Tea Book Network: "Zisha Craft" (Intangible Cultural Heritage Series)

ID: GDZPS1552

Title: "Purple Sand Craft" (Intangible Cultural Heritage Series)

Edition: Zhejiang People's Publishing House

Author: Xu Xiutang, editor-in-chief of Wang's article, and Zheng Changling, deputy editor-in-chief

书号：ISBN 9787213041334

Pricing: 50.00

Publication date: 200910

Introduction

The mud raw material of purple sand pottery belongs to the original mud of a single mine, it is a mud ore with high iron content, due to the relationship of geological genesis, the iron content and other components of the mud ore in each place are not the same, and its appearance color is also different, so it is vividly called "five-color soil", coupled with the level of firing temperature, the change of flame atmosphere, it will show different purple sand colors, with rich color effects. Purple sand pottery has excellent performance, good plasticity of cooked mud, high strength of the body after molding, and relatively small drying shrinkage rate and firing shrinkage rate of billet, which provides good processing conditions for a variety of varieties, colorful shapes and ever-changing lines. Coupled with the ingenious traditional production skills, in line with the scientific production technology, colorful and colorful utensils modeling, as well as its practical functions (such as tea, flower planting, study furnishings and playfulness, etc.), it has become a rich modeling, a variety of styles, a variety of arts and crafts, and break through the limitations of other folk crafts only in the field of arts and crafts, and rise to the palace of art.

Compared with other categories of arts and crafts, Zisha art has an obvious feature, that is, the unity of form and content. Its form is content, and content is form, and the two become one. The cultural characteristics of its modeling, there are few religious themes and royal ideas. Before the literati did not intervene in the creation of purple sand pottery (pot) in large numbers, its modeling and decoration were completely the individual embodiment of the cultural and artistic level of the artist, which was lively and lively, full of vitality and unrestrained, even if a large number of feudal literati participated in the future, especially since Chen Hongshou developed the decoration and modeling of the "Mansheng pot", the purple sand pot is only the carrier of elegant play culture, and it is more of a theme that reflects the thoughts and feelings of the working people and their willingness to live, and is filled with a strong theme of civilian thoughts and feelings and life willingness, and is full of strong civilians Joy of life. Taking the theme that the people like to see as the main body has always been the mainstream of purple sand production, reflecting the great influence, far-reaching charm and strong vitality of folk art. Its unique material and unique humanistic quality make this relatively young pottery variety with a history of only more than 600 years become a wonderful flower in the mainland's beautiful arts and crafts garden.

directory

General preface

preface

Chapter 1 The material and cultural conditions for the emergence of purple sand pottery

　Section 1 Geographical location of Yixing

　Section 2 The long history of Yixing's pottery industry

　Section 3 Yixing Tea Industry

　Section 4 Discovery of clay raw materials and purple sand mud

Chapter 2 Raw material resources of purple sand pottery

　Section 1 Distribution and classification of purple sand ore

　Section 2 Mining and processing of purple sand mud

　Section 3 Raw ore characteristics and firing characteristics of purple sand mud

　Section 4 Physical properties and chemical properties of purple sand mud

　Section 5 Raw ore mud and prepared mud

Chapter 3 Early Discovery of Purple Sand Pottery

　Section 1 Archaeological Discoveries

　Section 2: Records in Classics

Chapter 4 The development and prosperity of purple sand pottery

　Section 1 Founding and Initial Development

　Section 2 Prosperous Period

　Section 3 The literati purple sand in the Qing Jiadao period

　Section 4 Late Qing Dynasty

　Section 5 The Republic of China Period

　Section 6: After the Founding of the People's Republic of China

Chapter 5 The production process of purple sand pottery

　Section 1 Molding tools

　Section 2 Molding Methods

　Section 3 Firing

Chapter VI product classification of purple sand pottery

　Section 1 Teapots and tea sets

　Section 2 Flower pots and vases

　Section 3 Elegant play in the study

　Section 4 Figure Sculptures and Sculptures

　Section 5 Tableware

　Section 6 Modern purple sand pottery

Chapter 7 Decoration of purple sand pottery

　Section 1 Autologous Decoration

　Section 2 Pottery carving and decoration

　Section 3 Clay painting, stacking, flower leakage, appliqué and screen printing

　Section 4 Furnace glaze and enamel decoration

　Section 5 Inlay decoration (inlaid with gold, silver, jade and glazed beads)

