Re: Translated Articles from Early Teapots Volume 2 早期壶事典-貳
No I ordered the book in Chinese. That's why I appreciate the translation here
Re: Translated Articles from Early Teapots Volume 2 早期壶事典-貳
Thank you very much
I think I need to read this article very carefully before buying any more teapot
I think I need to read this article very carefully before buying any more teapot
Re: Translated Articles from Early Teapots Volume 2 早期壶事典-貳
早期壺入門之十：「廠外壺」的問與答（with English version)
The no.10 introduction of early teapots: Q&A about "Non-factory 1 pots"
1.60及70有廠外壺嗎？
許多壺友也許會聽到這樣的故事，這把壺是當年陶工偷偷把廠內的土拿出來在家自己做的（私窯），所以壺的外型雖然不一樣，但土是一樣的。事實上，如果是60及70年代，這是不可能的。因為60及70年代中國正在文化大革命，在那種不愛爸爸不愛媽媽大家都住人民公社破四舊的環境下，誰敢偷土回去做壺？還要用私窯燒？這樣說好了，當時的中國環境就像現在的「北韓」，請問現在的北韓人民有可能從公家偷東西回家，然後建一個窯自己燒，然後都沒有人發現？然後還有人買？（那時期是用糧票的）這樣想大家答案就清楚了。
2.廠外壺從何時開始？
二廠的設立是1980年，三廠及四廠也都是在80年代設立，所以所有的廠外壺其實大約也都是自80年代之後才開始有的。而最早進入宜興的台灣人也是大約始於1980年代，台灣人的訂製的仿壺高峰期則是1990年代，當年仿的對像主要是60及70年代及名家壺為最多。所以若是當年（1990年代）買到訂製壺，現在也有二、三十年了，故不代表二、三十年前買的壺就一定對哦，還是要看土、工、型、款、窯等特徵。
3.廠外就一定是爛壺或化工壺嗎？
當然也不是，二廠是由徐秀棠及徐漢棠兄弟所領軍，故好作品當然也是有，只是比例問題。不過平均而言，二廠的用土及作工確實不如一廠是事實。至於三廠及其它小廠，一樣也是偶有佳作出現，故應該就壺論壺。只要以合理的價格買到正確的東西其實是沒有問題的。
最令人擔心的，不是二廠或三廠，而是90年代之後許多亂七八糟的不知名廠及私人工作室，許多化料壺及仿古朱泥壺都是在這時期出現，有些也開價不斐，大家還是要學會分辨。
最後，小弟要補充一下，使用與收藏可以是一件事，也可以是兩件事，如果之前有買到廠外壺，如果是單純使用，只要不是化工壺，土胎沒有異味，泡起來順手，就是可以用的好壺，請繼續愛它。
如果是要收藏，當然功課就要作多一點，量力而為，但綠標期的有就好了，有能力可以考慮向上一點，因為早期壺的精品是在60及70，那會比較有收藏價值，給大家作參考。
1. Are there "Non-Factory 1" Pots in the 60s or Seventies?
Many collectors may have come across such stories --> , i.e. this pot was made from clay that was secretly smuggled out from the factory and made by the craftsman at his own home, that is why the shape is different but the clay is the same!
but the truth is, in the 60s and 70s, such things are not possible. that is because of the cultural revolution during this period, where no one talks about parental love, where everyone lives in run down environments that are in shambles, who would dare to steal clay to make pots and even run a private kiln? china back then was like north korea, do you think any north korean would dare to steal something from his factory to be brought home, and then build himself a kiln at home to fire pots without anyone else discovering?!
2) When did "Non Factory 1" Pots start?
Factory 2 was established in 1980s, factory 3, 4 were also established in the 80s. All the "Non F1" pot production generally started around the 80s. The earliest entry of Taiwanese people into Yixing was also in the 80s, the peak of Taiwanese "ordered" pot replicas was in the 90s, where many pots from the 60s, 70s and many Ming Jia were replicated. So if you had bought pots in the 90s, right now it should be over twenty to almost 30 years old, however this age does not mean the pot is "right". One still needs to look at clay, workmanship, shape, seal, firing and other special marks.
