精品推荐—紫砂壶，鹿头尊

紫砂壶是中国特有的手工制造陶土工艺品，其制作始于明朝正德年间，制作原料为紫砂泥，原产地在江苏宜兴丁蜀镇。紫砂壶在拍卖市场行情看涨，是具有收藏价值的“古董”，名家大师的作品往往一壶难求，正所谓“人间珠宝何足取，宜兴紫砂最要得”。

制作原料为紫砂泥，原产地在江苏宜兴丁蜀镇又名宜兴紫砂壶。据说紫砂壶的创始人是中国明朝的供春。因为有了艺术性和实用性的完美结合，紫砂壶才这样珍贵，令人回味无穷。更加上紫砂壶泡茶的好处、和茶禅一味的文化，这就又增加了紫砂高贵不俗的雅韵。

紫砂陶所用的原料，包括紫泥、绿泥及红泥三种，统称紫砂泥。紫泥是甲泥矿层的一个夹层，矿体呈薄层状、透镜状，矿层厚度一般在几十公分到一公尺左右，稳定性差，原料外观颜色呈紫色、紫红色，并带有浅绿色斑点，烧后外观颜色则呈紫色、紫棕色、紫黑色。紫泥主要成份为水云母，并含有不等量的高岭土、石英、云母屑及铁质等。综合分析，紫砂泥属于粒土--石英云母系，颇类制瓷原料的特点，因此单种原料即具有理想的可塑性，泥坯强度高，干燥收缩率小，为多种造型提供了良好的工艺条件。绿泥是紫砂泥中的夹脂，故有“泥中泥”之称（团山泥则是紫泥和绿泥混杂共生一起的泥料）。绿泥产量不多，泥质较嫩，耐火力也比紫泥为低，一般多用作胎身外面的粉料或涂料，使紫砂陶器皿的颜色更为多彩。

藏品介绍

中文名称：邵顺昌紫砂壶，杨彭年紫砂双耳罐

英文名称：Shao Shunchang purple clay pot, Yang Pengnian purple clay two-ear pot

类别：杂项

规格：二件

品相：美品

紫砂壶是纯手工制作，所以一把好壶没有几十年经验是做不好的，紫砂不像玉石那样可以精雕细琢，他就像是要把泥玩出艺术这一点是非常难得，就目前宜兴已经开采不出紫砂了，都是一些泥俗称紫砂泥，与紫砂是有区别的，一把壶好不好，看是否三条一线，盖子间隙是否小而圆，出水是否断水。

邵顺昌篆书款，周边回形纹环绕，极为精美，款为与壶底正中央，书写精美，线条清晰轮廓分明，整体表现款十分的正，邵顺昌是清代的知名制壶名家，这把壶底光柔和，形成了包浆，是一件开门的邵顺昌紫砂壶，从各角度看没有任何的磕缺损毁，品相完美达到馆藏级藏品。

紫砂壶的断水性：也就是指把紫砂壶中茶水倒入杯的时候中止的那一瞬间，也就是停止倒水的动作。是否会立即断水，还是会有水会缘着壶嘴往下流，断水工艺极其困难，只有大师级能做到，也是鉴定真伪，判断紫砂壶级别的好办法。

杨彭年，字二泉，号大鹏，清嘉庆、道光年间（1796-1850）制宜兴紫砂壶名艺人，浙江省桐乡人。善制茗壶，有的浑朴雅致，有的精巧玲珑，且善配泥色。首创捏嘴不用模子和掇暗嘴之工艺，虽随意制成，亦有天然之致， 世称“彭年壶”，对后世影响颇大。

杨彭年，字二泉，号大鹏。生卒不详，清乾隆至嘉庆年间宜兴紫砂名艺人。荆溪人，一说浙江桐乡人，弟宝年、妹凤年，均为当时制壶名艺人，善于配泥，所制茗壶，玉色晶莹，气韵温雅，浑朴玲珑，具天然之趣，艺林视为珍品。

