Mingshu gall offering spring pot
1. Skills
refers to the exquisite craftsmanship of the purple clay teapot, which is in contrast to the beauty of simplicity, nature, and wilderness. Skillful craftsmanship is the most fundamental requirement of arts and crafts, and it is also the minimum requirement of craftsmanship value.
2, naive< /span>
That is, it does not follow the law, expresses its own spirit, does whatever it wants, and is innocent, which is reflected in the shape of the pot In the above, it is outstanding in the series of pots for offering spring, some are like urchins, there are also superb little monkeys, and beetles struggling to climb up, with cute gestures.
The imitation spring tree gall pot made by Huang Yulin in the late Qing Dynasty
3. Laocheng
Purple Sand Sculpture The vessel is reflected in the vigorous stems, simple shape, generous body, mature style, weathering on the surface of the pot body, fine carving of cracked tree lines, centuries of vicissitudes of the trunk, and old and spicy branches.
4, rounded< /span>
It is embodied in the shape of the pot, the lines, and the round and powerful rotation of the branches. The roundness gives a pleasant feeling, and every detail of the pot can feel the roundness.
Modern Gu Jingzhou Made Spring Offering Pots
5. Strange
For Spring series works to pursue strange beauty , the beauty of incompleteness, the beauty of nature, everything is reasonable, every time it is unexpected, strange is rare, love is natural, strange and normal things are different, it is not an ordinary, normal thing or a reproduction of the habit, but a “re-creation” fiction.
6. Natural< /span>
Like nature, almost natural, natural, the whole series of pots runs through the laws of nature, no matter from the physical structure , the combination of the spout and handle, all rely on the natural image to trigger the “epidemic” tree-shaped decay, the ice cracking of the pot body, and the effect of “worm-eaten wood” on the surface. “Boundary.
< span>Pei Shimin and Wang Yinxian jointly made the Kuilong offering spring pot
7. Wildness
Wildness, as a kind of artistic beauty, is as big as The freehand brushwork seeks both form and spirit. It does not respect the rules and regulations of traditional modeling, has no rules and no constraints, and can take any shape. There are many layouts in the Spring Festival series that go beyond the constraints of traditional pot styles. effect.
8, Clumsy
Clumsy is the opposite of coincidence; simplicity is the opposite of beauty, as arts and crafts, it is the opposite of craftsmanship The beauty of simplicity and simplicity is not uncommon in art. Modern purple sand is one-sided in pursuit of meticulous craftsmanship, and has different views on the beauty of simplicity and simplicity. The series of pots for spring created by Hua Jianmin are full of returning to nature. The taste.
Xu Xiutang made a cherry blossom offering pot
9, Gao Gu
The performance of its external form One of them is the meaning of being broken and damaged over time. After many years of catastrophe, any artwork will inevitably be incomplete and vague, and there are traces of brokenness everywhere in the offering spring series. The marks of “worm-eaten wood” and cracks create the beauty of time, which makes people feel ancient and ancient, and integrates with the finger threads on the surface of the pot body.
10, Kuanbo
It is often called the bearing of the pot in pot art. It is a combination of structural imagery and artistic imagery. , It is manifested in the appearance of full body, graceful and generous, neat structure, decent spout, handle and button, which is very particular in traditional pot art.
Chen Guoliang made a spring offering Pot
11. Chic
is free and unrestrained, free and easy, neither aggressive nor restrained, chic, yes A kind of state of mind, a kind of joy that has been through vicissitudes of life and one’s own enjoyment, a demeanor that is not restricted by tradition, it does not pay attention to traditional patterns, in terms of shape and decoration, Xiao Ran strays beyond the rules, transcends the appearance of the popular, Sober and far-fetched.
12, elegant< /span>
is really illusory, which is embodied in the spout, handle, and button of the pot, making people feel the dynamic of things , elusive, only God can be content, elegant is more obvious in Chinese painting, and it is often reflected in plastic arts.
Gu Shaopei made a large offering Spring Pot
13, Rhythm
is the connotation of plastic art, each work has a theme, a center, a The mood of aftertaste.
14. Interest< /span>
The creation of purple sand pots, especially the creation of purple sand plastic utensils, is essential for fun. The so-called charm of purple sand is a The way the work breathes life into it. Interest is more prominent in the creation of spring offering pots, and each work is full of interest.
Wang Yinxian’s Spring Offering Pot
15, Zimei
The beauty of femininity, in the series of pots for spring, sometimes delicate and moving branches appear, which are light, smooth and neat , In the overall pot art, it plays a variable role, so that the overall effect of the pot art can be changed and unified.
16. Change
Any artwork is unified in change , without change, there is no vitality. Change is all-encompassing. It is a manifestation of artistic rhythm. The production of spring pots makes full use of the technique of change, straight and curved, long and short, large and small, and so on. It fully shows the power of pot art, achieves the unity of function and rules, and achieves the overall artistic effect.
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