著名教育家、紫砂收藏家李天雷先生簡介
李天雷先生祖籍江蘇，早年在西南聯大任教。1952年經香港 來美定居，先後在耶魯大學、哈佛大學任教，1968年退休，1974年病 逝於美國俄亥俄州。 李先生生前除教學外，業餘愛好以收藏紫砂為主。他的名言： 泥土生人味，巧工天收藏，至今在收藏界津津樂道，傳為佳話。

宜興壺的造型、紋飾、及其發展沿革之研究淺見
宜興茶壺之造型，可分為幾何形如： 球、筒、立方、長方、及其他幾何形。 自然形取材樹幹、植物、花卉。筋紋器 形多將花木形態規則化。水平壺形是閩 粵人士喜好功夫茶的產物，需求盛殷， 十七世紀大量生產，外銷泰國的更有磨 光及加金屬口沿的。明萬曆晚期（1573- 1619年），此時期注重於筋紋器形製 作。十七世紀末至十八世紀末以自然形 茶壺並較注重壺面裝飾，尤其是方形 壺，更多在平面上加彩及各種紋飾。十 九世紀初到十九世紀末，此時期文士與 陶人交往甚密，產生了簡單的造型，而 便於在壺上鎸刻書、畫和篆刻。十九世 紀晚至二十世紀中葉此期包括以上四類 造型均大量生產銷售，而後自二十世紀 中開始仿古及創新的造型兼備之。 始於明代正德年間（1506-1521）為中 國文獻上所公認的宜興陶的創始期，此 時作品多為自然形的樹癭壺，壺身、壺 嘴、壺把皆由同一團泥中捏出，相傳為 正德年間供春所作，而其制壺之技能得 之金沙寺僧，此兩人乃目前所知最早的 宜興陶人。 約五十年後根據文獻所載，知萬曆年間 董翰的菱花壺、趙梁的提梁壺、李茂林 的小圓壺已應運問世。

十六世紀晚期至十七世紀初期，為宜興 陶發展的第一個重要時期，此期名家輩 出，壺式千態萬狀，名家如董翰，趙 梁，元敞，時朋。後有李茂林，時大 彬，李仲芳，徐友泉，歐正春，邵文 金，邵文銀，蔣伯荂，陳信卿，邵蓋， 周後溪，邵二孫，陳用卿，閔魯生，陳 仲美，陳辰，陳正明，陳光甫，陳俊 卿，沈君用，陳和之，陳雲從，周季 著名教育家、紫砂收藏家李天雷先生簡介 李天雷先生祖籍江蘇，早年在西南聯大任教。1952年經香港 來美定居，先後在耶魯大學、哈佛大學任教，1968年退休，1974年病 逝於美國俄亥俄州。 李先生生前除教學外，業餘愛好以收藏紫砂為主。他的名言： 泥土生人味，巧工天收藏，至今在收藏界津津樂道，傳為佳話。 下面這篇文章是李先生1969年在纽约視覺藝術學院有關研究 中國宜興壺歷史及工藝演變過程的摘錄文章之一。
注：《雲霧閣》為李先生書房之名 山，徐次京，沈子澈，惠孟臣，陳子 畦，王友蘭，等等。

壺式方面如漢方扁觶，提梁卣，又有蕉 葉、蓮方、菱花、鵝蛋、僧帽、扁面、 圓珠、美人肩、西施乳，又有仿花卉的 如荷花、芝蘭、合菊、竹節、橄欖、冬 瓜、番象鼻，等等。又如幾何圖形，及 介乎自然形與筋紋器之間的如時大彬的 僧帽壺，而筋紋器最早的代表應為時大 彬的瓜菱壺，而惠孟臣的小圓壺，可 圓，可扁，亦可束腰平底，此類小壺在 往後的三百年間都有沿用惠孟臣的名款 印章仿造者。