杨彭年首创捏嘴不用模子和掇暗嘴之工艺，虽随意制成，亦有天然之致。他又善铭刻、工隶书，追求金石味。他还与当时名人雅士陈鸿寿（曼生）、瞿应绍（子冶）、朱坚（石梅）、邓奎（符生）、郭麟（祥伯、频伽）等合作镌刻书画，技艺成熟，至善尽美。世称“彭年壶”、“彭年曼生壶”、“彭年石瓢壶”、声名极盛，对后世影响颇大。

杨彭年继承、发扬了全手工制壶工艺。在众多的紫砂艺人中，陈曼生独独选择杨彭年，看中的是他的手工捏制砂壶制作工艺，他曾说：“杨君彭年，制壶得龚时遗法。”什么是“龚时遗法”？那就是手工捏制砂壶的传统工艺。因为“乾隆时期制壶多用模衔造，其法简易，大彬手捏遗法已少传人。彭年善制砂壶，始复捏造之法，虽随意制成，自有天然风致”（《耕砚田笔记》）也就是说：杨彭年继承、恢复了龚春、时大彬的全手工制壶技法，并且技法娴熟，得心应手，巧夺天工。这一点，我们从传世的“曼生壶”的制作工艺可以得到验证。徐秀棠大师评论曼生匏瓜壶“制作工艺娴熟、精到，有珠圆玉润之感。”中国艺术研究院高振宇研究员评点曼生钿合壶：“直腹挺刮……轮廓分明，抚之温润如玉”这些都反映了曼生壶的制作者——杨彭年的工艺精制。

杨彭年是紫砂艺人与文人全面合作的典范。杨彭年与陈曼生合作的“曼生壶”，是艺人与文人深入交流、全面合作的结晶。从泥料的选定、壶款的设计到壶铭镌刻曼生及其幕客全面参与，彭年则要能准确领会曼生的设计意图，并具体把它从平面的图样制成壶样，且创新款式达数十种之多，足见彭年有较高的悟性。我们还能想象，彭年在制作中一定会提出修改意见，使之完善，所以曼生壶的创新造型也有彭年的功劳在内。还要指出的是杨彭年不但和陈曼生合作，还先后与乔重禧、蔡锡恭等文人合作，这些文人大都精通书画、鉴赏，为他们制壶，并得到首肯也说明彭年确非等闲之辈。尤其是他与朱坚合作。朱“工鉴赏，多巧思，砂胎锡包是其首创”（《墨林今话》），彭年与其合作后，自己也能镶玉包锡壶。在故宫藏紫砂器中，就有一款：宜兴窑杨彭年款镶玉包锡包壶，底钤“杨彭年造”、“彭年制”阳文印章，而未见“朱坚”的印款，或为杨彭年自制乎？

杨彭年具有一定的文史知识、书画功底是一位具有文人气质的艺人。杨彭年在与文人的长期合作交往中，“近朱者赤”，自身的文化修养也相应提高。据说他制壶而外，亦善陶刻，“兼善刻竹刻锡，亦佳。”（《耕砚田笔记》）。杨彭年具有一定的文史知识，从下面两件作品可证明。一是他曾仿宜兴古代文物国山碑，制一紫砂瓶，并仿碑上古文字在瓶上陶刻（图，现藏南京博物院），没有一定的文史知识，怎能有此创作灵感？二是在故宫藏紫砂器中有一“四方委角诗句方盘”。此方盘盘心刻十字形纹与四边线形成河洛图形。盘心分左右两边刻整篇行书铭文云“古者黄帝梦两龙授图，乃斋诣河洛求之，得龙马之图，遂命仓颉造字……余于研朱滴露之暇。有感于斯置河洛之盘，置之座右，以志不忘本之志”，后署“道光甲午邑秋甲子朔书于阳羡友石山房杨彭年制”：从这一方盘及其铭文，我们可以窥见彭年的创作思想，并证明他是一位有深厚的文史知识、具有文人气质的艺人。

杨彭年在清中期，恢复了时大彬的手工制壶遗法，且与曼生等一大批文人合作，制作了一批造型新颖、题刻壶铭的文人壶，而他又能书善刻，多才多艺，和陈曼生等文人一起对紫砂的中兴、发展作出了一定的贡献。