　Section 6 Tin, copper, gold and silver

Chapter 8 The knowledge of purple sand pottery

　Section 1 Evolution of Engraving and Printing

　Section 2 Imperial Year

　Section 3 Seal Integration

Chapter 9 The inheritance and inheritance of purple sand pottery

　Section 1 The Inheritance of Ming and Qing Artists

　Section 2 The Inheritance of Pottery Factories in the Republic of China

　Section 3: Mentorship after the Founding of the People's Republic of China

　Section 4 The influence of the Zisha family and genre

　Section 5: Inheritance of Classic Works

　Section 6 Chinese Arts and Crafts Masters

Chapter 10 Appreciation of Purple Sand Pottery

　Section 1 Appreciation of purple sand pottery (pots).

　Section 2 Identification of purple sand pottery (pot).

　Section 3 Zisha Cultural Classics

Xu Xiutang, senior arts and crafts artist, member of China Artists Association. Born in 1937. In 1954, he studied pottery carving with the artist Ren Ganting. In 1958, he studied folk sculpture in the studio of "Clay Man Zhang" (Zhang Jinghu) of the Central Academy of Arts and Crafts in Beijing. He was able to make full use of the characteristics of purple sand clay materials, learn from other arts, and create a personal style of purple sand clay sculptures. The teapot with the theme of ancient beasts has a strong sculptural flavor; The themes of other works have a taste for life, and the characters are both physical and spiritual, which are cherished by lovers at home and abroad. In 1981, he went to Hong Kong to participate in the 6th Asian Arts Festival.

Wang Wenwen, male, Han nationality, born in 1951, from Shouguang, Shandong. He began his career in December 1969 and joined the Party in August 1971. He graduated from the Department of Chinese of Shandong University and holds an on-the-job postgraduate degree in economic management from the Party School of the Central Committee of the Communist Party of China. Former Vice Minister of Culture. He has served as Deputy Director of the Research Office, Director of the Drama Division and Director of the Arts Management Division of the Art Bureau of the Ministry of Culture, Vice President and Deputy Editor-in-Chief, President and Editor-in-Chief of China Culture Daily, Director of the Art Department of the Ministry of Culture, Executive Vice President and Deputy Secretary of the Party Committee, President, Secretary of the Party Committee and Director of the China Intangible Cultural Heritage Protection Center of the Chinese Academy of Arts. Member of the 11th National Committee of the Chinese People's Political Consultative Conference In November 2008, he was appointed Vice Minister of the Ministry of Culture and a member of the Party Leadership Group. In October 2012, he ceased to be the Deputy Minister of Culture.

Zheng Changling, born in March 1962 in Ningde, Fujian Province, has a master's degree, obtained a doctorate in literature in 2004, a researcher, a master's supervisor, and a member of the Communist Party of China. He used to work in the China Intangible Cultural Heritage Protection Center of the Chinese Academy of Arts, engaged in the protection and research of Chinese traditional music, music philology and intangible cultural heritage. He is currently working as the deputy director of the Cultural Development Strategy Research Center of the Chinese Academy of Arts. He is the <乐书>co-editor of "Interesting Tales of Music", the volume of "Nanyin", the editor-in-chief of "Chronicles ·of Chinese Music Aesthetics in the 20th Century", the editor-in-chief of the academic essay collection "Modern Music Style", and the composer's biography "The Wandering of Music". He has published more than 70 papers and reviews in national core journals such as "Chinese Musicology", "People's Music", "Music Culture", etc., "Walking into Chen Yang in the Field", "The <红莲歌>Melodic Characteristics and Cultural Connotation of Yundanmen and Its Related Minor Keys in Mindong". He has completed the proofreading of Chen Yang's "Book of Music" in the Song Dynasty (200 volumes, 500,000 words), and is a member of the comprehensive research group on the melody and tonal genealogy and rheology of traditional music of various ethnic groups in China under the 15th National Key Project. He is currently a member of the editorial board of "Chinese Musicology", "China Intangible Cultural Heritage Series", "China Intangible Cultural Heritage Network· China Intangible Cultural Heritage Digital Museum". He has participated in the revision of the first batch of national intangible cultural heritage lists, and participated in the organization and implementation of a series of activities such as the exhibition of China's intangible cultural heritage protection achievements and China's first cultural heritage day. Participated in the editing and revision of the "Census Manual of China's Intangible Cultural Heritage" and the "First Batch of National Intangible Cultural Heritage List Atlas".

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