3) Does it mean that Non F1 pots are rubbish or are "chemical pots"?
of course not. Factory 2 was under the Xu brothers, there are also good products, the only thing is the fraction or amount of the total produce that is good. In actual fact, most of the time the clays used by F2 were not as good as F1. The same goes for other factories but occasionally there are excellent products that appear, but not in consistent nor large quantities. As such it wouldnt be fair to immediately generalize that all non f1 pots are "rubbish". As long as one pays a fair price to an authentic product to what it is valued, there is no problems at all!
The most worrisome are not the pots from F2,nor 3 etc, but those from the 90s era, where all sorts of strange factories, private workshops, using all sorts of chemical materials and replicating old zhuni pots. some of the prices of these pots are highly inflated, and one needs to learn how to screen/filter these pots out.
Lastly, both practical usage and collection can be combined, or to be treated as two separate matters. if one had bought some non F1 pots, just for usage it can be fine, as long as it is not chemical colored clays, no strange clay smells, good for brewing processes, that falls into the category of a good and useful pot, please continue to shower it with love.
But if you want to be a collector, then you have to do a lot more homework, to the best of your abilities, but even then, having green label pots are good enough already, if one has more financial capabilities, one can consider to pursue higher and older goods, because the best of the early generation pots were made in the 60s and 70s, and they hold better collection value.
The no.10 introduction of early teapots: Q&A about "Non-factory 1 pots"
1.60及70有廠外壺嗎？
許多壺友也許會聽到這樣的故事，這把壺是當年陶工偷偷把廠內的土拿出來在家自己做的（私窯），所以壺的外型雖然不一樣，但土是一樣的。事實上，如果是60及70年代，這是不可能的。因為60及70年代中國正在文化大革命，在那種不愛爸爸不愛媽媽大家都住人民公社破四舊的環境下，誰敢偷土回去做壺？還要用私窯燒？這樣說好了，當時的中國環境就像現在的「北韓」，請問現在的北韓人民有可能從公家偷東西回家，然後建一個窯自己燒，然後都沒有人發現？然後還有人買？（那時期是用糧票的）這樣想大家答案就清楚了。
2.廠外壺從何時開始？
二廠的設立是1980年，三廠及四廠也都是在80年代設立，所以所有的廠外壺其實大約也都是自80年代之後才開始有的。而最早進入宜興的台灣人也是大約始於1980年代，台灣人的訂製的仿壺高峰期則是1990年代，當年仿的對像主要是60及70年代及名家壺為最多。所以若是當年（1990年代）買到訂製壺，現在也有二、三十年了，故不代表二、三十年前買的壺就一定對哦，還是要看土、工、型、款、窯等特徵。
3.廠外就一定是爛壺或化工壺嗎？
當然也不是，二廠是由徐秀棠及徐漢棠兄弟所領軍，故好作品當然也是有，只是比例問題。不過平均而言，二廠的用土及作工確實不如一廠是事實。至於三廠及其它小廠，一樣也是偶有佳作出現，故應該就壺論壺。只要以合理的價格買到正確的東西其實是沒有問題的。
最令人擔心的，不是二廠或三廠，而是90年代之後許多亂七八糟的不知名廠及私人工作室，許多化料壺及仿古朱泥壺都是在這時期出現，有些也開價不斐，大家還是要學會分辨。
最後，小弟要補充一下，使用與收藏可以是一件事，也可以是兩件事，如果之前有買到廠外壺，如果是單純使用，只要不是化工壺，土胎沒有異味，泡起來順手，就是可以用的好壺，請繼續愛它。
如果是要收藏，當然功課就要作多一點，量力而為，但綠標期的有就好了，有能力可以考慮向上一點，因為早期壺的精品是在60及70，那會比較有收藏價值，給大家作參考。
1. Are there "Non-Factory 1" Pots in the 60s or Seventies?
Many collectors may have come across such stories --> , i.e. this pot was made from clay that was secretly smuggled out from the factory and made by the craftsman at his own home, that is why the shape is different but the clay is the same!
but the truth is, in the 60s and 70s, such things are not possible. that is because of the cultural revolution during this period, where no one talks about parental love, where everyone lives in run down environments that are in shambles, who would dare to steal clay to make pots and even run a private kiln? china back then was like north korea, do you think any north korean would dare to steal something from his factory to be brought home, and then build himself a kiln at home to fire pots without anyone else discovering?!
