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时大彬

Shi Dabin

Ming Dynasty

Biography

Shi Dabin (时大彬) was one of the most celebrated Yixing teapot masters of the Ming Dynasty, active during the Wanli period (1573-1620). He was the son of Shi Peng, who was himself a student of the legendary Gong Chun, placing Shi Dabin in a direct lineage of master craftsmen. Shi Dabin revolutionized teapot design by shifting from larger vessels to smaller, more refined pots that were better suited to the Ming Dynasty's evolving tea culture, which favored individual brewing and appreciation.

His technical mastery was extraordinary, particularly in his ability to create perfectly balanced forms and his innovative use of clay manipulation techniques. Shi Dabin was known for his meticulous attention to proportion and his ability to create teapots that were both functional and aesthetically refined. His work set new standards for Yixing pottery and established design principles that influenced generations of potters. He is often regarded as the artisan who elevated Yixing teapots from utilitarian objects to works of art worthy of scholarly appreciation.

Shi Dabin's legacy is immense in the world of Yixing pottery. His name became synonymous with excellence, and his works were highly prized by literati and collectors during his lifetime and beyond. Many later potters studied his techniques and sought to emulate his style, making him one of the most influential figures in the history of Chinese teapot making. His contributions helped establish Yixing as the preeminent center for teapot production in China.

Influences

Son of Shi Peng; grandson (in lineage) of Gong Chun's tradition; influenced generations of subsequent Yixing potters

Legacy

Elevated Yixing teapots from utilitarian objects to art forms; established design principles and standards that influenced generations; helped establish Yixing as the preeminent center for teapot production in China

Mentioned in the Book

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和部下泪 沙 | 五百年间 , 紫砂艺人中代有高手 ,“擅空群之目", 于精竭虚 ,上追三 代之器以“标大雅之遗”者不乏其人 。 他们正是世界上最早觉醒的工匠 , 通过工艺表达 、追求 ,彰显人的才华、个性,证明了自己人生的存在价值 , 同时也造就了“可以载道之器"。先生顾景舟正是继时大彬 、陈鸣远 、邵大 享之后的又一位不甘“声沉响绝”, 用对“工艺文化的自信”、用紫砂陶为我 们敲响“黄...

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叶荣枝先生在香港中文大学艺术系《香港新亚书院州周年校庆艺刊 》的《紫 泥新品泛春华 ”一一略谈宜兴过的起源 》一文中就提出 , 泥”一词是指建阳之免毫六而非紫砂 。 这 苑十咏 :试茶 》的 一论断我们 稻眼青泉者” 梅尧臣诗中“紫 岂可以从北来蔡吉《北 诗句中得到更清晰的证实 。 精英营郁 代有栋才 自明代开始 , 《阳鲜若壹系 》 最终定稿B 后,是现今存世最早的紫砂 寺僧”、供...

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息缉来小 窒次器定制烧造制的指定式样 ; 乾隆七年 ( 1742 ),清宫直接向宜兴定制紫 砂茶具 。 在盛世经济高度发展的时代大背景之下,康政乾时期的紫砂成器技 法达到了一个历史匣峰,涌现出多位技法高超、名噪一时的大家,其中陈鸣 远便是继时大彬之后又一位承前启后的巨匠 。 陈鸣远 ,“清康如 、尼正间 (1662一1735 ) 人,一说顺治 、康钻间人 。 本名远,号锥峰 、窒地 、石起山人...

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大彬提梁壶〈 时大彬制 ) 得茂提梁壶 ( 邵旭茂制 )