Inheritance, Innovation and leap-over, Let National Culture Shine -- A century-old Record of Inheritance of Purple Sand Pottery in Wumen, Yixing (4)

中国艺星网/编发/愉快

Chinese art star/editor/happy

紫秒壶呈四方, 四角折转圆熟，壶身轮廓宛若半月，前端流嘴跟部粗圆, 嘴口前身外翻，壶身另侧置圆把，自肩部斜出，收于壶身下端，壶盖沿边作方唇，中部平张微薩，上设桥翅, 与顶盖衔接自然，壶身底部四角作足，触面宽大，整件茶壶造型教厚沉稳， 壶身四角寓方于圆, 浑朴有致。茶壶外壁一面作各体书法装饰，古朴有趣，后落”岐阁主人刻”款，另面刻画小景山水，画面表现河岸山林，其中一小亭 心立于河岸之边，岸上树丛三两相依，随风摇摆，整幅景致清秀宜人，画面上方题“岐陶刻”款。壶身器底刻“吴德盛制”款，其为民国时期著名紫砂陶器商铺名号。金鼎商标也成为民国时期的著名商标。至此，商号、商标进入到了孕育中国紫砂品牌世家传承、传世经典的重要时期。

在制壶与陶刻风尚变化的新潮流中，陶刻名家高手们开始在紫砂茗壶上以书法或绘画挥就力作，书画的高雅、刀法的遒劲，山水人物的严谨法度，茗壶名刻的相得益彰，形成了集诗书画印为一体的独特民国紫砂艺术。既包含那个时代的生活雅趣，也体现着紫砂陶人的高超技艺和精神审美，从而增强了紫砂茗壶的艺术魅力，深得民国社会上层人士的青睐。

吴汉文不仅是清末民初宜兴一带的紫砂制陶高手，而且擅长于壶身雕刻诗词书画，在紫砂器装饰手法上，他在承袭前辈风格的基础上，通过摹刻名字名画让紫砂壶更具民族特色和艺术魅力。

The front end of the spout is thick and round, and the front of the mouth is turned out. On the other side of the spout is a round handle, which slopes out from the shoulder and is placed at the lower end of the body. The lid is lined with square lips, the middle is flat with a small sash, and the upper bridge wings are set to connect with the top naturally. The four corners of the pot are square and round, simple and elegant. On the outer wall of the teapot, one side is decorated with various styles of calligraphy, which is simple and interesting. After falling into the "Qi Pavilion Master Carving" style, the other side is carved with small landscapes. The picture shows the mountains and forests along the river bank. The bottom of the pot is engraved with "Made by Wu Desheng", which is the name of a famous zisha pottery shop in the Republic of China. Jin Ding trademark also became a famous trademark during the Republic of China. At this point, the trade name, trademark into the birth of China purple sand brand family inheritance, handed down the classic important period.

In the new trend of pot making and pottery carving fashion changes, pottery carving masters began to use calligraphy or painting on the purple sand tea pot, the elegance of calligraphy and painting and the sword are strong, the rigorous method of landscape figures, the tea pot name engraved each other, forming a collection of poetry, calligraphy and painting printing as one of the unique republic of China purple sand art. It not only contains the elegant life of that era, but also reflects the superb skills and spiritual aesthetics of zisha pottery people, thus enhancing the artistic charm of zisha tea pot and winning the favor of the upper class of society in the Republic of China.

Wu Hanwen was not only a purple clay pottery master in Yixing area in the late Qing Dynasty and the early Republic of China, but also good at carving poetry and calligraphy on the body of the pot. In terms of purple clay decoration techniques, he inherited the style of predecessors and made the purple clay pot more national characteristics and artistic charm by copying famous paintings.

吴德盛出产的作品有茶壶、茶杯、茶具和其他器皿。纹饰绘画、书法兼具，是典型的二十世纪初期风格。有时，陶器表面还会涂上一层黑彩，使陶刻的圆案显得更加亮眼突出。

Mr. Ng produces teapots, teacups, tea sets and other utensils. Decorative painting, calligraphy, is typical of the early 20th century style. Sometimes, the surface of the pottery was coated with black color, which made the pottery circle appear more prominent.

