Gu Jingzhou (1915-1996), formerly known as Jingzhou, was later renamed Jingzhou. Gu Jingzhou was born in 1915 in Shangyuan Village, Chuanbu Township, Yixing, Jiangsu, at the age of 18 to learn art from a famous teacher, in the late thirties to Shanghai pot antique, in 1954 into Yixing Shushan Pottery Cooperative. In 1956, he was appointed by the Jiangsu Provincial Government as a technical tutor, and took apprentices Xu Hantang, Gao Haigeng, Li Changhong, Shen Xiaohua, Shu Fengying, Wu Qunxiang and others.
Gu Jingzhou's achievements in pot art are extremely high, exquisite skills, and a wide range of materials, can be said to be the most accomplished one of the modern potters, and the reputation enjoyed can be comparable to that of Shi Dabin in the Ming Dynasty, known as "a generation of grandmasters", "pot art masters".
The number of purple clay pots Gu Jingzhou made in his life is not very large, he sometimes only makes a batch of pots for several years, and all of them require high quality, and those who are not satisfied will be destroyed. Even in his later years, Gu Jingzhou still insisted on making pots, and sometimes produced high-quality products.
1. Set jade pots
The pot was designed by Gao Haigeng in 1978, and the overall shape is the charm of jade cong in the Neolithic period, and it is innovatively formed by integrating other elements of jade.
The body of the jade pot is full and rounded, and the waist is decorated with concave and convex parallel loops, which change with each other to form a coherent and dynamic rhythm. The pot flow is round in the square, the root is embossed with a dragon pattern, the upper end of the pot is straight, and the jade plate is decorated, the style is simple and simple, and it is easy to hold. The semi-circular fish button, like a fish jumping out of the water, adds a decorative ring on the button, and the patch of the mouth line and cover is like a ripple in the water, and the fish jumps and flies, and it is smart and decent. The structure of the pot body is compact and tight, flowing in rigor and full of vitality in dignified moderation.
Gu Jingzhou's jade pot was modified on Zhou Guizhen's pot blank, and there was only one.
2. For spring pots
According to legend, the spring pot was created during the Zhengde period of the Ming Dynasty. According to Gu Jingzhou's research, this kind of spring pot type was conceived and cooperated by Huang Yulin and Wu Dayi according to the style of "spring tree gall pot" recorded in the literature during the Daoguang period of the Qing Dynasty.
Gu Jingzhou's spring offering, the carcass is thinner, the craftsmanship is rigorous, the tire color is yellow-brown, the body is clothed, the texture is winding, the shape resembles a mottled old tree gall, with a smooth guati shape as the cover, and the large arc of the hand is full of tension. The overall shape of the pot is simple and innocent, the body is lightweight, and the end is comfortable.
In 1983, Gu Jingzhou and his wife went to Shanghai for treatment of chronic diseases, and lived in Shanghai Huaihai Middle School. In addition to the spring pot and the partridge beam pot each handed over to the factory as a production task, the rest were given to friends who helped with friendship, Gu Jingzhou's character and art can be seen.
3.磉扁壶
Stone stones, that is, pillar foundations, stone piles on which pillars are placed on the foundation, are used in traditional Chinese brick and wood structure buildings to load and prevent moisture, and play an irreplaceable role in preventing buildings from collapsing. The third volume of Song Li Jie's "Building the French Style" recorded: "The pillar base, its name has six, one is the foundation, the second is the foundation, the third is the stump, the fourth is the heel, the fifth is the stone, the sixth is the stone, and it is now called the stone block." "There are many styles such as drum type, melon type, vase type, palace lamp type, six hammer type, and Sumeru seat type.
The pot is a late work of Gu Jingzhou, the body barrel imitates the shape of a drum-shaped stone, the shoulder circumference is slightly wider than the bottom, and the body barrel is slightly oblique and straight to the bottom, so it visually highlights the tension of the shoulder. The neck and flow are all straight and full of strength. The shape of the lid is unique, slightly convex upwards on the basis of the flat lid, so that the center of gravity of the whole pot is slightly moved up, increasing the sense of balance of the shape, and at the same time, the lid is slightly convex so that the whole pot has a sense of inflation, full and magnanimous.
The overall appearance of the pot is tough and simple, and only one piece is made, which can be seen to be Gu Jingzhou's meticulously crafted and elegant work.
4. Three-legged milk pot
The three-legged milk pot is one of Gu Jingzhou's masterpieces in his later years. Gu Jingzhou recreated on the basis of borrowing and absorbing the Mansheng gourd pot, and changed the flat bottom of the Mansheng gourd pot to a three-legged tripod style, and the center was moved upwards to boost the spirit.
The shape of the pot resembles a melon, the body of the pot is narrow at the top and wide at the bottom, the round belly shape, a bend and a short stream, the crank is smooth, and the bottom is attached to three nail feet, which is in the shape of a tripod. The whole pot is mellow, simple and generous, smart, elegant and subtle.
5. 提梁磐壶
The Tiliang pan pot was designed by Han Meilin in 1988 and made by Gu Jingzhou. The upper part of the pot is shaped like a bird with wings, and the beam and the child fly out from the back, resembling the bird's flying feathers, and the flow part turns and is round, thick and powerful, and resembles a bird's beak. The shape of the pot is like a rock, thick and flat, which stabilizes the momentum of the upper part of the flight, and fully reflects the spatial balance between the dynamic and the static.
The body of the pot is wide and thick, providing space for calligraphy and painting, and the seal inscription of Xin Qiji's "Xijiang Moon" is engraved with "two or three points of dew does not become rain, and seven or eight stars are still in the sky", the font is quaint, skillful and smooth, and interprets another artistic conception of the work.
6. Double circle pot
The double-circle pot was created in Gu Jingzhou's later years. In 1992, Gu Jingzhou made a double-circle pot, which was engraved by Liu Haisu and engraved by Gu Jingzhou himself, with the inscription "Su Hui Ren Shen Mid-Autumn Festival Liu Haisu is 97 years old"; "Su Hui", Hui, that is, the Sanskrit "Prajna", is a kind of wisdom or insight. This pot is a masterpiece of the two artists' quest for truth and art, and is a work of harmony between the two masters.
On October 21, 1993, the 78-year-old Gu Jingzhou visited Taiwan with the delegation of the Yixing Ceramic Art Exhibition. Gu Jingzhou, who set foot on the land of Treasure Island, was enthusiastically pursued by countless pot fans, and the ten-day exhibition was full of visitors, and the double-circle pot was one of the works that Gu Jingzhou brought to Taiwan for exhibition. The carcass of the pot is delicate, the plain straight barrel body, the three bends are pinched and molded accurately, the water is smooth and does not trickle, the ears are wide, the shallow feet, the inlay cover is flush with the shoulder, and the bridge button is decorated with two rope rings that can be moved, which increases the agility of the pot, and the overall shape is dignified and simple, and the atmosphere is dignified.
7. Flat pot
The first high flat pot was created in the early 90s of the 20th century, because the capacity of the pot is small, about 380 ml, in order to make the tea brewing process can be rolled smoothly, Gu Jingzhou increased the height of the body on the basis of the traditional flat pot, the lid edge and the spout with a straight edge transition, the circle foot is also in a straight line, full of old taste.
The second high void flat pot was created in 1993, which was made for the Yixing purple sand pottery exhibition in Taiwan, which was lower than the first one, making the body more tense and more flexible. At the same time, the cover edge line and mouth line are added, and the bottom line is also increased by the circle foot, which echoes each other.