十七世紀末至十八世紀末，此時期的代 表人物首推陳遠，字鳴遠，號鶴峰，一 號石霞山人，又號壺隱。鳴遠遊蹤所至 多為名公巨族故傳器流世較同期者相較 為多。再有惠逸公、鄭寧侯，華鳳翔， 許龍文，楊季初，陳殷尚，范章恩，陳 覲侯，潘大和，陳曼生（曼生十八式為 其所設計），陳綬馥，葛子厚，楊彭年 （曼生十八式多為其與邵二泉所製，在 嘉慶年間幾可說主宰宜興之主要人物） ，楊寶年，楊鳳年，邵友蘭，邵亮生， 朱堅（字石梅又號石楳、石眉，此人能 書兼長人物花卉，多巧思，砂胎錫壺亦 是其創製），史寶豐（私家堂號世德 堂），邵大亨（與楊彭年同時，彭年勝 精巧，大亨以渾樸，其人性孤傲，清 介，傳世品不多見，所製壺蓋內皆有瓜 子形“大亨”楷書印），邵二泉，瞿應 紹（字子冶），鄧奎（字元生），吳月 亭（字竹溪），邵景南，馮彩霞，申錫 （字子貽，壺底有“茶熟香溫”楷方 印，蓋內有“申錫”楷書扁方小章或鋬 下有“申錫”小篆章），黃玉麟（其製 品後人評價不在楊彭年、楊寶年昆仲之 下），俞國良，王東石，何心舟，趙東 溪（多用“支泉”小印及“東溪生” ，“東溪漁隱”款式），蔣德林（字萬 全，蜀山人，工博埴，並無所師承）， 程壽珍（清同治四年至民國間人，號冰 心道人，常用印章為“冰心道人”，“ 壽珍”，“藝古斎”，“真記”，1915 年後在掇球壺上刻“八十二老人作此名 壺，巴拿馬共和國貨物品展覽會曾獲優 獎” 篆書銘文），範大生（字繩武， 號承甫，清末人），邵全章（邵大亨後 人，傳世品極少），斐石民（清末民初 人，仿陳鳴遠作品，幾可亂真，壺底多 見“斐石民”，“石民”印章款）。 在十九世紀晚至二十世紀上半葉之間， 壺的生產更為商業化，壺上開始印有店 號標記，爲了應付廣大市場需求，精心 製作而富藝術價值的作品相應減少了， 但仍然間有佳作出現。在壺上刻上山 水，靜物，花鳥，在另一面上刻上一兩 行詩句。詩文多由唐詩三百首或由千家 詩中選出，書法則楷、隸、行草俱全， 同時流行復古的風尚。經過了二十多年 的戰亂，宜興陶瓷於一九五四年又恢復 了生產，上述四種類型均有生產，吳雲 根以瓜形壺出名，顧景舟與斐石民擅製 簡錬的壺型，蔣蓉以擅創自然作品著 稱，除了上述老一代名手之外年輕一代 多能保持傳統，並推陳出新，陶工們除 了採用常見的白泥、紅泥、和紫泥之 外，更創出了青、藍的新泥色，一種新 梨皮紫泥，混以大白沙粒，或以不同顏 色的泥土用以塑造自然形的新作品，更 見效果，刻畫的紋飾更多用有色泥漿繪 上，現代宜興茶壺紋飾，仍沿用模印淺 浮雕印花及貼花的技法，但最重要的加 飾手法仍是鐫刻，雖然已增加了很多花 式，而金銀絲鑲嵌便是裝飾的新發明。 這種技法源自漆器及木器的鑲嵌。（未 盡事宜之處，敬請同好指教）

Yixing teapots have been classified into the following shapes: geometric, naturalistic, ribbed, and miniature or Shuiping hu. Geometric teapots are based on spheres, cylinders, cubes, rectangular prisms and other geometric forms as well as variations of these forms. Naturalistic teapots are modeled after tree trunks, plant and floral forms. Ribbed or segmented teapots are mostly stylized floral and plant shapes. Shuiping hu are miniature teapots made for drinking the strong brew preferred by the Cantonese and Fukienese connoisseur tea drinkers. Because of the heavy demand for these teapots, many have been made since the 17th century. Ones made for the Thai market often show a high polish and are embellished with metal rims.

