Chapter 5
独妙
Unique Excellence
382
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English Translation
**Dazhi** (搭只): Anciently called "zhui" (椎), this is a tool for beating clay coils and clay slabs. "Using wood with a weighted head to make a zhui, the zhui is used for kneading."[1] The dazhi evolved from everyday pottery forming tools. It has a semi-cylindrical shape with a handle, with the striking surface slightly convex in the center, slightly lower around the edges, and smooth and fine. It is typically made from hardwood.
**Wooden Turntable** (木转盘): Anciently called "junlun" (钧轮), "Clay is too delicate to withstand finger pressure, so wood is used to make a junlun, with a hollow rim on its back, making it easy to rotate the clay left and right."[2] Because zisha clay is soft and pliable in texture, it is not suitable for finger manipulation and must be operated on a base shaped like a half-moon with a hollow rim around the back edge. The wooden turntable is a fundamental tool for fully handmade zisha ware forming. It requires the center to be slightly higher than the edges and uniformly smooth. When beating the body cylinder, trimming the lid plate, and shaping the large form, the turntable has obvious advantages over the wheel. Generally, each person needs to have at least two turntables of different sizes. The wooden turntable allows the maker to naturally rotate the vessel through inertia when beating the body, ensuring the body becomes round and true, and plays a significant role in verifying the integrity of the vessel's lines and surfaces. It is now mostly used in combination with the wheel.
**Lunche** (轮车): An improved form of the wooden turntable, adapted from ceramic wheel-throwing tools. It consists of upper and lower circular plates with a cylinder in between. The internal bearing allows the plate surface to rotate freely. Compared to the wooden turntable, it offers greater stability and is easier to control.
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[1] Zhou Rong (Ming Dynasty), *Record of Yixing Ceramic Teapots*, in Han Qilou (ed.), *Modern Translation of Ancient Zisha Texts* (Beijing: Beijing Publishing House, January 2011), p. 31.
[2] Ibid.
Chapter 5
独妙
Unique Excellence
Pages 142-405
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English Translation
**Dazhi** (搭只): Anciently called "zhui" (椎), this is a tool for beating clay coils and clay slabs. "Using wood with a weighted head to make a zhui, the zhui is used for kneading."[1] The dazhi evolved from everyday pottery forming tools. It has a semi-cylindrical shape with a handle, with the striking surface slightly convex in the center, slightly lower around the edges, and smooth and fine. It is typically made from hardwood.
**Wooden Turntable** (木转盘): Anciently called "junlun" (钧轮), "Clay is too delicate to withstand finger pressure, so wood is used to make a junlun, with a hollow rim on its back, making it easy to rotate the clay left and right."[2] Because zisha clay is soft and pliable in texture, it is not suitable for finger manipulation and must be operated on a base shaped like a half-moon with a hollow rim around the back edge. The wooden turntable is a fundamental tool for fully handmade zisha ware forming. It requires the center to be slightly higher than the edges and uniformly smooth. When beating the body cylinder, trimming the lid plate, and shaping the large form, the turntable has obvious advantages over the wheel. Generally, each person needs to have at least two turntables of different sizes. The wooden turntable allows the maker to naturally rotate the vessel through inertia when beating the body, ensuring the body becomes round and true, and plays a significant role in verifying the integrity of the vessel's lines and surfaces. It is now mostly used in combination with the wheel.
**Lunche** (轮车): An improved form of the wooden turntable, adapted from ceramic wheel-throwing tools. It consists of upper and lower circular plates with a cylinder in between. The internal bearing allows the plate surface to rotate freely. Compared to the wooden turntable, it offers greater stability and is easier to control.
---
[1] Zhou Rong (Ming Dynasty), *Record of Yixing Ceramic Teapots*, in Han Qilou (ed.), *Modern Translation of Ancient Zisha Texts* (Beijing: Beijing Publishing House, January 2011), p. 31.
[2] Ibid.
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