2) When did "Non Factory 1" Pots start?
Factory 2 was established in 1980s, factory 3, 4 were also established in the 80s. All the "Non F1" pot production generally started around the 80s. The earliest entry of Taiwanese people into Yixing was also in the 80s, the peak of Taiwanese "ordered" pot replicas was in the 90s, where many pots from the 60s, 70s and many Ming Jia were replicated. So if you had bought pots in the 90s, right now it should be over twenty to almost 30 years old, however this age does not mean the pot is "right". One still needs to look at clay, workmanship, shape, seal, firing and other special marks.
3) Does it mean that Non F1 pots are rubbish or are "chemical pots"?
of course not. Factory 2 was under the Xu brothers, there are also good products, the only thing is the fraction or amount of the total produce that is good. In actual fact, most of the time the clays used by F2 were not as good as F1. The same goes for other factories but occasionally there are excellent products that appear, but not in consistent nor large quantities. As such it wouldnt be fair to immediately generalize that all non f1 pots are "rubbish". As long as one pays a fair price to an authentic product to what it is valued, there is no problems at all!
The most worrisome are not the pots from F2,nor 3 etc, but those from the 90s era, where all sorts of strange factories, private workshops, using all sorts of chemical materials and replicating old zhuni pots. some of the prices of these pots are highly inflated, and one needs to learn how to screen/filter these pots out.
Lastly, both practical usage and collection can be combined, or to be treated as two separate matters. if one had bought some non F1 pots, just for usage it can be fine, as long as it is not chemical colored clays, no strange clay smells, good for brewing processes, that falls into the category of a good and useful pot, please continue to shower it with love.
But if you want to be a collector, then you have to do a lot more homework, to the best of your abilities, but even then, having green label pots are good enough already, if one has more financial capabilities, one can consider to pursue higher and older goods, because the best of the early generation pots were made in the 60s and 70s, and they hold better collection value.
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Re: Translated Articles from Early Teapots Volume 2 早期壶事典-貳
The material you translated is incredible, thanks again for all your time spent on it, KZ!
Re: Translated Articles from Early Teapots Volume 2 早期壶事典-貳
Chapter 4 The appreciation and original names of “Five Shape Pots”(五形壺)
（Draft version. Any comments, including English translation are welcome.)
(Please match this article with the content of P.190 to 193 of the book to read.)
----
1）The original names of “Five Shape Pots”
Amongst the early teapots, The Five Shape Pots are widespread and well loved, so collectors found enjoyment in collecting these pieces. “The Five Shape pots” term was coined in the 1970s, as early teapots started to enter the Taiwanese market. The names were given by the pioneering collectors of early teapots based on their external shape appearance or characteristics, e.g. the commonly known “Ba Le” shape (picture 1) which refers to guava in translation, the “Rou Bing” (picture 2) which is loosely translated as meat cake, “Shen Deng” (picture 3), which means Magical Lamp, “Xi Shi” (picture 4), named after a famous Chinese Beauty, and “Tai Jian”, (picture 5), the Eunuch.
These are generally “localized” names in Taiwan, based on the naming preferences of the pioneering collectors of early tea pots in Taiwan by using their experiences and knowledge. When Five Shape Pots were produced at F1, there were specific names that were given by F1 for these pots, and the names were stamped inside of the lid in the early 60s. There are also exotic shapes such as Bian Yuan, Lizi (pear), etc. which were named much more later. There are some collectors that say that there weren’t any Five Shape Pots in the 60s, and producing started only in the 70s, these collectors may don’t know pots history well.
