1. "Ding Mo Shi Da Bin Zao (1607)" Ming Zisha round pot unearthed from Guangdong tomb in right photograph of Shandong, Jincheng, Shanxi.
2. A round pot with a purple teapot lid unearthed from the tomb of Lu Weizhen, assistant minister of the Ministry of Industry of Erhu, in the 40th year of Wanli in Zhangpu, Fujian (16 12).
3. The purple sand hexagonal pot unearthed from Cao Shi's tomb in the forty-fourth year of Wanli in Jiangdu, Jiangsu Province (16 16).
4. In the forty-seventh year of Wanli (16 19), the purple sand three-legged round pot was unearthed in the coffin of Nanjing Hanlin bachelor Hua Han, which was sealed in Wuxi, Jiangsu Province and buried in Chongzhen the following year.
5. Spread the purple sand round pot unearthed in Taizhou, Jiangsu Province (see Pan's interpretation of a Shi Dabin round pot).
Careful analysis of these five pots has some noteworthy characteristics:
1. pot mud. Although the sand head is thick, it can be divided into two types: "or scouring the soil, or miscellaneous sand". The six-square pot in Cao's tomb and the round pot in Taizhou are "mud-digging", that is, "mud-making: a mud-digging house, which buys and transports mud from villagers' homes, pours it into a stone pool or mire, and gradually shovels it up" introduced in 1932 Summary of Yixing Pottery published by the Organizing Committee for the Chicago World Expo. Remove its dregs, take its concentrated and sell it to kiln households, and then make blanks. "Commonly known as' sweet sugar tablets'. Shi Dabin's "clay" pottery jar has a thin and smooth surface and a reddish mud color. Up to now, there is no useful imitation time pot of "clay". The other three pots are "miscellaneous cave sand". Coarse sand particles are mixed in the process of "soil scouring", which is now called "sand adjustment", so the surface texture of the device is "pomegranate skin". Mud colors are chestnut, yellow and purple-brown. At present, the imitations of pot height are all "miscellaneous cave sand", especially purple-brown ones. According to "Yangxian Tea Pot System", Shi Dabin's pot is "full of earthy color". There should be other muddy colors in the time pot.
2. Production method. Taizhou pot has a capacity of 900 ml, which was made in the early days. As Zhou Rong's "Yixing Pan Hu Ji" said, it is in a transitional period, that is, "it is more important to provide a model for Spring, and then abandon this model when you realize its method". Therefore, the upper part of the pot body is pressed with a wooden mold, and the inner wall is left with wood grain marks, while the lower part is hammered and formed. There are more than 30 arc nail marks on the upper part of the pot. The bottle mouth and handle are bonded to the pot body with oil sludge. The pores of the cover buckle are blocked by sludge, which may be related to drilling up and down. This is also one of the technical characteristics of Shi Dabin and his later period. The hexagonal pot unearthed from Cao's tomb is made by cutting and splicing, and the mouth and handle of the pot are bonded with the pot body by "drilling mud". Only the width of each side of the hexagonal pot is slightly different, the edges and corners are not obvious enough, and the seam between the lid and the edge of the pot mouth is not very tight. This pot was made later than Taizhou pot and earlier than the other three pots. Zhang Tomb Pot, Lu Tomb Pot and Hua Tomb Pot were all made by tapping molding, indicating that the production technology was mature at that time. This is Shi Dabin's greatest contribution to Zisha art. In the words of Master Gu Jingzhou, "Dabin's skills have influenced many generations of Zisha artists in the future and will continue to influence them in the future."
3. Modeling. These five pots have only two shapes: hexagonal cylinder and spherical, which seems simple. In fact, even if they are all spherical, their shapes are different and there is no similarity. For example, Hua's tomb pot is a three-cone foot, Zhang's tomb pot is a false ring foot, and Lu's tomb pot is a false ring foot, but there are three flat tripod feet on the lid of the pot: the shapes of the funerary wares are different, but there are similarities: all the pot necks are short, and the spout and handle are higher than the spout, which should be to increase the capacity of the pot; Their winding direction is almost the same; The upper root of the pot handle is thickened and lengthened to expand the contact surface with the pot body and prevent cracking. Of course, there are more than five shapes of Shi Dabin pot: Zhou said that it has "various styles" and various styles. In the late Ming and early Qing Dynasties, Zhou Rong wrote in "The Story of Art Stars Around the Tiger": "It was the Japanese master (referring to Shi Dabin's disciple Xu Longwen) who made two pots and mentioned Liang Shu, and he did not lose his words." His style is elegant and ancient. In other words, there are bronze hanging beam pots and special-shaped pots in Shi Dabin.
Decorate. These five pots are unpretentious, but they all use some decorative techniques. Hexagonal pots consciously make the spout and handle into hexagonal and pentagonal shapes. Although it is a folk decoration technique of barrel-shaped four-series pot in Ming Dynasty, it is more harmonious. The straight neck and lid of this pot are also decorated with strings. The cover button has a semi-arc pattern. All these make the contrast between circle and square, bend and straight more intense. Another example is Zhang Tomb Pot and Hua Tomb Pot. The use of concave ring patterns at the root of the pot neck and lid avoids the monotony of modeling. There are four symmetrical persimmons on the lid of the tomb pot of China, which not only inherits the decorative pattern of the tomb pot of Wu, but also appears more dexterous.
5. inscription. "Yang Xianming Pot System" Note: "Carving pot brushwork refers to Shi Dabin's first time to write, dropping ink, painting with a bamboo knife, or printing it, and then writing with a knife, and his calligraphy is elegant. In the posts of Huang Ting and Le Yi, people can't imitate them, and connoisseurs think it is different. " This statement is true, and it was made at the bottom of the early Taizhou big round pot, that is, the mark was engraved first, and then the characters were engraved with double-knife strokes. Therefore, except for the word "tea", all the other strokes are V-shaped. The other four pots are carved in regular script, so they are not used for printing and carving. The inscriptions include "Big Guest", "Shi Dabin", "Ding Xia" and "Tea Room". The engraved position, such as the bottom of the pot is flat, is engraved on the bottom surface; The bottom of the pot is curved, and the belly below the handle is engraved. There is nothing carved in the center of the ampulla in the front view: the carved strokes, that is, the "inch" of "time", are oblique and sharp when hooked, and rarely show horizontal lines; The word "big" leans outward, most of it is longer than the left, and the blade is wider; In the words "bin" and "Lin", the two strokes stand obliquely in a pointed shape.
6. fingerprints. Ceng Yun, Li Dou in Qing Dynasty, Record of Yangzhou Painting Boat: "Thumb mark on the handle of big finger." It is said that Shi Dabin has six fingers in one hand, and the fingerprint of his thumb is on the handle of the pot as an anti-counterfeiting mark. According to Mr. Pan, Taizhou pot "has fingerprints on the left inner side of the upper bend of the pot handle, which is clearly visible". I only know that the ancients didn't talk nonsense! This can also be used as one of the signs to identify Shi Dabin's early pots.
Of course, among these five pots, there may be imitations of Shi Dabin at the same time or later, but because the time is very close, even zero, at least the characteristics of clay, manufacturing technology and sculpture of the pot at that time are retained, which is second only to the real thing, and it is still a valuable basis for comparing the handed down products of the pot.
Shi Dabin's other great contribution to China Zisha pottery was to cultivate a large number of highly skilled disciples, which profoundly influenced the pattern and appearance of Zisha in the late Ming and early Qing dynasties.