壶形敦厚圆润，经捂灰工艺而呈黑灰色。壶身正血刻蒙书“雷芽”，著款“时纪王 (1932年)仲秋之月岐陶携”；另血铭”幽香，激石画”，旁饰幽兰数朵，运刀明快。底部“金鼎商标”形印款， 盖内”熙巨”蒙书印款。灰，即将已烧清的紫砂壶用稻谷的谷康密封于更钵内，放在龙窑的炉头部位再烧一次。由于炉头部份的温度在1000度以下，烧成时升温缓慢，谷樣被引燃但因缺乏足够氧气不能充份燃烧，其炭分子吸入壶胎而形成黑色。

The pot shape is thick and round, and it is black and gray after covering the ash process. A Mongolian script "Thunder Bud" is engraved in the blood on the body of the pot, with the title "The Moon of midautumn Qi Tao Carried by the King of Shi Ji (1932)". Another blood Ming "fragrance, exciting stone painting", side decoration of orchid number, moving knife bright.  The ash, that is, the burnt purple sand pot is sealed in the pot with the grain's Gukang and burned again at the head of the furnace of the dragon kiln. As the temperature of the furnace head is below 1000 degrees, the temperature rises slowly during firing. The grain sample is ignited but cannot be fully burned due to lack of enough oxygen, and its carbon molecules are sucked into the kettle tire and form black.

金鼎商标款王照臣制紫砂壶

Golden tripod trademark Wang Zhaochen made purple clay pot

金鼎商标款紫砂盘

Golden tripod trademark purple sand plate

金鼎商标款任淦庭作紫砂挂盘

Jinding trademark Ren Ganting as purple sand hanging plate

盘为圆形，直口，浅腹，平底。黄白砂泥制成，呈色冷黄，烧成火候甚足，结胎 硬朗。盘心携刻玉川品茶图，高士宽衣带，煎煮茶汁，刻画生动，题铭“玉川品茶。松道人作” 铃即”任氏”。紫砂盘画面布后有序，利用大血积留白的手法表现高雅清醋的意境。器表焕发神采, 纹路斐然，与铁刻书画纹饰相映成趣。器形虽简,然胎体厚实，意境高雅，为上等紫砂器具。

Disk is round, straight mouth, shallow abdomen, flat bottom. Made of yellow and white sand mud, it is cold and yellow in color, and it is very hot and strong. Plate heart with carved Yuchuan tea map, Koshi wide clothing belt, decocting tea juice, vivid depiction, titled "Yuchuan tea. Matsudo people make "bell" is "Ren." Purple sand plate after the picture cloth orderly, the use of large blood accumulation of white technique to express the artistic conception of elegant vinegar. The table is full of vigor and vitality, and the patterns of iron carving and painting are very interesting. The shape is simple, but the body is thick, the artistic conception is elegant, for the first-class purple sand utensils.

“吴德盛”之所以名号响亮，除文化底蕴深厚、产品质量高之外，重合同守信用也是中重要的因素之一。1934年，吴汉文和外商签订了300只学习花盆的任务，他将这个任务交给了王宴春，外商合同要求很严格，在保质保量的前提下，必须按期交货。如果逾期，不仅要退货，而且要罚金。为守信誉，王宴春苦思冥想率先做出成了紫砂成型的档坯模型，开创了宜兴紫砂陶生产中壶体成型中使用模型的先河。

The reason why "Wu Desheng" is famous is that in addition to profound cultural deposits and high product quality, the contract is also one of the important factors. In 1934, Wu Hanwen and the foreign businessman signed the task of learning 300 flower POTS, he gave this task to Wang Yanchun, the foreign contract requirements are very strict, under the premise of quality and quantity, must be delivered on time. If they are overdue, not only will they be returned, but they will also be fined. In order to keep the reputation, Wang Yanchun took the lead in making a file billet model of purple sand molding, creating a precedent for the use of model in the pot body molding of Yixing purple sand pottery production.

存世的吴德盛潜陶款段泥刻花鸟诗文方瓶， 瓶身以团泥制成，作双耳扁方瓶。瓶口微侈，长颈稍内束，鼓腹下垂，方圈足，对称双兽耳环。光素瓶身刻画花鸟图，并署：“仿新罗画意，潜陶作”，另一面刻“清供。岁在甲子春月阳羡潜陶氏题并刻。”工艺不俗，乃民国时期佳制。

Wu Desheng hidden pottery section clay carved flower and bird poetry square bottle, the body of the bottle is made of mud, as a flat square bottle with two ears. Mouth tiny, long neck slightly inside the bundle, drum belly sagging, square circle feet, symmetrical double animal earrings. Light element bottle depicts flowers and birds, and signed: "Imitation of Silla painting, hidden pottery", the other side engraved "confession. At the age of Jiazi spring Moon Yang Xianqian Tao title and engraved." Good workmanship, is the Republic of China period of the best system.

