Appreciation of Hetao tea pottery that is free to be beautiful

The so-called tea pottery is an earthenware for drinking tea in isolation. However, these simple pottery have special significance in Japanese culture. It is a symbol of the mainstream culture of Japan’s ancient civilization and is related to the unique character of the Japanese nation. The formation, development and aesthetic orientation of culture.

Speaking of tea pottery, we cannot but speak tea ceremony. Japanese tea ceremony originated from Chinese tea culture. During the Kamakura period of the twelfth century, two Japanese Master Masayoshi Wong (1131-1215) who entered the Song Dynasty to seek Fa, brought back tea varieties from China and began to promote tea in Japan. China’s participation in Zen and the style of tea drinking have also been introduced into Japan by Japanese deaf people coming to China. Through the unremitting efforts of devotees such as Murata Murata, Takeo Nori, and Chikari Shouji, we have devoted great efforts to research and innovation, successfully succeeding in the Japanese nation’s The aesthetic taste is integrated into it, thus sublimating this simple daily activity of tea drinking to the artistic height of formal beauty and intrinsic beauty, forming a cultural style with a unique aesthetic value—tea ceremony.

Japanese tea ceremony has its own special pursuit of beauty from the point of view of "tea zen is boring." The beauty of the tea ceremony advocates a high level of mystery and emptiness. It has no intention of affecting the world. It takes a negative attitude toward secular beauty. For example, the interior of a tea room does not take on the luxury and splendid colors loved by the world, but uses the bleak, leafy color as the keynote. The tea drinking bowl had initially cherished the works of China's Kilns, Jizhou Kilns and other places, namely the "Temma Tea Bowl" in Japan, also known as "Tang Wu." Later, according to the standards of the beauty of the tea ceremony, the Korean pottery bowl was used instead. The fetal soil of this bowl was carefully washed, mixed with stones, and had dark spots on the surface. It was quite rough, but it was valued by Japanese tea people and was called buckwheat tea bowl. Artwork, this type of ceramic tea set from North Korea is called "Range." At the same time, in order to satisfy the needs of samurai enthusiasts who are obsessed with "tea meditation," counterfeit goods such as "Tang-wu" and "wu-wu" were burned at ancient kiln such as Seto, Mino, Shinra, and Kobe.

"Harmony" tea pottery appeared in the late period of Taoshan. At this time, the Japanese tea ceremony culture expanded from the samurai to the public, forming a popular, nationalized lifestyle. The corresponding tea pottery pattern also began to get rid of the pure imitation of “Tang Wu” and “Yi Wu”. After promoting and personally participating in the famous tea makers Qian Lixiu, Gutian Weaving, Xiaoyi Yuanzhou, etc., they passed through various kilns. The unremitting efforts of the potters gradually formed Japanese-style “harmony” tea pottery, such as Kyoto’s “Yakuzai”, Mino’s “Yoshinoyaki”, “Huangyinhu”, “Setoheishi” and “Wozhibu”, and “ "Seven Kilns in Yuanzhou" and other tea pottery factions. Although the tea pottery produced in each kiln has a “mixed material” style in general, it also shows different distinctive forms and styles due to the differences between the region and those of the famous tea makers. First of all, let's first appreciate the tea pottery "museum" that is arbitrarily beautiful - Kyoto's "Music".

