底的几种式样及术语名称

[Page 563] # Lesson Six, December 26, 1981 The previous lesson covered the lid; this lesson covers the base. Several types of bases and their technical terminology: **Figure 1: Flat Base** - This is the most commonly seen type of base. On this flat base, a thin clay slab is typically added on top, which we call a false bottom (ceramic terminology: added bottom). **Figure 2: Recessed Base** - A recessed base refers to a base where the center is sunken inward (as in the "Xu Zang Tiliang," "Persimmon," and "Eggplant Segment" styles). **Figure 3: Bare Base** - As the name suggests, this is a bare base without an added false bottom. As shown in Figure 4, it can also be called a flat base because it is level and flat, or it can be called a bare base because no false bottom is added. The bare base in Figure 3 is a relatively typical raised base. Additionally, there is another type called the double-layer base. The double-layer base is generally used when making square-shaped teapots. The so-called double... [Note: The text appears to be incomplete at the end] [Page 564] # Bottom Installation Techniques The bottom is made by first cutting a false bottom and a bottom piece together, then attaching them inside the clay coil, maintaining the "small square bell" level. As already explained in the second lesson, I emphasize again: when attaching the bottom piece, you must place it inside the clay coil. The clay coil around the bottom piece must be uniform. Never confuse the clay coil with the bottom piece or use the bottom piece as a clay coil—keep them clearly distinguished. When attaching the bottom piece, whether it's a flat bottom, single-layer bottom, or bare bottom, the smooth side must face upward. ## (II) Precautions for Single-Layer Bottom: After the lower section (lower half) of the body cylinder is completed, you simply need to attach a bottom piece of the correct size. When attaching a single-layer bottom, the bottom piece should be attached as soon as it's ready. After attaching the bottom piece, gently tap the top with a paddle. At this point, due to the force applied at the top, the edge of the bottom piece will expand slightly outward. Immediately use a fish-tail knife to trim around the expanded area, then use the hand-bottom tool to work the bottom center. At this time, the edge of the bottom will expand again. Use the paddle to tap it flat and trim it. Through this repeated application of force, the bottom piece becomes quite solid and won't collapse when turned over. ## (III) Precautions for Double-Layer Bottom: Double-layer bottoms are generally used for square-shaped wares. When attaching the bottom to square wares, to prevent the rim from detaching, the general practice is to attach the rim first and scrape away excess clay. When attaching a double-layer bottom, don't press the bottom piece under the clay coil—the bottom should be slightly higher than the clay coil and should meet the clay coil at the corners. This ensures a tight attachment. As soon as the bottom is attached, you must work quickly to tap the corners properly. Don't wait until it hardens, because once it hardens, it becomes difficult to work with. ## (IV) False Bottom and Top Section: A false bottom refers to a clay piece added onto the bottom piece. The treatment of false bottoms can be broadly categorized into two types: attaching the false bottom and trimming the false bottom. Attaching false bottoms can be further divided into visible and concealed types. The top section refers to the clay piece added on top of the rim. We generally call the upper part of a teapot the "top section" and the lower part the "false bottom." The false bottom serves two purposes: First, it's a structural necessity in the craftsmanship—it bridges the gap between the clay coil and the bottom joint; it's an essential technical measure to avoid unnecessary damage (especially to semi-finished products). Second, it enriches the form of the vessel. (According to the unified terminology of the national ceramics industry: the top section is called the "flared rim," and the false bottom is called the "foot ring.") --- [Note: The final line appears to be a header or title fragment that may be part of a larger document structure] [Page 565] # Lid Types When discussing lids, we naturally think of the mouth of the teapot, as the common saying goes "mouth and lid." Lids can be broadly divided into three major categories: 1.压盖 (Ya Gai/Pressing Lid); 2. 嵌盖 (Qian Gai/Inset Lid); 3. 截盖 (Jie Gai/Cut Lid). ## 1. 压盖 (Ya Gai/Pressing Lid) A lid that presses down on the mouth is called a 压盖 (as shown in Figures 1 and 2, called 线压盖/Line Pressing Lid). The "Han Ping Hu" uses a 明压盖 (Ming Ya Gai/Plain Pressing Lid), while the "Coffee Mold" uses a 线压盖 (Xian Ya Gai/Line Pressing Lid). **Operating precautions:** Plain pressing lids, especially square lid plates and large lid plates, must be thrown and dried together. Square lid plates must be made perfectly straight. ## 2. 嵌盖 (Qian Gai/Inset Lid) A lid that is inset inside the mouth is called an 嵌盖 (as shown in Figure 3). Inset lids include 平嵌盖 (Ping Qian Gai/Flat Inset Lid) and 虚嵌盖 (Xu Qian Gai/Hollow Inset Lid). A flat inset lid requires the lid plate surface to be equally flat, with the lid fitting inside neither too tight nor too loose, and rotating smoothly. "Ji Yu" uses a flat inset lid, while "Si Fang Zhu Gu" (Square Bamboo Drum) uses a hollow inset lid. Additionally, "Ba Fang Guo" and "Yin Gong" use ball-mouth inset lids. **Operating precautions:** For flat inset lids, use the extracted body core or line core as the base piece. The two sides of the lid plate cannot rely on rolling but must rely on trimming—just chamfer the edge slightly. For hollow inset lids, the lid must be made to fit onto the body, and the hollow piece must be firmly attached. ## 3. 截盖 (Jie Gai/Cut Lid) The arc line of the mouth and lid form a unified whole, as if the lid were a section cut from an integral piece (as shown in Figures 4 and 5). Examples include "He Jun De" and "Duan Zui Li Shi Guo" (Short-Spout Pear-Style Teapot), which use cut lids. **Operating precautions:** When making cut lids, ensure the lid and mouth form a unified whole. The edges and corners of the mouth should be crisp and clean, and sharp angles on the lid edge should be removed. [Page 566] # Lines In this lesson, regarding current practical problems, I'll discuss several points about line treatment and tool requirements: **Figure 1:** The tool for refining cloud-shoulder lines must not be used together with the large rib tool. Only one tool at a time. You must use separate tools for refining lines and for the large rib work. Cloud-shoulder lines should have the character of cloud-shoulder lines, not just carving out a groove. **Figure 2:** The corner below the lid line should not be refined all together with the flange. **Figure 3:** The two lines where the lid meets the body must be smooth and rounded, and where the two lines intersect they must fit together properly. Figure 3 does not meet requirements—it's not rounded. What's the reason? Mainly it's still a tool problem. Nowadays some people refine the lid flange and lid together, which cannot produce the desired effect, and the lid edge will not be smooth and rounded. **Figure 4:** For the lid-body junction of a square lid plate, the diagram on the left is incorrect—it's not straight. It should be as shown in the diagram on the right. **Figure 5:** The corners at the lid junction must be handled well, achieving both aesthetic appeal and resistance to damage.