（吴德盛）潜陶款 段泥刻花鸟诗文方瓶

Wu Desheng) hidden pottery section clay carved flower and bird poetry square bottle

《民国紫砂大事记》杨世明先生称，苏州著名作家范烟桥1934年发表的散文《湖山壮兮洞天奇》中，能找到范烟桥与金寿楣、徐云秋等苏州文人那次游历宜兴的记录，其中有如此描述：“入吴德盛陶器肆，其主人汉文，老于世故，附庸风雅。”

According to Mr. Yang Shiming, the famous writer Fan Yanqiao in Suzhou, who published his essay "The Great Lakes and Mountains Are Strong, The Wonderful Caverns" in 1934, can find the record of Fan Yanqiao's trip to Yixing with Jin Shoumei, Xu Yunqiu and other Suzhou literati. Among them, it is described as follows: "The owner of Wu Desheng Pottery Shop is sophisticated and elegant in Chinese."

自吴汉文“金鼎商标”创制以来的20世纪二三十年代，是中国紫砂品牌繁荣发展的鼎盛时期，“金鼎商标”作为中国百年紫砂世家传承品牌，以经典富集，代表并彰显了那个时代的紫砂品牌繁荣。可以说，“吴德盛制”代表着民国时期宜兴紫砂在清末沉寂之后的一次重要觉醒与复苏，是代表中国紫砂在整个20世纪走向兴盛的著名紫砂商号之一。

Since the creation of Wu Hanwen's "Golden Tripod Trademark" in the 1920s and 1930s, it was the heyday of the prosperity and development of China's purple sand brand. As the inheriting brand of China's century-old purple sand family, "Golden Tripod trademark" represented and highlighted the prosperity of the purple sand brand in that era with its enrichment in classics. It can be said that "Wu Desheng system" represents an important awakening and recovery of Yixing purple sand in the period of the Republic of China after its silence in the late Qing Dynasty, and is one of the famous purple sand businesses that represent the prosperity of Chinese purple sand in the whole 20th century.

“九一八事变”后，侵略者的铁蹄踏上了宜兴土地。吴德盛陶器行遭到了日军飞机轰炸而夷为平地。盛极一时的吴德盛陶器行、名震中国紫砂界的吴氏金鼎，在阅尽紫砂繁荣风华之后，销声匿迹。

After the September 18 Incident, the aggressors set foot on the land of Yixing. Wu Desheng pottery shop was bombed by Japanese planes and razed to the ground. The flourishing Wu Desheng pottery line and Wu's golden tripod, which shocked the purple sand circle in China, disappeared after reading the prosperity of the purple sand.

金鼎嫡传

The golden tripod is a direct descendant

“吴德盛陶器行”是民国时期名震中国紫砂界的品牌名店，“吴德盛制”则代表着民国时期宜兴紫砂在清末沉寂之后的一次重要觉醒与复苏。“金鼎商标”作为中国百年紫砂世家传承品牌，以经典富集，代表并彰显了那一个时代的紫砂品牌繁荣。是中国紫砂在20世纪走向兴盛的一个杰出代表，

中华文明之所以数千年绵延未断。工匠精神世世代代传承不熄是其最重要的因素之一。新中国成立以后，广袤的国土千疮百孔，百废待兴，复工复业，恢复生产，是当务之急。吴氏金鼎经历着繁荣，也酝酿着复兴。吴门金鼎的嫡系传人吴余清秉承先辈的紫砂陶艺，以陶为业、抟土为壶，承前启后，传承创新，决心将吴氏绝艺继续发扬光大。为了创造更好的条件，吴余清一边在家里做陶，一边在宜兴市新庄镇经营他的吴氏陶艺工作室，专门为一些名人名家们雕刻制作紫砂壶，由于嫡传手艺高超，做出来的紫砂壶别致典雅，很受顾客欢迎，吴氏陶艺工作室的生意很兴隆。

宜兴有天土，吴门出陶人。宜兴吴门，经历第四代嫡系传大师吴余清，至吴门金鼎的第五代嫡系传人、中国吴氏陶艺金鼎商标传承人吴海龙，金鼎陶艺进一步得到了发扬光大，走向了百年金鼎的辉煌。

