Chapter 5
独妙
Unique Excellence
226
of 659

English Translation
The "Double-Line Bamboo Drum Teapot" takes bamboo as its subject matter, with restrained dynamic movement, rhythmic cadence, and dignified elegance. The bamboo leaves are simple yet refined, upright and composed. During production, first beat out the base clay sheet and shape it into form, then prepare the clay coils and other materials. After the body cylinder is assembled, first attach the false bottom, then the main bottom, followed by cleaning the false bottom and the main bottom. Next, use the diligent tool to refine the main bottom to specification. Once the main bottom is properly shaped, attach the line strips and promptly clean the lines, after which the false bottom line strips can be opened. After the body cylinder is completed, install the spout and handle—install the handle at the seam point where the body cylinder joins, and install the spout on the symmetrical opposite side. When the clay reaches the appropriate dryness and moisture level, roll out the branch stems, then use a pointed knife to apply decorative leaf appliqués to the teapot body. Regarding this, Gu Jingzhou had his own unique perspective:
> (Flower ware) draws its forms from nature, but must never be rigidly copied. Rather, it must be refined and artistically processed, not completely replicated. Tree stumps and bamboo nodes can be many or few, but there is one standard: they must possess strong expressive power.
>
> The growth pattern of bamboo is five leaves to one shoot, because when a new shoot emerges, the sixth leaf naturally falls away. In painting techniques as well, there is only the principle of five leaves. Applying bamboo leaves and bamboo nodes requires specialized tools—generally one needs a knife for applying bamboo leaves and a bamboo-made tooth tool. The pointed knife applies the bamboo leaves, the tooth tool rolls the bamboo stems, curls the leaf corners, and presses in the bamboo nodes.[1]
---
[1] Gu Jingzhou's lecture, organized and recorded by Xu Chiping: *Technical Course Preparation Notes*, see Appendix 2 of this book, "Lesson Sixteen."
Chapter 5
独妙
Unique Excellence
Pages 142-405
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English Translation
The "Double-Line Bamboo Drum Teapot" takes bamboo as its subject matter, with restrained dynamic movement, rhythmic cadence, and dignified elegance. The bamboo leaves are simple yet refined, upright and composed. During production, first beat out the base clay sheet and shape it into form, then prepare the clay coils and other materials. After the body cylinder is assembled, first attach the false bottom, then the main bottom, followed by cleaning the false bottom and the main bottom. Next, use the diligent tool to refine the main bottom to specification. Once the main bottom is properly shaped, attach the line strips and promptly clean the lines, after which the false bottom line strips can be opened. After the body cylinder is completed, install the spout and handle—install the handle at the seam point where the body cylinder joins, and install the spout on the symmetrical opposite side. When the clay reaches the appropriate dryness and moisture level, roll out the branch stems, then use a pointed knife to apply decorative leaf appliqués to the teapot body. Regarding this, Gu Jingzhou had his own unique perspective:
> (Flower ware) draws its forms from nature, but must never be rigidly copied. Rather, it must be refined and artistically processed, not completely replicated. Tree stumps and bamboo nodes can be many or few, but there is one standard: they must possess strong expressive power.
>
> The growth pattern of bamboo is five leaves to one shoot, because when a new shoot emerges, the sixth leaf naturally falls away. In painting techniques as well, there is only the principle of five leaves. Applying bamboo leaves and bamboo nodes requires specialized tools—generally one needs a knife for applying bamboo leaves and a bamboo-made tooth tool. The pointed knife applies the bamboo leaves, the tooth tool rolls the bamboo stems, curls the leaf corners, and presses in the bamboo nodes.[1]
---
[1] Gu Jingzhou's lecture, organized and recorded by Xu Chiping: *Technical Course Preparation Notes*, see Appendix 2 of this book, "Lesson Sixteen."
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