"Music" is the most representative tea pottery in the Taoshan era and was burned by Jojiro Jiro under the guidance of Chien Lee. Qian Lixiu (1522-1592) was the Nobunaga Oda Nobunaga and the Toyotomi Hideyoshi tea master of the Taoshan era in Japan, and was also the founder of the Japanese tea pottery culture. He studied for 15 years of tea ceremony under the guidance of Wuye Shaoou (1502-1555). He first promoted tea ceremonies popular in the privileged class to ordinary people, advocated “quiet tea” and proposed “harmony, respect, and clarity”. "The spirit of tea", that is: the feelings of peace, respect for all sincerity, spotless cleanness, and naturalness as a whole. The tea ceremony utensil—a tea ceremony utensil that embodies the tea ceremony spirit—represents a low-temperature glaze pottery. Instead of a pottery wheel, the pottery is made by the potter’s intentions, and it is cut into pieces. It was deliberately preserved in the early days. Traces of cutting, so that the shape of the device is not very regular, thicker wall, dark body through the application of glaze, but uneven density, glazed vague patches, contains a kind of indescribable natural beauty. "Le Tea Bowl" is like the Tea Room advocated by Qian Lixiu. It is clean and simple, free and natural, and it is by no means as rare as the "tang" and "material" used by the generals. It is the Lihu Tea Tea Garden and the Outlook on Life in the Tea Garden. Creative expression.

The tea pot made by Hirohiro and his descendants is called "Music" and is said to have been called "Ju Le Ya," a second-generation successor, by Hirohide Tei, who was in the Toyotomi Hideyoshi's residence. (1560-1635) He also had to appreciate Xiuji and give him the “Le” word gold seal. The tea pots made by his offspring were covered with “Le” seals. According to the glaze color, the music bowl is divided into two types: the red music and the black music. The successful firing of Chile was earlier than Hei Le, and it was successfully tested by Tianzheng fourteen years ago. Celebrity red glaze is made by applying a make-up soil called "Loess" after clay molding (a layer of clay used to cover the carcass blemishes or change the color of the carcass and paint it between the tires). After being burned at 1000oC, it is glazed and then burned into the kiln at a high temperature of 1000oC to 1300oC. Lead is also incorporated in the glaze to reduce the melting point of the glaze. The "Kitchen Persimmon" Ming Chile Tea Bowl is an apricot tea bowl that was cooked by Jojiro Hiroki, and the Aichi Ceramics Information Collection in Japan. The bowl is 8.1 cm in height, 10.6 cm in diameter and 4.6 cm in foot diameter. The heavy carcass drooped straight down to the bottom and turned back, with milky protrusions in the center of the ring foot. The hand-kneaded molding process and the unrestrained sculptural style give the tea bowl a special sense of presence and strength. Inside and outside the device is covered with a thick red glaze, although the color is not ideal, but it is even Yingying. On the inner wall of the bowl, there are the words "Chang Erlang Burning, Red Tea Bowl, and Branch Persimmon (Clouds)". In the collection of the Echikawa Museum of Art in Japan, there is the so-called “Liyu Seven Style” which is designed by Qian Lixiu and Changjiro. It is one of the most famous names in the Ojiro bowl and is one of Japan’s important cultural assets. Bowl 8.6 cm high, caliber 11.2 cm, foot diameter 4.8 cm. A slightly introverted mouth, with a greater than 90-degree fold, allows the foot to be fully displayed within the field of vision, making the overall shape more “existent” and “dynamic”. Seven of the seven "Lee Xiu styles" are the Chile tea bowls, and the "Shimao" and "Lee Rest" are also two of them. It is said that these two inscriptions are the inscriptions obtained from guest Hosokawa Seizan during the tea party held in Lihuo. Hosokawa Hiroshi is the ancestor of Japan's 79th prime minister, Hosokawa Hiroshi, and the son of Hosokawa Hiroshi of the Taoshan era.

The earliest work in the Akira bowl, which was handed down by Jirojiro, was named "Operation", and the "Operation" was the title of the administrator of an ancient temple in Japan. The shape of this work looks asymmetrical, and it completely retains the original state of unarmed kneading. Then there is the Chilung bowl called "Dongcheng Temple". It is said that these two pieces are precious tea bowls of Qian Lixiu, so they are even more precious. At the same time, the inscriptions can also tell the close relationship between the early Japanese tea ceremony and Buddhism.

