Chapter 4
化神
Spiritual Transformation
138
of 659

English Translation
The "Chuan Lu" teapot features a bulging body with four conical feet at the base. Square yet round, robust and upright, it represents a classic form in Yixing pottery and was particularly favored from the Qing Dynasty through the early Republican period.
This "Chuan Lu" teapot by Gu Jingzhou was crafted in 1934. Based on a square form, it incorporates the graceful characteristics of round vessels. The upper and lower edges and corners of the body were smoothed with a wooden paddle, creating an overall shape that blends square and round elements with natural elegance. The handle is of the upright ear style, firm and powerful. The recessed lid, rim line, and lid plate line all feature rounded square corners that fit tightly together, rotating smoothly in all four directions. The square-round knob coordinates harmoniously with the body. The attached nail feet take an inverted conical shape, wider at the top and narrower at the bottom, adding a sense of lightness to the overall form. The body bears an inscription by the renowned carving master Lan Ruzheng, featuring passages from the Song Dynasty poet Wu Shu's *Tea Rhapsody*. The knife technique is skillfully executed and fluid, further enhancing the teapot's refined elegance.
Chapter 4
化神
Spiritual Transformation
Pages 134-141
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English Translation
The "Chuan Lu" teapot features a bulging body with four conical feet at the base. Square yet round, robust and upright, it represents a classic form in Yixing pottery and was particularly favored from the Qing Dynasty through the early Republican period.
This "Chuan Lu" teapot by Gu Jingzhou was crafted in 1934. Based on a square form, it incorporates the graceful characteristics of round vessels. The upper and lower edges and corners of the body were smoothed with a wooden paddle, creating an overall shape that blends square and round elements with natural elegance. The handle is of the upright ear style, firm and powerful. The recessed lid, rim line, and lid plate line all feature rounded square corners that fit tightly together, rotating smoothly in all four directions. The square-round knob coordinates harmoniously with the body. The attached nail feet take an inverted conical shape, wider at the top and narrower at the bottom, adding a sense of lightness to the overall form. The body bears an inscription by the renowned carving master Lan Ruzheng, featuring passages from the Song Dynasty poet Wu Shu's *Tea Rhapsody*. The knife technique is skillfully executed and fluid, further enhancing the teapot's refined elegance.
章节导航 Chapter Navigation
Chapter 1
序文
Pages 6-6
Chapter 2
引言
Pages 28-31
Chapter 3
达变
Pages 32-133
Chapter 3
开宗立派
Pages 46-66
Chapter 3
传道授业
Pages 67-98
Chapter 3
大师淳友
Pages 99-120
Chapter 3
学艺谋生
Pages 121-133
Chapter 4
化神
Pages 134-141
Chapter 5
独妙
Pages 142-405
Chapter 5
匠心独运 不苟丝毫
Pages 142-179
Chapter 5
器利善事 物尽其用
Pages 180-199
Chapter 5
紫泥春华 研精究微
Pages 200-405
Chapter 6
驾简
Pages 406-427
Chapter 6
精雕细刻 文质合一
Pages 406-410
Chapter 6
师法自然 妙趣横生
Pages 411-415
Chapter 6
丝来线去 曲尽其妙
Pages 416-427
Chapter 7
明志
Pages 463-485
Chapter 7
高山仰止 淡泊明志
Pages 463-472
Chapter 7
啜墨看茶 气定神闲
Pages 473-478
Chapter 7
齿少心锐 怡志抒情
Pages 479-485
Chapter 8
存真
Pages 428-462
Chapter 8
规圆矩方 弃伪存真
Pages 428-436
Chapter 8
有物有则 钻尖仰高
Pages 437-462
Chapter 9
心营
Pages 506-525
Chapter 9
坚守传统 艺立潮头
Pages 506-513
Chapter 9
新型师承 桃李满园
Pages 514-525
Chapter 10
附录
Pages 526-651
Chapter 10
顾景舟紫艺论文
Pages 526-535
Chapter 10
技术课备课笔记
Pages 536-543
Chapter 10
顾景舟艺术年表
Pages 544-651
Chapter 11
参考文献
Pages 652-657
Chapter 12
鸣谢
Pages 658-659