吴海龙1964年出生于太湖之滨陶都宜兴的新庄镇，是吴汉文的曾孙。幼年时代的吴海龙，从小就是在父亲的泥凳旁边长大的，受父亲潜心制陶的影响，潜移默化，汲取了紫砂蕴含的天地之灵气，从小就对紫砂工艺产生了极其浓厚的兴趣和爱好。龆龀之年就下定了决心，追随父辈的足迹，传承紫砂工艺。1972年，刚上小学的吴海龙就开始跟随父亲研究紫砂陶艺。这一时期，是国家对教育进行调整的阶段，中国的教育出现了小回潮。从小学开始，老师就抓得很紧，刚入学不久的孩子们还有点不太适应，整天圈在教室的孩子们从周一就开始盼着周末。周末是孩子们最快乐的时光，从周一到周六，一直都在紧张地学习，难得周末不去学校，早上就可以赖在床上，中午可以和玩伴们尽情的玩游戏或者缠着大人带着去公园。但对陶艺已经上心，立志继承先辈手艺的小海龙，放弃了周末的玩耍，放弃了童年的欢乐，结陶为伴，以陶为乐，整天在紫砂作坊泥凳边玩泥巴，偶尔也在泥台上打打零工。绕在父亲的身旁，专心致志地看父亲制陶。经过几年耳濡目染的熏陶，吴海龙在伴随父亲的操作过程中慢慢入门了。在父亲的指导下，幼小的海龙慢慢对紫砂泥料的属性与分类有了一些了解。

12岁那年，吴海龙进入了初中，周末和放寒暑假，他那里也不去，就钻到父亲的作坊里跟着父辈制作茶壶，父亲是他的第一位老师。在父亲的严格要求下，吴海龙先生从对紫砂的了解、热爱、熟悉，再到对紫砂泥料的属性与分类，紫砂壶的鉴赏和保养等有了独特的理解。漫长的学艺过程，奠定了吴海龙今天的设计风格，传承了吴氏的紫砂陶艺。

1979年，初中毕业的吴海龙放弃了学业，决心跟着父亲学习紫砂陶艺。欣喜儿子喜爱陶艺，百年吴德盛后继有人，父亲心里感到非常欣慰，便同意了儿子的请求。从此，吴海龙在父亲的身边开始正式学做紫砂。

既然是正式学艺，一切就得按规矩来。吴余清对自己的儿子、唯一的嫡传弟子开始了严格要求。从头开始，手把手耳提面命的培养这个嫡传徒弟。

紫砂陶器从选择陶土做坯到产品烧成，要经过炼泥、制坯、雕刻、烧炼等工序才能完成。要培养一个出色的紫砂艺人，每一个环节都需要耳提面命的认真传授。吴余清一个环节一个环节的认真教导，潜心培养自己这个聪慧的儿子。

吴余清先从选土开始，教导儿子如何识土，如何选土。宜兴出产的陶土，按其颜色、产地的不同，大体可分为本山甲泥、东山甲泥、涧众甲泥、瓦窑甲泥、西山嫩泥、屺山泥、蜀山泥、白泥、黄泥、乌泥、红棕泥和紫砂泥等。甲泥是深藏在地层里的一种页岩（未经风化），也叫石骨。嫩泥是接近地层表面的一种粘土。性质有软硬、韧脆、粗细以及耐火程度的不同。各种陶器根据大小、厚薄、曲直之异，用泥也各有区别。白泥、黄泥、绿泥和紫砂泥用水簸法精炼后，可以单独制造陶器。其它各种陶土均需混合使用，方能获得良好的窑业性能。其配合量随制品的种类、性质和形状大小而异。

"Wu Desheng Pottery Shop" is a famous brand store that shocked the purple sand circle in China during the Republic of China, while "Wu Desheng System" represents an important awakening and recovery of Yixing purple sand after its silence in the late Qing Dynasty. "Jinding Trademark" as a century-old Chinese purple sand family heritage brand, enriched with classics, represents and highlights the prosperity of purple sand brand in that era. Is an outstanding representative of the prosperity of Chinese purple sand in the 20th century,

Chinese civilization has lasted for thousands of years. The persistence of the artisan spirit from generation to generation is one of the most important factors. After the founding of the People's Republic of China, the vast territory was riddled with problems and a hundred ruins were waiting to be rebuilt. It was urgent to resume work and production. Wu's Golden tripod is experiencing prosperity, but also brewing revival. Wu Yuqing, the direct descendant of Wu men gold Ding, inherits the purple clay pottery of his ancestors, takes pottery as an industry and kneads the soil as a pot, inherits and innovates, and is determined to carry forward Wu's unique art. In order to create better conditions, Wu Yuqing made pottery at home, while running his Wu pottery studio in Xinzhuang Town of Yixing City, specially for some celebrities to carve and make purple clay pot, due to his excellent workmanship, made purple clay pot chic and elegant, very popular with customers, Wu pottery studio business is very prosperous.