这种阴刻款极难把控，此壶书写十分完美，字迹清晰精美，此款整体十分规整，表面也产生了包浆，十分开门，这件双羊耳罐，罐顶瑞兽为钮，罐颈双羊耳，底部落款精美，整体器型端正，且无任何穿线，磕缺，损毁，是一件难得的馆藏级藏品，也是杨彭年的巅峰之作，极具收藏价值。

钧窑。是宋瓷五大名窑之一。均窑有唐均，宋均，金均，元均，明均之分。钧瓷与其他瓷器一样，由陶器演变而来，是对陶器的继承和延续。根据考古发现和对现存古钧瓷的研究，古代钧瓷的器型大体可以分为两类:一类为日用生活器皿类器型，另一类为陈设类器型。有的专家认为，以碗、盘、碟、炉、鼎等民间日常用器为主的俗称民钧。与此对应的，是以花盆、洗、尊、瓶等为主的造型，俗称官钧。官钧瓷器，造型大雅，窑变美妙，被认为钧瓷中的珍品。流传于世的官钧瓷器十分稀少，主要收藏在北京故宫博物院、台北故宫博物院、美国弗利尔美术馆、哈佛大学赛克勒美术馆等处。世界范围内公私收藏的官钧瓷器仅有百余件，弥足珍贵

藏品介绍

中文名称：清均窑鹿头尊

英文名称：Qing Dynasty kiln deer head zun

类别：瓷器

规格：一 件

品相：美品

鹿头尊：尊的一种式样。器形与牛头尊相同，大口，口以下渐放，垂腹，圈足，肩两侧有对称的兽头耳，通体绘群鹿，故名，清代乾隆景德镇窑制，品种以彩为主，晚清有仿造。又名'鹿头尊',收口，腹上敛下垂，夔耳，倒置器身若鹿头或牛头，故称之为'鹿头尊'或'牛头尊'。始见于清康熙，至乾隆朝盛行。当时粉彩器多以青绿山林为景，绘十鹿或百鹿奔跑、穿行于山林之中，故亦称'百鹿尊'。

钧窑是我国宋代五大名窑之一，它不仅造型端庄沉稳，而且釉色古朴凝重，变幻莫测，尤以玫瑰紫、海棠红、火焰青、鸡血红、鹦哥绿等多种窑变釉为其他窑口所不及。钧釉有高温一次烧成，也有二次烧成，第一次素烧，出窑后施釉彩，二次再烧。钧瓷的釉色为一绝，千变万化，红、蓝、青、白、紫交相融汇，灿若云霞，这是因为在烧制过程中，配料掺入铜的氧化物造成的艺术效果，此为中国制瓷上的一大发明，称为“窑变”。

这一件均窑鹿头尊开片自然，无外卷，崩裂脱落现象属于长时间的阴干现象，只有时间漫长才能有这样的开片，是真品无疑，这件窑变蓝色釉是非常难得的，窑变处看起来就是一副泼墨山水画，用放大镜看有如璀璨的星河美的动人心魄。

禹州的钧瓷，被称为“国宝”、“瑰宝”。钧窑是我国宋代的五大名窑之一，它的主要贡献在于烧制成艳丽绝伦的红釉钧瓷，从而开创了铜红釉之先河，改变了以前中国高温颜色釉只有黑釉和青釉的局面，开拓了新的艺术境界，钧瓷是因宋徽宗时期曾在近禹州市内古钧台附近设置官窑专门烧制御用瓷而得名。

英文翻译：Zisha teaporting is a unique handmade pottery craft in China. It began to be made during the Reign of Zhengde of the Ming Dynasty. The raw material for making zisha teaporting was originated in Dingshu town, Yixing, Jiangsu province. Zisha teapot in the auction market rising, is a collection of value of the 'antique', masters often a pot of works are difficult to find, is the so-called 'human jewelry how enough to get, Yixing zisha the most.