In fact, Five Shape Pots with lids which have names stamped inside appeared only in the 60s, and after years the names were no longer stamped. This is similar to the Number of Cups stamped inside of the pot lid, a mark of the standardization process during F1’s establishment. The names that were standardized then, included Xian Piao (pic 6), Bian Xia (pic 7), Tang Po (pic
, Bian Pu (pic 9), these four in the 1960s, and the fifth pot that the Taiwanese refer to Tai Jian, in author observation, there aren’t any 1960s specimen seen yet, and based on some evidences, it could be that shape was made by F1 from the 70s.
The Five Shape Pots in the early days, apart from having the characteristics that should be present from pots of that era, e.g. clay material, workmanship etc., as to shape, the shapes were representative of shapes that were commonly seen in Early ROC, so if you are interested in better understanding shuiping pots and how it evolved, The Five Shape Pots are very worthy to be studied.
2) The historical background of production
If you want to better understand the background of production The Five Shape Pots, you need to look into the historical background of F1 during its establishment. Chinese Purple Clay arts progress can be divided into several important periods. Although may be said that Purple Clay was used all the way back to the Song Dynasty, bulk of Purple Clay was used for making personal art items was after the 16th century (Ming Dynasty Zheng De year). The 17th and 18th Century, Qing Dynasty Kang Xi to Qian Long Era, Purple Clay usage became popular and mature, all sorts of Pots, flower pots, vessels, carvings etc., all were very refined, delicate and unique shapes etc. Those are well received and collected by people both from China and overseas.
Around the 18th to 19th Centuries, during the Qing Jia Qing era, large amounts of Yixing wares were exported to Europe, Japan and other South-East Asian countries, based on the requirements and needs of the various countries in shape, material, carving, etc. This sort of production style/system persisted till early ROC, whether the vessel shape, workmanship, clay, etc., they became important collectibles all over the world.
According to Jiang Su Shen Zhi (Jiangsu province records) and Clay Ceramic Arts records from 1932, there were roughtly over 600 artisans in Yixing making purple clay wares, with the annual export numbers above 2 million pieces. This became a peak sales of yixing production. During the Sino-Japan war, because of the Jiang Su was occupied by the Japanese army, many workshops and dragon kilns were destroyed, many artisans fled and were all scattered. Yixing Purple clay production was ceased, as a result is hiatus in production and designs during this period.
From 1949, when the Peoples Republic of China was established, there weren’t many purple clay artisans left. In the 1950s, the Central Government started to help restoring Yixing production, gathering all the dispersed artisans, on one hand, starting to begin production and to train disciples, and on the other hand, to restore exports, and to develop methods to heighten productivity. During the Great Leap Forward in 1958, the number of Yixing Purple clay workers increased to approximately 2000 people, more than 10 times in comparison to the era before this.
Apart from the increase in purple clay workers number, in the mid-50s, in order to increasing productivity, plaster moulds were used to produce standardized shuiping pots. At the same time started researching other methods of making e.g. using spin machine, slip casting, etc. From the 1960s, the down-draft kiln replaced the traditional dragon kiln in firing, this solved the problem of the insufficiency of wood to feed the dragon kiln, bearing the hope of increasing productivity and quality. During the same era, in order to increase the types of pots available and also to increase sales numbers, apart from using regular shapes that the artisans had been used to making in Early ROC, there were a variety of different, but plain simple pot shape designs, e.g. Gao Tang Po, Half Sided Egg (ban bian luan), Beautiful woman’s shoulder (mei ren Jian), etc., and several of the designs that we see within the Five Shape Pot series.
3) The Five Shape Pots Appreciation
The Five shape pots correct production era is in the 1960s, based on the clay material, base seals etc., and production continued to the 70s, 80s in many batches. So when collectors want to collect The Five Shape Pots, they need to distinguish different eras. Fortunately that The Five Shape Pots belong to the classification of early teapots, and the eras can be distinguished as per the principle described in chapter 1(chaos in early teapots), e.g. the historical background of an era, affects the teapot characteristics and workmanship. In this chapter, we would like to discuss the 1960s batch of Five Shape Pots, and I’ll highlight the unique characteristics of pots from this era.