Yixing has soil, Wu men out of pottery. Yixing Wumen, through the fourth generation of master Wu Yuqing, to Wu Hailong, the fifth generation of Wu's direct successor, the trademark inheritor of Wu's pottery Golden tripod, the pottery of the Golden tripod has been further carried forward, towards the brilliance of the hundred year tripod.

Wu Hailong, the great-grandson of Wu Hanwen, was born in 1964 in Xinzhuang town of Yixing, a pottery capital on the shore of Taihu Lake. When Wu Hailong was a child, he grew up beside his father's clay bench. Influenced by his father's painstaking pottery making, he imsubtly absorbed the aura of heaven and earth contained in purple sand and had a very strong interest and hobby in purple sand craft since childhood. Tiao Chen years are determined, follow father's footsteps, violet arenaceous technology. In 1972, when he was just in primary school, Wu Hailong began to study zisha pottery with his father. During this period, the country adjusted the education, and China's education appeared a small tide. Since the primary school, the teacher is very tight, the children who just entered the school are not quite adapt, the children who circle in the classroom all day from Monday to look forward to the weekend. Weekend is the happiest time for children. From Monday to Saturday, they study intensely all the time. If they don't go to school on a rare weekend, they can stay in bed in the morning and play games with their playmates at noon or go to the park with adults. But the pottery has been on the heart, determined to inherit the ancestors of the craft of small sea dragon, gave up the weekend play, gave up the joy of childhood, knot pottery as a companion, to pottery for joy, all day in the purple sand workshop mud stool side play mud, occasionally on the mud platform. Around his father's side, intently watching his father pottery. After a few years of osmosis, Wu Hailong accompanied his father in the process of operation slowly entry. Under the guidance of his father, the young sea dragon slowly had some understanding of the attributes and classification of purple sand mud.

At the age of 12, Wu entered junior high school. Instead of going to his father's workshop to make teapots with his father, who was his first teacher, he did not go there on weekends or during winter and summer holidays. In his father's strict requirements, Mr. Wu Hailong from the understanding of purple sand, love, familiar, and then to the attributes and classification of purple sand mud, the appreciation and maintenance of purple sand pot has a unique understanding. The long process of learning art has laid the foundation of Wu Hailong's design style today and inherited Wu's purple sand pottery art.

In 1979, after graduating from junior high school, Wu gave up his studies and decided to follow his father to learn zisha pottery. Delighted son love pottery, one hundred years Wu Desheng successor, his father felt very pleased, he agreed to his son's request. Since then, Wu Hailong began to learn to do purple sand in his father's side.

Since we're officially learning, we have to follow the rules. Wu Yuqing began to be strict with his son and only disciple. From the very beginning, I trained him from the ground up.

Zisha pottery from the selection of clay for billet to product firing, after mud refining, billet making, engraving, firing and other processes to complete. In order to cultivate an outstanding purple sand artist, every link needs to be carefully taught. Wu Yuqing carefully taught each link and devoted himself to cultivating this wise son.

Wu Yuqing started with soil selection and taught his son how to recognize and select soil. Yixing's clay, according to its color and origin, can be generally divided into Benshan Jia mud, Dongshan Jia mud, Jianzhong Jia mud, tile kiln Jia mud, Xishan Nen mud, Qi Shan mud, Shushan mud, white mud, yellow mud, black mud, red brown mud and purple sand mud. Nail mud is a kind of shale (unweathered) deep in the ground, also known as stone bone. Tender mud is a type of clay near the surface of the formation. Properties of soft and hard, tough and brittle, thickness and fire resistance. The clay used in pottery varies according to size, thickness and curvature. White mud, yellow mud, green mud and purple mud, after being winnowed and refined, could be used to make pottery independently. Other kinds of clay need to be mixed in order to obtain good kiln performance. The amount of coordination varies with the type, nature and shape of the product.