The first important phase of Yixing ware took place during the late Wanli period (1573-1619). Ribbed or segmented teapots gained special prominence during this period but lost their importance after their importance after the 18th century. The second phase began at the end of the 17th century and lasted until the end of the 18th century. During this period, naturalistic teapots reached their height. Also during this time there is an emphasis on surface decoration and the geometric square teapots were specially embellished. The third phase occurred at the beginning of the 18th century and lasted through the end of the century. During this phase, patronage by scholars resulted in the creation of many simple forms on which the scholars could show off their literary creativity through calligraphy, seal engraving and painting. The fourth phase was from the late 18th to the mid 20th century. During this phase, there was a much greater commercial production of teapots, and all four shape categories were mass produced to serve the growing demand for Yixing ware. The fifth phase began after the mid 19th century. Old shapes have been revitalized and new ones are being created.

Zhengde period (1506-1521) of the Ming dynasty is the period recognized in Chinese references as the beginning of Yixing ware. The teapots commonly attributed to this era are made in the naturalistic style, resembling the burl of a tree. Rustic and irregular in shape, the body of the piece, including the spout and handle, is pinched out from a single lump of clay. This type of teapot is attributed to Gong Chun, who lived during the Zhengde period. Gong Chun learned the art of making teapots by surreptitiously watching a monk of the Jinsha temple; these two are the earliest Yixing potters known to us.

About fifty years later, we are told that in the Wanli period, Dong Han made linghua shaped teapots; Zhao Liang was famous for his teapots with overhead handles, and small round teapots were made by Li Moulin.

The late 16th and early 17th century is the first important period in the development of Yixing ware. Many famous potters lived during this time, and numerous shapes were made. Famous potters include Dong Han, Zhao Liang, Yuan Chang, Shi Peng, and later period include Li Moulin, Shi Dabin, Li Zhongfang, Xu Youquan, Ou Zhengchun, Shao Wenjin, Shao Wenyin, Jiang Bokua, Chen Xinqing, Shao Gai, Zhou Houxi, Shao Ersun, Chen Yongqing, Min Lusheng, Chen Zhongmei, Chen Chen, Chen Zhengmin, Chen Guang Fu, Chen Junqing, Shen Junyong, Chen Hezhi, Chen Yuncong, Zhou Jishan, Xu Cijing, Shen Ziche, Hui Mengchen, Chen Ziqi, Wang Youlan, and others.

The shapes of the period include ancient bronze sacrificial vessels such as the Han fanghu, the flat zhi, goblet and the yu with an overhead handle. Some of the other designs were the plantain-leaf, lotus, linghua, goose egg, monk’s hat, fan, round pearl, beauty’s shoulder, and breast of Xishi (One of the Four Famous Beauties). The floral teapots were based on the lotus, cymbidium, and chrysanthemum, as well as joints of bamboo, olive, winter melon, elephant’s trunk, etc. Examples of the geometric tradition and halfway between the naturalistic and segmented tradition is the Shi Dabin teapot in the shape of a monk’s hat. The melon teapot by Shi Dabin is typical of the segmented or ribbed tradition. At the same time, Hui Mengchen was creating smaller round teapots that can be spherical, squat, or with a pinched waist and flat bottom. They were widely imitated for the next three centuries, even outside of Yixing.