Firstly, the clay material and post firing, the 1960s type of material in early teapots is one of the most difficult to forge. There are two reasons of this, one of them is that during the war, Yixing wares production ceased for years, and the clay material could erode and aged for long periods of times were used by Factory #1 post establishment in 1958, Secondly, the firing method have been changed from dragon kiln to down-draft kiln, pots fired this way against 1970s push slab kilns, the fired appearance/characteristics is very different and it is hard to replicated in modern electrical kilns.
On the appearance, the 1960s clay material is very warm, moist and smooth, with very fine sandy texture, before usage most pots tend to have an outer appearance of a flat shine/reflection that is rather light. In the 1970s, the redness of the pots was more intense and the color has a little different from the 60s. You can observe it material appearance in the Eunuch Pot (from 1970s) with other pots from the 1960s
Back to workmanship, in the 1960s the first batches of The Five Shape Pots, as compared to the later ones, could be considered as rather experimental. There was strong emphasis on increasing productivity. After the government helped the purple clay industry recover and resume production, in order to increase productivity and quality, in the mid-50s slip casting was attempted with using of plaster molds. From the pots Tang Po, Bian Pu, Bian Xian, etc., under finer observations you will observe the slip casting marks. It says that two master slip casters were invited from Jing De Zhen to help develop this method in Factory #1, but eventually due to difficulty and more tediousness in correcting the pots post-casting, this method was eventually abandoned. In comparing The Five Shape Pots from the 60s and 70s, you will realize differences in shape, different usage of plaster molds and the various mold joint lines, this suggest that Factor #1 is constantly innovating and modifying designs.
Back to the base seals of pots from the early 1960s, The Five Shape Pots from this period should be the 6 character seals, including Big Xi (picture 10, the base seal of tang po), Small Xi (picture 11, bianpu’s base seal), Jing Xi Hui Meng Chen, Jing Xi Nan Meng Chen (picture 12 Xian piao base seal), Yixing Hui Meng Chen, etc., have appeared before. Inside of the lids, apart from the names Xian Piao, Bian Xia, Tang Po, Bian Pu, as well noted it in the Xian Piao series, the lids were also stamped with 6 cups and the number of cups seal, as a result there are 2 seals inside the lid. This cup size seal was only occurred in the Xian Piao, and had never been stamped in the other shapes. In the 70s Zhong Guo Yixing base seals was generally used (see picture 13, Taijian pot’s base seal).
4) Conclusion
As to the Five Shape pots from the 60s, the shape which has the biggest volume is the Xian Piao (Ba Le), then Bian Xia (Rou Bian), Tang Po (Shen Deng), and after that the Bian Pu(Xi Shi). 60s Tai Jian pot have never seen before. Based on the authors opinion, from the years of study and collecting, early teapots aren’t difficult for understanding, should look upon more, compare more, touch more, one of the largest obstacles is prejudice or fear of buying a replica. Actually when we carefully prep the pot, it will “talk” to you. All that is left to do is listening. Look up more, touch more, use more, and you’ll know eventually. As regards to early teapots good or not peoples opinion is at variance, but pots that are authentic should always be authentic, and pots that are fake, are forever fake. The authenticity should not depends on someone’s proclaim, it should be capable to identify by everyone.
---
（Draft version. Any comments, including English translation are welcome.)
(Please match this article with the content of P.190 to 193 of the book to read.)
----
1）The original names of “Five Shape Pots”
Amongst the early teapots, The Five Shape Pots are widespread and well loved, so collectors found enjoyment in collecting these pieces. “The Five Shape pots” term was coined in the 1970s, as early teapots started to enter the Taiwanese market. The names were given by the pioneering collectors of early teapots based on their external shape appearance or characteristics, e.g. the commonly known “Ba Le” shape (picture 1) which refers to guava in translation, the “Rou Bing” (picture 2) which is loosely translated as meat cake, “Shen Deng” (picture 3), which means Magical Lamp, “Xi Shi” (picture 4), named after a famous Chinese Beauty, and “Tai Jian”, (picture 5), the Eunuch.