吴余清带着儿子跑遍了所有土场，让儿子认识各种陶土，告诉他各种陶土的性质及用途，先让他识货。并告诉他：从矿层开挖出来的紫泥，俗称“生泥”,泥似块状岩石，堆放在露天，稍事风化，待其松散，然后用锤式破碎机初碎，用轮碾机粉碎，将泥料过60目筛(泥料如太粗，制作时费劲;如太细，制作时则易黏手，并且烧成后收缩率大)，湿水后通过真空练泥机捏练，便成为供制坯用的熟泥料。

炼泥是制作紫砂陶的第一道工序。炼泥工艺细致复杂且讲究很多，经过开采、风化、配料、粉碎、陈腐、练泥等繁琐的工序。从正式学艺的那一刻起，吴余清就带着儿子从头做起，一步一步的往前走，一个环节一个环节的传帮带。

泥的炼制一般可分为手工炼泥和机械炼泥两种。吴德盛祖传一直是手工炼泥，不用机械炼泥。手工炼泥首先要肠晒泥。一般陶土从矿山开采出来后，要经过 3~6个月的自然风化，通过风吹晒和雨淋，坚硬的粘土矿会松散，便于粉碎，同时雨水也会冲去部分可溶盐类及其他对制陶无益的矿物，从而提高粘土的纯度。然后将肠好的陶土放入水中慢慢搅拌，使陶土融化变成泥浆。接着就是过浆，拿一大块海绵放在竹扁上，让泥浆通过海绵，过滤掉其中的碎屑、杂质，获得干净细腻的泥浆。再将过滤后的泥浆沉淀，排放掉表层的水，就得到了完全细腻的泥浆。然后进行晾肠去水，将完全细腻的泥浆堆放在平台上晾晒，待泥浆边缘出现装纹、表面已无水分的时候为最合适。这个时候就可以进行柔泥。揉泥是很麻烦的，先用棍子打泥,目的是将经过一系列过程后结成块的泥打松散，然后再象合面一样，用手不断地搓揉, 去除泥中的气孔, 使泥的质地更细腻，这样,“生泥”经过“陈腐”变成可用来制壶的“熟泥”,才得到最终用来做陶的陶泥。

手工炼泥的紫砂泥颗粒呈球状，体积大小不等，含量非常丰富，而且分布致密，就像许多体积不等的小球相互挤在一起。然后再经历一段时间的陈腐处理，可塑性就可以大大增加，这种处理工艺可以让细薄的泥条、泥片竖立起来并耐得住拍打，这些步骤也都是制作完美器型的最重要前提。

制作紫砂陶的砂料就“练”成以后就开始进行制作。先将泥料成型。陶器的造型干变万化，大到数米高的花瓶，小到精巧玲现的小碗, 薄如蝉翼的薄脸瓶、薄胎碗等。泥坯造型需要进行泥板成型、手工程制、盘条成型和手工拉还等四道工序。

泥板成型是用最常用到的工具——擀泥杖。将所需量的泥料置于平整的底板上，用擀泥杖从泥块的中心开始，像擀面一样，把泥块擀开。泥片的大小，最好是大于所需材料的大小，薄厚度达到自己的需求即可。对于厚度的掌控，可以借助已知厚度的木条，将木条置于泥侧作为参考。待泥板时干到一定程度后，裁处一块面积较大的长方形泥板。再按照所需尺寸裁出一块块较小的长方形的泥板和一块圆形泥板，并用刀片将泥板四周修齐整。然后再把长方形泥板治着圆形泥板边缘竖起围成筒状，切除多余的泥后进行粘接。成型后，晾晒到一定程度，再在表面刻画各种图案。然后进行手工握制。在陶器成型技法中，徒手握制是最基本本的方法。可按照自己所需捏制动物造型、人物造型等，还可以借助雕塑刀进行刻花、勾画等。握制时要注意，选用的泥料软硬度要合适。泥料太干燥就不宜成型或成型后会龟裂，反之，成型后容易均匀。

待到吴海龙将手工握制的要领掌握以后，吴余清一边操作，一边给他教导方法。首先是泥的固定。先在拉坯机转盘上抹一定量的水，将足量泥对准盘心砸下固定。泥在转盘上固定后，在泥团上抹适量水，打开拉坯机开关，双手再向下将泥团按牢。然后在拉坯机转盘上练泥。告诉他：即使经过揉压的泥土，在用拉坯机拉的时侯，都会出现气孔及泥土的硬粒，所以仍无法直接拉坯。因此，在成型之前，需消除泥中的空气及软硬不一的泥粒。练泥时调整拉坯机与自身坐资的高低，然后用双臂的肘关节顶住双腿膝关节的内侧、使双手保持稳定。双手握住泥块外壁，合力相向压泥。这样的话，泥块因受力会自然上升。这时，用双手均匀用力的将泥柱捧正、捧高并使泥柱由上至下逐渐变粗。这样反复两到三次，彻底挤出泥中的空气。

