Chapter 8
存真
Preserving Authenticity
442
of 659

English Translation
Gu Jingzhou created several purple clay works in this category, including the "Large Stone Ladle Teapot" (commissioned by Yang Gufang in 1955) and the "Imitation Drum Teapot" (a 1990 collaboration with Fan Zeng).
The "Large Stone Ladle Teapot" was created when Gu Jingzhou was 40 years old. The front of the teapot body is carved with the image "Su Wu Tending Sheep," celebrating Su Wu's unyielding integrity. The calligraphy and painting were done by Ren Huaiting, with carving by Xu Xiutang. The lines are vigorous and powerful, making it a work of exceptional artistic merit that embodies both the spirit of its era and superior craftsmanship.
On the 1990 collaborative "Imitation Drum Teapot" with Fan Zeng, Fan inscribed passages from Tao Yuanming's *Returning Home* as both title and figure painting, with Gu Jingzhou executing the carving. The figures begin with line drawing techniques, demonstrating profound mastery and the calligraphic brushwork skill of weighted, rhythmic strokes with their rises and falls.
> Fan Zeng admiring the Imitation Drum Teapot created in collaboration with Gu Jingzhou
Chapter 8
存真
Preserving Authenticity
Pages 428-462
View Chapter →
English Translation
Gu Jingzhou created several purple clay works in this category, including the "Large Stone Ladle Teapot" (commissioned by Yang Gufang in 1955) and the "Imitation Drum Teapot" (a 1990 collaboration with Fan Zeng).
The "Large Stone Ladle Teapot" was created when Gu Jingzhou was 40 years old. The front of the teapot body is carved with the image "Su Wu Tending Sheep," celebrating Su Wu's unyielding integrity. The calligraphy and painting were done by Ren Huaiting, with carving by Xu Xiutang. The lines are vigorous and powerful, making it a work of exceptional artistic merit that embodies both the spirit of its era and superior craftsmanship.
On the 1990 collaborative "Imitation Drum Teapot" with Fan Zeng, Fan inscribed passages from Tao Yuanming's *Returning Home* as both title and figure painting, with Gu Jingzhou executing the carving. The figures begin with line drawing techniques, demonstrating profound mastery and the calligraphic brushwork skill of weighted, rhythmic strokes with their rises and falls.
> Fan Zeng admiring the Imitation Drum Teapot created in collaboration with Gu Jingzhou
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