves Wu Qian's poem "Taoshan Mingfu Antique Tea Pots to Curse Good Deeds": "Dongling Rock Mouth Is Refined Material, Linqi Leans on the Fishing Platform a hundred times." The riverside has been reported for thousands of years, and everyone bowed their heads and guessed. Jinsha Temple, by the Jinsha Spring, the white-footed Zen monks did not return. On this day, Shu Gang ten million caves, do not pass on the fire to worship the Mei Mountain. Hundred and Dan sand hundred refining pottery, printing bed deep lock seal smoke. Qi Yao did not count the Xuanhe Spectrum, and Shi Dinglian was appointed as Wei Ji (Ming Fu tasted the dream of seeing the four characters of "Wei Ji Thing", because he signed it with his own tea pot). The crane is clear, and the gold note he can be injected. The former officials of the Yujian Pavilion were scattered, and a bed of books was revealed. Tao Hong has already worshiped Zhu Hongxu, and the jade girl has not yet died. Thanks to the old resident of Dongpo, now the water transfer needs a new symbol (Dongpo water transfer symbol, in Fengxiang Yunu Cave, the old "Yixing County Chronicle" moved to Yunutan, discerning the "Taoxi Guest Language"). ”

Chen Hongshou's understanding of the Purple Sand Pot Making Process in Yixing is also related to Tang Zhongmian's interaction.

Another good friend, Sun Yuanxiang, also once slaughtered Yixing. Sun Yuan Xiangyuan was originally accompanied by Xi Peilan, a female disciple of Yuan Ming. Chen Hongshou and Xi Peilan began in the fifty-fifth year of Qianlong (1790), Chen Hongshou's attendant Yuan Ming and thirteen female disciples visited the West Lake "Jewel Mountain Villa", and Xi Peilan was among the thirteen female disciples.

In the fifteenth year of Jiaqing (1810), Chen Hongshou and Xi Peilan wrote the same title of Cang Sisheng's "Finger Painting Lotus Intu". As a result, the friendship between Chen Hongshou and Sun Yuanxiang's husband and wife lasted for more than 20 years. When Sun Yuan Xiang zai Yixing, he once ordered a purple sand tea pot and personally inscribed the inscription.

The "Collection of The Heavenly Pavilion" says: "The garden is appropriate, and it is not good." The benefits of the void are inexhaustible. The Six Classics are the original, and the hundred houses are like springs. For deliberation, it is idle. "The text is mostly related to cutting pots and cutting tea, interspersing the philosophy of life, and the verses are fresh and elegant, intriguing. Sun Yuanxiang's practice of inscribing inscriptions on the tea pot is a reference for Chen Hongshou. Therefore, before Chen Hongshou zai Liyang, that is, through the communication with friends, he had all the elements of making purple sand pots.

"Cultivating the Spirit" is where the wisdom of the "Mansheng Pot" gathers the wisdom of everyone

In the sixteenth year of Jiaqing (1811), Chen Hongshou presided over Liyang County. Liyang is not far from Yixing, from Liyang Guanlian Bridge out of the city to Yixing, the waterway can be reached in one day and one night. At this time, Chen Hongshou's pot making already has the time, place, and people.

Liyang Guanlian Bridge

In the eighteenth year of Jiaqing (1813), Chen Hongshou, Guo Lu, Wang Xiaohuan, Gao Rijun and others painted the "Tao Ye Spirit" to collect twenty varieties of tea pots, "Mansheng pot" is the first design drawing, and then borrowed the hands of Yang Pengnian and Yang Fengnian to make pots and form a certain scale, which triggered the interest of Qianjia students and dignitaries to collect, "the word is passed on according to the pot, the pot is expensive with the word", creating a precedent for the literati to enter the purple sand industry, which has epoch-making far-reaching significance for improving the artistic level and cultural connotation of Yixing tea pot.

Therefore, the emergence and development of the "Mansheng kettle" pushed the marriage between literati and pot-making artists to the peak, except for Zheng Banqiao's occasional participation in pot making in the middle of the Qing Dynasty, influenced by it, from the same period of Chen Hongshou throughout the middle and late Qing Dynasty and even modern times, in the same period, There were Qian Du, Ren Bonian, Huang Pengnian, Wu Dayi, Wu Changshuo, Lu Hui, Wang Wenbai, Wang Wensen and others, and in contemporary times, there were Huang Binhong, Wu Hufan, Tang Yun, Xie Zhiliu, Han Tianheng, Fan Zeng, Han Meilin and other people, who participated in pot making or engraving inscriptions, but there is no room for avoidance, their pot style is not in form In terms of scale, it cannot be said to be the same as "Mansheng Kettle". "Mansheng Jug" provides these scholars and scholars with countless active genes, and promotes the integration and transplantation of traditional culture and arts and crafts, which is the charm of "Mansheng Jug" and a variety of arts and crafts infiltrating each other, borrowing from each other to produce new art forms, and completing the transformation of their artistic styles.

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