The raw material is purple clay, which is originated in Yixing, Jiangsu province. It is said that the founder of zisha teapus was the spring of Ming Dynasty in China. Because of the perfect combination of artistry and practicality, zisha teaports are so precious and memorable. Moreover, the advantages of making tea in a purple sand teapot and the blind culture of tea zen add the elegance and elegance of purple sand.

The raw materials used for purple clay include purple clay, green clay and red clay, collectively referred to as purple clay. Purple clay is an interlayer of a mud ore layer. The ore body is thin-layered and lenticular. The thickness of the ore layer is generally tens of centimeters to about one meter with poor stability. The main composition of purple mud is hydromica, and contains unequal kaolin, quartz, mica chips and iron, etc. The comprehensive analysis shows that the purple clay belongs to the system of granular soil-quartz-mica, which is the characteristic of porcelain making raw materials. Therefore, the single raw material has ideal plasticity, high mud strength and low drying shrinkage rate, which provides a good technological condition for various shapes. Green mud is the fat in purple sand mud, so it is called 'mud in mud' (Tuanshan mud is the mud mixed with purple mud and green mud). Green clay output is not much, clay texture is more tender, fire resistance is lower than purple clay, generally used as the tire body outside the powder or paint, so that the color of purple sand pottery vessels more colorful.

The collection is introduced

Chinese name: Shao Shunchang purple clay pot, Yang Pengnian purple clay two-ear pot

English name: Shao Shunchang Purple Clay pot, Yang Pengnian Purple Clay two-ear pot

Category: Miscellaneous

Specification: two pieces

Appearance: Beautiful

Recommended is pure hand-made, so a good to do a good pot has no experience in decades, violet arenaceous not like jade can finely crafted, he like to play the mud out of the art it is very rare, as yixing has not been the purple sand mining, are commonly known as the violet arenaceous mud mud, and purple, there is a difference between a pot is good, to see if three line and the lid gap is small, round, if the water without water.

Shao Shunchang seal character, peripheral back form lines around, very beautiful, for with the bottom of the pot is central, writing, fine lines clear chiseled, overall performance style is very positive, Shao Shunchang masters is well-known in the qing dynasty pot, and that the bottom of the pot of downy light, formed the wrapped slurry, is an open Shao Shunchang are recommended, from the point of view without any of the lack of damage, quality perfect level library collection.

Breaking water of a zisha teapot: it refers to the moment when the teapot stops pouring water into the cup. Whether the water will be cut off immediately, or there will be water due to the spout down, the water cutting process is extremely difficult, only master can do, is also a good way to identify the authenticity, judge the level of the zizhao.

Yang Pengnian, styled Erquan, also known as Dapeng, was born in Tongxiang, Zhejiang province. He was a famous artist who made Yixing zisha POTS during the Reign of Jiaqing and Daoguang in qing Dynasty (1796-1850). Good system tea pot, some simple elegant, some exquisite exquisite, and good match mud color. It was the first technique to shape the mouth without mold and clean the mouth. Although it was made at will, it was also natural. It was known as 'Peng Nian pot' and had great influence on later generations.

Yang Pengnian, styled Erquan, also known as Dapeng. Unknown birth and death, Qing Qianlong to Jiaqing years yixing zisha artist. Jingxi people, said people in Tongxiang, Zhejiang province, younger brother Baonian, sister Fengnian, are made at that time famous pot artists, good at matching mud, made tea pot, jade crystal, elegant charm, simple and exquisite, with natural interest, art forest as treasures.

Yang Pengnian first pinched mouth without mold and tuimu dark mouth technology, although made at will, but also has a natural. He was also good at engraving, official script, the pursuit of stone taste. He also engraved calligraphy with famous artists Such as Chen Hongshou (Mansheng), Qu Yingshao (Ziye), Zhu Jian (Shi Mei), Deng Kui (Fu Sheng), Guo Lin (Xiangbo, Bingga), etc., with mature skills, perfect beauty. Known as 'Pengnian pot', 'Pengnian Mansheng pot' and 'Pengnian Stone gourd pot', it has achieved great fame and exerted great influence on later generations.