Kyoto's "Yakuzai" ceramist Ben Ami Kwangya (1558-1637) also had his own Akira music handed down. He was a famous Japanese calligrapher and painter at the time and was under the command of Tokugawa Ieyasu's death in the northern part of Kyoto in the Hawk Eagle Peak. Pottery is also used in Kyoto's kiln, and it is used to roast tea bowls with clay pottery and glaze. This is one of the most outstanding pieces in Guang Yue's work. It is 10.1 centimeters in height, 9.9 centimeters in diameter, and 4.8 centimeters in diameter. Different from other works, the bowl shape is slender and straight. The edge of the bowl is thin and short, and the rough carcass forms a natural beauty under the glaze. The artist's temperament is reappeared. The other is a work by the potters who entered during the Edo period and is collected by the Mitsui Bank. In addition to the red color of the outer wall of this work, there are browns with different shades locally. The process is said to be applied on the surface of the carcass with loess and white clay, respectively. After firing, due to the high transparency of the glaze, red and brown appear under the glaze. Different shades, this is one of the characteristics of Daoist works.

The glaze color of Chile was not exactly the same in both cases, and there was no pure red glaze (all of which contained variegated colors). This was the reason that the Japanese technology for blending a completely red glaze was not yet mature.

Chile is meticulous in enamel, while dark music is rough. Helze black glaze, dark brown in the tone, full of change, giving a warm feeling. There are three pieces of black music in the "Li Xiu style", which are called "big black", "open" and "Dongyang Square". "Big Black" is the meaning of a large black tea bowl. It is agreed by later generations that it is the most gentle and stable typical of the music bowl. The black tea bowl with the “face” inscription is also one of Hiroshiro's masterpieces. The carcass and rim are thick, the quality of the fetuses is rough, and the shape of the body is ancient. The original shape of the hand is shaped and not carved, and the glaze is also Black and red in the black, it is mild and heavy. Because the Shirojiro bowl in the historical records has not been seen yet, some Japanese scholars believe that the dark music bowl in this book may be one of the seven styles of “lihoku”.

The most famous of the works of Ben Ami Guang Yue's black music is the “Yu Yun Yun” tea bowl. This piece is also one of the important cultural assets of Japan. It is now collected by the Mitsui Library. Compared to the work of Yujiro, the craftsmanship of Kyung-Yue's works is delicate, and the rim is thin. In particular, the glazing is like ink on paper, bold and swaying, careful planning, and after firing into the kiln, the glaze naturally blends and glaze appears. The misty and misty mood of the rain and fog is not caused by people's infinite changes. This is the artist's display of Guangyue's subject consciousness in the ceramic art. The "Ming Xue" Ming Hee Black Tea Bowl is Daojin's black music works, and is collected by the Japanese Music Art Museum. Just like the Chile works, this black tea bowl uses the natural kiln of glaze to produce a strong artistic effect. The Heile Tea Bowl is a collection of Changjiji's second-generation Changqing's works, and is collected by the Le Art Museum. Compared with the work of the first generation of Hirohide, this black tea bowl has a smooth and delicate carcass, although the rim area is still relatively thick, but it is much rounder, the body is also shorter in the shape of the body, the glaze is moist and uniform, although overall The style is still mainly gentle, but it looks more elegant and solemn. This aspect is the progress of the production process, such as the washing of the mud, on the other hand, it is also due to changes in the aesthetic requirements of the times.

The fetal soil of Le Le is a kind of poly-red clay with high iron content. Regardless of red or black music, it is enamel after several times of burning, and then it is burned into the kiln. The process is very complicated and exquisite. Therefore, although it seems to be rough, it is actually a product of elaborate production. Especially for the black music bowl, the glaze comes from the Kamogawa purple stone that has been in Kyoto for more than a thousand years. The black glaze made of this raw material can produce artistic effects that are both black and not completely black and show mysterious. The kiln is beautiful. The black music bowl combines the glaze color of the tea cup of the heavenly eye with the softness of the korean tea bowl, and is in harmony with the deep green tea. It is a tea bowl with both functional and aesthetic functions.

The music-making craftsmen have made pottery for life and their pottery for generations has not only left behind many famous bowl names for personalities, but also left us with a unique aesthetic enjoyment.