From late 17th to late 18th century, the representative potters is Chen Yuan, style name Mingyuan, pseudonym Hefeng, Shi Xia Shan Ren, and Hu Yin. He frequents the power and rich families, thus leaving behind many more teapots than his peers. Other famous potters include Hui Yigong, Zheng Ninghou, Hua Fengxiang, Xu Longwen, Yang Jichu, Chen Yishang, Fan Zhangen, Chen Jinhou, Pan Dahe, Chen Mansheng (Designor of Mansheng hu with eighteen different shapes), Chen Shoufu, Ge Zihou, Yang Pengnian (Mansheng hu created 220 | California Asian Art Auction mostly by Yang Pengnian and Shao Erquan, leading Yixing pottery maker during the Jiaqing dynasty), Yang Baonian, Yang Fengnian, Shao Youlan, Shao Liangsheng, Zhu Jian (Style name Shimei, pseudonym Shimei in different spelling, specializes in drawing people and flowers, and creator of sand and tin mould teapot), Shi Baofeng (His own company name Shi De Tang), Shao Daheng (Same time period as Yang Pengnian; Pengnian’s teapots were more sophisticated, while Daheng’s teapots were more solemn and simple. He was fairly aloof, and didn’t leave too many teapots behind. All his teapots has a melon seed shaped “Daheng” kaishu seal mark), Shao Erquan, Qu Yingshao (Style name Zi Yue), Deng Kui (Style name Yuan Sheng), Wu Yueting (Style name Zhu Xi), Shao Jingnan, Feng Caixia, Shen Xi (Style name Zi Yi, teapot’s bottom bears “Cha Shu Xiang Wen” kaishu mark, underneath lid bears “Sheng Xi” kaishu rectangular mark, or underneath the handle with “Sheng Xi” zhuanshu mark), Huang Yulin (His masterpieces were considered on par with Yang Pengnian and Yang Baonian brothers), Yu Guoliang, Wang Dongshi, He Xinzhou, Zhao Dongxi (Used mostly “Zhiquan” small seal, and “Dong Xisheng”, “Dong Xi Yu Yin” signatures), Jiang Delin (Style name Wanquan, from Shushan, self-learned), Cheng Xiuzhen (Qing dynasty Tongzhi year four to Repblic period, pseudonym “Bing Xin Dao Ren”, often used seals “Bing Xin Dao Ren”, “Shou Zhen”, “Yi Gu Zhai”, “Zhen Ji”, after 1915 carved on three-ball layered teapot carved with “Ba Shi Er Lao Ren Zuo Ci Ming Hu, Ba Na Ma Gong He Guo Huo Wu Pin Zhan Lan Hui Ceng Huo You Jiang” zhuanshu mark), Fan Dasheng (Stylized name Sheng Wu, pseudonym Cheng Wu, from late Qing dynasty), Shao Quanzhang (Descendant of Shao Daheng, very few teapots were passed down), Pei Shimin (Late Qing dynasty/early Republic, expert on mimicking Chen Mingyuan’s artworks, teapot bottom usually with “Pei Shimin” or “Shimin” seal mark).

In the period from the late 19th century through the first half of the 20th century the production of Yixing teapots became much more commercialized, and the names of companies started appearing on the wares. This catering to a mass market resulted in fewer teapots of the high artistic quality of previous periods, although some excellent pieces were still created. Decorations on early 20th century pots continued the 19th century tradition, that of an engraved landscape, still life, or bird and flower drawing on one side, and a line or two of poetry on the other. The couplets were selected from the Three Hundred Poems of the Tang Dynasty, and Qianjia Shi. The calligraphy was done in various styles; kaishu, lishu, xingshu and grass scripts. There was also a revival in the interest in bronze and stone rubbings. After about two decades of war-torn years, production started again in 1954. The four categories of shapes continue to be made. Wu Yungen was famous for his light melong teapots. Gu Jingzhou and Pei Shimin are makers of teapots in the plain style, and Jiang Rong is well known for her creations in the naturalistic manner. Besides these potters of the older generation, there are many younger ones who continue the tradition, and also created new methods. The potters have produced a number of new clay colors in the green and blue shades, besides the regular beige, reddish brown and purplish brown hues. New pear skin clay, purplish brown with large specks of beige is a welcome addition. The various colored clays are especially effective when used in modern naturalistic pieces, and the engraved designs are often painted in color slips. Decoration on modern Yixing teapots continues the techniques of low relief molding, stamping and appliqué work. Engraving is still the major ode of decoration, with many new designs added to the repertoire. A new innovation is inlaying with gold and silver wires, a technique derived from traditional lacquer and inlaid wood objects.