Yang Pengnian inherited and developed the craft of making POTS by hand. Among the many purple sand artists, Chen Mansheng only chose Yang Pengnian because of his handcrafted clay pot making technique. He once said, 'Yang Jun Pengnian left gong Shi for pot making.' What is gongshi Relic method? That is the traditional craft of making sand pot by hand. Because 'Qianlong period of making POTS with mold title, the method is simple, Dabin hand left law has been less handed down. In other words, Yang Pengnian inherited and restored gong Chun's and Shi Dabin's skills of making POTS by hand. Moreover, he was skillful in making POTS and pans, with great ease. This point, we can be passed down from the 'Mansheng pot' production process can be verified. Master Xu Xiutang said of a mansheng gourd pot: 'It is skillfully made, exquisite, and feels like a marble.' Gao Zhenyu, a researcher of Chinese Academy of Arts, commented on The tin pot of Mother Sheng: 'Straight belly and quite scraping... The clear outline and gentle touch reflect the craftsmanship of The maker of Mansheng pot, Yang Pengnian.

Yang Pengnian is a model of comprehensive cooperation between purple sand artists and literati. The 'Mansheng pot' cooperated by Yang Pengnian and Chen Mansheng is the crystallization of in-depth exchange and comprehensive cooperation between artists and literati. From the selection of clay materials, the design of pot money to the full participation of Mansheng and his clients, Peng Nian should be able to accurately understand Mansheng's design intention, and specifically make it into a pot sample from the plan, and there are dozens of innovative styles, which shows that Peng Nian has a high perception. We can also imagine that Peng Nian would certainly put forward Suggestions for modification in the production to improve it, so the innovative shape of Mansheng pot is also attributed to Peng Nian. It should also be pointed out that Yang Pengnian cooperated not only with Chen Mansheng, but also with Qiao Zhongxi, CAI Xigong and other literati successively. Most of these literati were proficient in painting and calligraphy and appreciation, and made POTS for them. The approval of peng Nian also indicated that Peng Nian was really not an ordinary person. In particular, he worked with Zhu Jian. Zhu 'work appreciation, more clever thinking, sand tire tin bag is its first' (' Merlin this words '), Peng Nian and his cooperation, he can also set jade tin pot. Among the purple clay ware in the Palace Museum, there is a type of Yang Peng nian vase inlaid with jade and tin in Yixing kiln. The bottom bell 'Yang Peng Nian' and 'Peng Nian' Yang Wen seal are not found, but the seal of 'Zhu Jian' is not found, or is it made by Yang Peng Nian?

Yang Pengnian, with certain literary and historical knowledge and painting skills, is an artist with the temperament of literati. In the long-term cooperation and communication with the literati, Yang Pengnian 'kept close to the zhu, he would grow red', and his own cultural accomplishment also improved accordingly. It is said that he made POTS, but also good pottery carving, 'and good bamboo carving tin, also good.' (' Ploughing and inkstone Field Notes '). Yang Pengnian has a certain knowledge of literature and history, which can be proved by the following two works. First, he imitated the national Mountain tablet of yixing, made a bottle of purple sand, and engraved the bottle with the ancient characters on the tablet (the picture is now in The Nanjing Museum). Without certain knowledge of literature and history, how could he have this inspiration? Second, there is a 'quadrangle Angle poetry square plate' in the Palace Museum. This square disc is engraved with a cross grain and four edges to form a heluo pattern. Plate heart on both sides of the whole engraved inscription cloud 'the ancient Yellow Emperor dream of two dragons, is the attest of Heluo for it, long horse map, hence life Changjie word...... At my leisure I am still dripping with water. The plate of Si Zhuluo, the right seat, with the ambition of not forgetting the root ', after the office 'Daoguang Jiawu Yi Qiu Jia-Zi Shuo Shu in Yangxianyou Stone Mountain room Yang Peng system' : from this side of the plate and its inscription, we can glimpse The creation of Peng Nian thought, and prove that he is a profound knowledge of literature and history, with the temperament of the artist literati.