These are generally “localized” names in Taiwan, based on the naming preferences of the pioneering collectors of early tea pots in Taiwan by using their experiences and knowledge. When Five Shape Pots were produced at F1, there were specific names that were given by F1 for these pots, and the names were stamped inside of the lid in the early 60s. There are also exotic shapes such as Bian Yuan, Lizi (pear), etc. which were named much more later. There are some collectors that say that there weren’t any Five Shape Pots in the 60s, and producing started only in the 70s, these collectors may don’t know pots history well.
In fact, Five Shape Pots with lids which have names stamped inside appeared only in the 60s, and after years the names were no longer stamped. This is similar to the Number of Cups stamped inside of the pot lid, a mark of the standardization process during F1’s establishment. The names that were standardized then, included Xian Piao (pic 6), Bian Xia (pic 7), Tang Po (pic
, Bian Pu (pic 9), these four in the 1960s, and the fifth pot that the Taiwanese refer to Tai Jian, in author observation, there aren’t any 1960s specimen seen yet, and based on some evidences, it could be that shape was made by F1 from the 70s.The Five Shape Pots in the early days, apart from having the characteristics that should be present from pots of that era, e.g. clay material, workmanship etc., as to shape, the shapes were representative of shapes that were commonly seen in Early ROC, so if you are interested in better understanding shuiping pots and how it evolved, The Five Shape Pots are very worthy to be studied.
2) The historical background of production
If you want to better understand the background of production The Five Shape Pots, you need to look into the historical background of F1 during its establishment. Chinese Purple Clay arts progress can be divided into several important periods. Although may be said that Purple Clay was used all the way back to the Song Dynasty, bulk of Purple Clay was used for making personal art items was after the 16th century (Ming Dynasty Zheng De year). The 17th and 18th Century, Qing Dynasty Kang Xi to Qian Long Era, Purple Clay usage became popular and mature, all sorts of Pots, flower pots, vessels, carvings etc., all were very refined, delicate and unique shapes etc. Those are well received and collected by people both from China and overseas.
Around the 18th to 19th Centuries, during the Qing Jia Qing era, large amounts of Yixing wares were exported to Europe, Japan and other South-East Asian countries, based on the requirements and needs of the various countries in shape, material, carving, etc. This sort of production style/system persisted till early ROC, whether the vessel shape, workmanship, clay, etc., they became important collectibles all over the world.
According to Jiang Su Shen Zhi (Jiangsu province records) and Clay Ceramic Arts records from 1932, there were roughtly over 600 artisans in Yixing making purple clay wares, with the annual export numbers above 2 million pieces. This became a peak sales of yixing production. During the Sino-Japan war, because of the Jiang Su was occupied by the Japanese army, many workshops and dragon kilns were destroyed, many artisans fled and were all scattered. Yixing Purple clay production was ceased, as a result is hiatus in production and designs during this period.
From 1949, when the Peoples Republic of China was established, there weren’t many purple clay artisans left. In the 1950s, the Central Government started to help restoring Yixing production, gathering all the dispersed artisans, on one hand, starting to begin production and to train disciples, and on the other hand, to restore exports, and to develop methods to heighten productivity. During the Great Leap Forward in 1958, the number of Yixing Purple clay workers increased to approximately 2000 people, more than 10 times in comparison to the era before this.
Apart from the increase in purple clay workers number, in the mid-50s, in order to increasing productivity, plaster moulds were used to produce standardized shuiping pots. At the same time started researching other methods of making e.g. using spin machine, slip casting, etc. From the 1960s, the down-draft kiln replaced the traditional dragon kiln in firing, this solved the problem of the insufficiency of wood to feed the dragon kiln, bearing the hope of increasing productivity and quality. During the same era, in order to increase the types of pots available and also to increase sales numbers, apart from using regular shapes that the artisans had been used to making in Early ROC, there were a variety of different, but plain simple pot shape designs, e.g. Gao Tang Po, Half Sided Egg (ban bian luan), Beautiful woman’s shoulder (mei ren Jian), etc., and several of the designs that we see within the Five Shape Pot series.