吴余清接着告诉海龙如何定中心：右手食指和拇指并拢，左手拇指伸出,顶着右手的食指和拇指。双手手掌保持握泥体状，直至将泥体拉成一个平顶的小火山状。这个时候就可以开环。用左手护住泥柱，右手拇指从泥柱的平顶中心向下插入泥体，同时保证拉坯机的旋转，拇指顺势缓慢将“洞”开大。

下一步就是成型。随着“洞”的逐渐开大，便开始变换各种手法进行拉坏、修型。比如，可以一只手的四个手指都伸进“洞”里，然后拇指留在还体外壁，随着还体在转盘上的旋转，我们可以向上、向外拉坏，使其鼓出“肚子”。若要将鼓出来的“肚子”渐渐收缩回去 就可以用双手的两虎口护住“肚子”，然后缓慢均匀向内用力,同时，向上提泥柱，就可以达到收缩的目的。但不论是什么样的手法，都应该保持手型的稳定。这就是“手随泥走，泥随手变”巧夺天工的拉坯成型。

Wu Yuqing took his son to run through all the fields, let his son know all kinds of clay, tell him the nature and use of all kinds of clay, let him see the goods first. And told him: the purple mud excavated from the mine, commonly known as "raw mud", mud like massive rocks, piled up in the open air, a little weathered, to be loose, and then crushed with a hammer crusher, pulverized with a wheel mill, the mud material through the 60 mesh screen (if the mud material is too thick, the production effort; If it is too fine, it is easy to stick to hands when making, and the shrinkage rate after firing is large). After wet water, it will become the cooked mud material for making billet.

Mud refining is the first process of making zisha clay. The process of mud refining is detailed and complex, and pay much attention to, after mining, weathering, batching, crushing, stale, mud and other tedious processes. From the moment of formal learning, Wu Yuqing took his son to start from scratch, step by step forward, a link a link of instruction.

Mud refining can be generally divided into two kinds: manual mud refining and mechanical mud refining. Wu Desheng ancestral has been manual mud refining, not mechanical mud refining. Manual refining mud first of all to bowel basking mud. Generally, after the clay is mined from the mine, it has to go through 3 to 6 months of natural weathering. Through the wind and rain, the hard clay ore will be loose and easy to be crushed. At the same time, the rain will also wash away part of the soluble salt and other minerals that are not useful for pottery, thus improving the purity of the clay. Then put the good clay into the water and stir slowly, so that the clay melts into mud. Then is the slurry, take a large sponge on the bamboo flat, let the mud through the sponge, filter out the debris, impurities, get clean and fine mud. The filtered mud is then deposited and the surface water drained off, resulting in a perfectly fine mud. Then the drying intestine to water, will be completely fine mud stacked on the platform to dry, until the edge of the mud installed grain, surface has no water when the most appropriate. This is the time to soften the clay. Kneading mud is very troublesome, first use a stick to beat mud, the purpose is to loose the mud formed after a series of processes, and then like a face, constantly rub with the hand, remove the pores in the mud, so that the texture of the mud is more delicate, "raw mud" after "stale" become available to make pot "cooked mud", only to get the final used to do pottery clay.

The purple sand mud particles of manual mud are spherical, varying in size, rich in content, and dense in distribution, just like many balls of varying volume squeezed together. Then after a period of stale treatment, plasticity can be greatly increased, this treatment process can make thin mud strips, mud pieces stand up and withstand beating, these steps are also the most important premise for the production of perfect ware.

The sand material for making zisha pottery is "practiced" and then the production begins. The clay is first shaped. The shape of pottery is dry and varied, from vases several meters high to delicate bowls, thin bottles and bowls as thin as cicada wings. The modeling of mud billet requires four processes, such as clay plate forming, hand engineering, wire rod forming and manual drawing.