In the middle of the Qing Dynasty, Yang Pengnian restored shi Dabin's law of hand-made teapots, and cooperated with mansheng and a large number of other literati to produce a batch of scholar teapots with novel shapes and inscriptions. Moreover, he was good at carving and versatile, and together with Chen Mansheng and other literati, he made certain contributions to the revival and development of purple sand.

The intaglio is extremely difficult to handle, the perfect pot of writing, clear, fine this whole very neat, also produced on the surface of the wrapped slurry, is to open the door, this double sheep ear tank, roof benevolent for button, can double sheep ears, neck, dated at the bottom of the beautiful, the overall shape, without any thread, ke is missing, damaged, is a rare collection of collections, and Yang Pengnian culmination, extremely collection value.

The pa per. It is one of the five famous song porcelain kilns. All kilns have tang, Song, Jin, Yuan, Ming. Jun porcelain, like other porcelains, evolved from pottery and was the inheritance and continuation of pottery. According to archaeological findings and research on extant jun porcelains, the types of ancient Jun porcelains can be generally divided into two categories: one is household ware type, the other is furnishings type. Some experts believe that the bowl, dish, dish, stove, tripod and other civilian daily utensils commonly known as minjun. Corresponding to this, it is based on flowerpot, wash, zun, bottle and other modeling, commonly known as guan Jun. Guan Jun porcelain, elegant shape, wonderful kiln, jun porcelain is considered as the treasures. Official jun porcelain is very rare in the world. It is mainly collected in The Palace Museum in Beijing, the National Palace Museum in Taipei, freer Art Museum in the United States, Sackler Art Museum in Harvard University and other places. There are only a few hundred pieces of imperial and imperial porcelain in public and private collections around the world

The collection is introduced

Chinese name: Qing Jun Kiln deer head zun

Qing Dynasty kiln deer head zun

Category: Porcelain

Specification: one piece

Appearance: Beautiful

Deer head honour: a style of honour. The shape of the vessel is the same as that of the head of the ox, the mouth is gradually lowered, the belly is pendent, the foot is ringed, and there are symmetrical animal heads and ears on both sides of the shoulder. The whole body is painted with deer, hence the name. It was made in Jingdezhen kiln of Qianlong in the Qing Dynasty. It is also known as 'Lu Tou Zu ', which means' lu Tou Zu ', which means 'lu Tou Zu' or 'Niu Tou Zu'. First seen in The Qing Kangxi, qianlong dynasty prevailing. At that time, most of the pastels were painted with ten or one hundred deer running and walking through the green mountains, so they were also called 'One hundred deer Zun'.

Jun kiln is one of the five famous kilns of Song Dynasty in China. It not only has a dignified and composed shape, but also has a dignified and unsophisticated glaze that is unpredictable. In particular, various kiln glazes, such as rose purple, crabapple red, flame green, chicken blood red and parrotgreen, can't be compared with other kilns. Jun glaze has a high temperature firing, but also a second firing, the first plain firing, out of the kiln glaze color, second firing. Jun porcelain's glaze color is unique and changeable, with red, blue, green, white and purple blending into each other and glittering like clouds. This is because of the artistic effect caused by mixing copper oxide in the firing process, which is a great invention in Chinese porcelain making and is called 'kiln transformation'.

This one are kiln deer head open piece of nature, not revolute, split off phenomenon belong to dry in the shade for a long time, only time can have such a long drive, is real, no doubt, this variable blue glaze is very rare, variable place looks like a splash-ink landscape paintings, use a magnifying glass to see like the Milky Way of bright beautiful fascinating.

Jun porcelain of Yuzhou is called 'national treasure' and 'treasure'. Pa is one of the five ancient jun of song dynasty in China, and its main contribution is calcined into gorgeous ring of red glaze jun porcelain, thus created a precedent of copper red glaze, changed the former high temperature color glaze China only black glaze and blue glaze, opens up a new artistic realm, jun porcelain for bei song period had official kilns in near yuzhou city GuJun stations set up special fire named royal porcelain.

内容来自懂车帝