3) The Five Shape Pots Appreciation
The Five shape pots correct production era is in the 1960s, based on the clay material, base seals etc., and production continued to the 70s, 80s in many batches. So when collectors want to collect The Five Shape Pots, they need to distinguish different eras. Fortunately that The Five Shape Pots belong to the classification of early teapots, and the eras can be distinguished as per the principle described in chapter 1(chaos in early teapots), e.g. the historical background of an era, affects the teapot characteristics and workmanship. In this chapter, we would like to discuss the 1960s batch of Five Shape Pots, and I’ll highlight the unique characteristics of pots from this era.
Firstly, the clay material and post firing, the 1960s type of material in early teapots is one of the most difficult to forge. There are two reasons of this, one of them is that during the war, Yixing wares production ceased for years, and the clay material could erode and aged for long periods of times were used by Factory #1 post establishment in 1958, Secondly, the firing method have been changed from dragon kiln to down-draft kiln, pots fired this way against 1970s push slab kilns, the fired appearance/characteristics is very different and it is hard to replicated in modern electrical kilns.
On the appearance, the 1960s clay material is very warm, moist and smooth, with very fine sandy texture, before usage most pots tend to have an outer appearance of a flat shine/reflection that is rather light. In the 1970s, the redness of the pots was more intense and the color has a little different from the 60s. You can observe it material appearance in the Eunuch Pot (from 1970s) with other pots from the 1960s
Back to workmanship, in the 1960s the first batches of The Five Shape Pots, as compared to the later ones, could be considered as rather experimental. There was strong emphasis on increasing productivity. After the government helped the purple clay industry recover and resume production, in order to increase productivity and quality, in the mid-50s slip casting was attempted with using of plaster molds. From the pots Tang Po, Bian Pu, Bian Xian, etc., under finer observations you will observe the slip casting marks. It says that two master slip casters were invited from Jing De Zhen to help develop this method in Factory #1, but eventually due to difficulty and more tediousness in correcting the pots post-casting, this method was eventually abandoned. In comparing The Five Shape Pots from the 60s and 70s, you will realize differences in shape, different usage of plaster molds and the various mold joint lines, this suggest that Factor #1 is constantly innovating and modifying designs.
Back to the base seals of pots from the early 1960s, The Five Shape Pots from this period should be the 6 character seals, including Big Xi (picture 10, the base seal of tang po), Small Xi (picture 11, bianpu’s base seal), Jing Xi Hui Meng Chen, Jing Xi Nan Meng Chen (picture 12 Xian piao base seal), Yixing Hui Meng Chen, etc., have appeared before. Inside of the lids, apart from the names Xian Piao, Bian Xia, Tang Po, Bian Pu, as well noted it in the Xian Piao series, the lids were also stamped with 6 cups and the number of cups seal, as a result there are 2 seals inside the lid. This cup size seal was only occurred in the Xian Piao, and had never been stamped in the other shapes. In the 70s Zhong Guo Yixing base seals was generally used (see picture 13, Taijian pot’s base seal).
4) Conclusion
As to the Five Shape pots from the 60s, the shape which has the biggest volume is the Xian Piao (Ba Le), then Bian Xia (Rou Bian), Tang Po (Shen Deng), and after that the Bian Pu(Xi Shi). 60s Tai Jian pot have never seen before. Based on the authors opinion, from the years of study and collecting, early teapots aren’t difficult for understanding, should look upon more, compare more, touch more, one of the largest obstacles is prejudice or fear of buying a replica. Actually when we carefully prep the pot, it will “talk” to you. All that is left to do is listening. Look up more, touch more, use more, and you’ll know eventually. As regards to early teapots good or not peoples opinion is at variance, but pots that are authentic should always be authentic, and pots that are fake, are forever fake. The authenticity should not depends on someone’s proclaim, it should be capable to identify by everyone.
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Apr 16th, '17, 01:14
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victoria3
Re: Translated Articles from Early Teapots Volume 2 早期壶事典-貳
+++ Lots to review. TXsteanze wrote:Thanks KZ!!
Apr 16th, '17, 08:15
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