The clay tablet is formed with the most commonly used tool - clay rolling rod. Place the desired amount of mud onto a flat bottom plate and roll out the mud using a mud rolling stick, starting at the center of the mud block, as if rolling out dough. The size of the mud sheet, preferably greater than the size of the required material, thin thickness to meet their own needs. For the control of thickness, the wood strips of known thickness can be placed on the mud side as a reference. When the clay board is dry to a certain extent, cut a large rectangular clay board. Then cut out a small rectangular clay tablet and a round clay tablet according to the required size, and trim the sides of the clay tablet with a blade. Then the rectangular mud board and the circular mud board edge stand up into a cylindrical shape, remove the excess mud after bonding. After forming, air to a certain extent, and then paint a variety of patterns on the surface. Then hand grip. In pottery forming techniques, freehand is the most basic method. According to their own needs to knead animal modeling, character modeling, but also with the help of a sculptural knife to carve, sketch, etc. When holding, pay attention to the selection of mud hardness should be appropriate. Mud is too dry to form or will crack after forming, on the contrary, easy to uniform after forming.

Until Wu Hailong will grasp the essentials of manual control, Wu Yuqing while operating, while teaching him methods. The first is the fixation of mud. First, a certain amount of water is rubbed on the turntable of the billet drawing machine, and a sufficient amount of mud is smashed down and fixed at the center of the disc. After the mud is fixed on the turntable, apply appropriate amount of water on the mud ball, open the switch of the casting machine, and press the mud ball firmly with both hands. Then it is pureed on the turntable of the drawing machine. Tell him: even after the kneading pressure of the soil, in the use of the billet machine pull, there will be pores and hard clay, so still can not directly pull billet. Therefore, before forming, it is necessary to eliminate the air in the mud and the soft and hard mud particles. When doing mud, adjust the height of the drawing machine and its own sitting position, and then use the elbow joints of both arms against the inside of the knee joint of both legs to keep the hands stable. Hold the outer wall of the mud block with both hands and press the mud together. In this case, the mud will naturally rise under the force. At this time, use both hands to evenly hold the mud column upright and high, and make the mud column gradually coarser from top to bottom. Do this two or three times to completely squeeze the air out of the mud.

Wu Yuqing then tells the dragon how to center: the right index finger and thumb together, the left thumb out, against the right index finger and thumb. Hold the mud in the palms of your hands until the mud is pulled into a small volcano with a flat top. At this point you can open the ring. Protect the mud column with the left hand, insert the mud body with the right thumb from the center of the flat top of the mud column downward, and ensure the rotation of the billet machine at the same time, and slowly open the "hole" with the thumb.

The next step is molding. As the "hole" gradually opened, it began to change a variety of techniques to pull bad, repair. For example, we can put all four fingers of one hand into the "hole" and leave the thumb in the outer wall of the body. As the body rotates on the wheel, we can pull it up and out to bulge its "belly". If you want to bulge out of the "belly" gradually shrink back, you can use the two jaws of the hands to protect the "belly", and then slowly uniform inward force, at the same time, lift up the mud column, you can achieve the purpose of contraction. But no matter what you do, you should keep your hand steady. This is the "hand along with the mud, mud readily change" amazing natural work of drawing forming.

在坯体成型并确定了陶口的大小后, 要进行收口的工序。最后是取坯体。这一步骤就运用到了割线。左右手拉紧割线, 拉紧的割线水平置于坯体底部与转盘的粘合处，与坯体底部边缘相切，然后转动转盘，这样，割线就将环体从转盘割离了开来。吴余清叮咛海龙：操作一步，一定要注意在拉坯的整个过程中，双手的用力一定要均匀，否则泥柱就会倾斜；不同的手法运用时，手型一定要稳，因为处于拉坯过程的陶泥湿滑，形随手动，手型的不稳定直接影响到坏体外形的塑造，进而会影响到坏体的稳定，可能出现倒塌。

After forming the blank body and determining the size of the pottery mouth, the process of closing the mouth should be carried out. Finally, take the blank body. This is where the secant line comes in. The left hand and right hand pull the secant line, the secant line is placed horizontally at the bottom of the blank body and the glue of the turntable, and the bottom edge of the blank body is tangent, and then turn the turntable, so that the secant line will be cut off from the ring from the turntable. Wu Yuqing reminded Hailong: One step in the operation, we must pay attention to the entire process of drawing, both hands must be uniform force, otherwise the mud column will tilt; When different techniques are used, the hand shape must be stable, because the clay in the process of drawing is slippery and the shape moves with each other. The instability of the hand shape directly affects the shape shaping of the bad body, and then affects the stability of the bad body, which may collapse.