Inheritance, Innovation and leap-over, Let National Culture Shine -- A century-old Record of Inheritance of Purple Sand Pottery in Wumen, Yixing (6)

中国艺星网/编发/愉快

Chinese art star/editor/happy

陶容器的烧成过程一般分为四个阶段:

The firing process of pottery vessels is generally divided into four stages:

第一阶段是蒸发期，也叫预烧期。这一阶段是低温阶段，温度升到 600℃止。主要是排除坯体上的残余水分。

第二阶段是氧化期。温度为600℃到 1000℃之间。这一阶段包括氧化升温期、底火保温期两个阶段。氧化升温阶段中，硫化物、碳化物氧化成气体，并且和有机物的碳氧化气体一同排出坏体外，900°C到940°C之间是低火保温期阶段，这阶段升温要慢，目的是使残存的结晶水、有机物、碳素和气泡缓慢而安全地排除干净。

第三阶段是还原期。温度升至1000°C到1300°C。此阶段包括强还原期、弱还原期。主要目的是使三价铁还原成二价铁、釉料完全玻化熔融、还体变硬并出现玻璃状、还体内生成莫来石结晶。1270℃至1300℃ 为高温保温期，可使窑内上下左右温度一致，还体完全硬化。

第四阶段是冷却期。温度要从 1300℃降至 80℃，期间要缓慢降温，1300℃到800℃是极冷阶段，由于作品还处在熔融状态，所以不易开裂，但要均匀冷却。800℃到400C是缓冷阶段,冷却均匀, 如果冷却太快. 作品会出现炸裂现象。400℃到80℃ 则可以快冷。

烧窑结束后，开始检验产品。成品是不是一件完好的作品，最后的一道关口就是检验。检验的方法就是看、摸、听，及时的看作品有无明显的变形或开裂，口部是否规范，釉面有无脱落或“起泡”，釉色是否纯，是否有杂质或污点；然后用手触摸口、身、底是否有粗糙、划手之感，如果有就应该及时技术处理。最后用金属棒或其他硬件东西轻敲陶品，听其声音是否清脆、悦耳，是否有破裂之声。

The first stage is the evaporation stage, also known as the pre-burning stage. This stage is the low temperature stage, the temperature rises to 600℃. It is mainly to eliminate the residual water on the billet body.

The second stage is the oxidation stage. The temperature is between 600℃ and 1000℃. This stage includes two stages: oxidation heating period and primer insulation period. In the oxidation heating stage, sulfide and carbide are oxidized into gas, and carbon oxidation gas of organic matter is discharged together in the body. Between 900°C and 940°C is the low fire insulation stage. The temperature of this stage is slow, so that the remaining crystal water, organic matter, carbon and bubbles are slowly and safely eliminated.

The third stage is the reduction stage. The temperature rises to between 1000 and 1300 degrees. This stage includes strong reduction period and weak reduction period. The main purpose is to reduce the ferric iron to ferric iron, the glaze completely vitrified and melted, the body hardened and appeared glassy, and the body generated mullite crystals. 1270℃ to 1300℃ for high temperature insulation period, can make the kiln up and down about the same temperature, but also completely hardened.

The fourth stage is the cooling off period. The temperature to drop from 1300℃ to 80℃, during the slow cooling, 1300℃ to 800℃ is an extremely cold stage, because the work is still in a molten state, so it is not easy to crack, but to uniform cooling. 800℃ to 400C is the slow cooling stage, cooling evenly, if cooling too fast. The work will burst. 400℃ to 80℃ can be fast cold.

After the kiln is finished, the product is tested. Whether the finished product is a good work, the final pass is the test. The method of inspection is to see, touch and listen, in time to see whether the work has obvious deformation or cracking, whether the mouth is standardized, whether the glaze is falling off or "foaming", whether the glaze is pure, whether there are impurities or stains; Then touch the mouth, body and bottom of the hand whether there is rough, rowing feeling, if there should be timely technical treatment. Finally, tap the pottery with a metal bar or other hardware to listen to whether the sound is crisp, pleasant, whether there is a crack.

经过几年的刻苦努力，吴海文精准掌握了紫砂陶器的全部工艺。从选土到炼泥，从制坯到彩绘，从雕刻到烧炼，样样精通，颇具学养和功力。但敏而好学、好学不倦、求知若渴、皓首穷经的吴海龙根本不会满足现有的学习成效，不会停止他继续学习的步履。在此期间，他不但刻苦认真地师从严父，还虚心的向当地一些有名望的紫砂名师请教学习，曾受到紫砂届诸多名师的悉心指导。在父亲的教导下，在宜兴多名紫砂名师的悉心指导下，在悠悠漫长的学艺过程中，吴海龙奠定了扎实的紫砂功底，创作和理解也颇具学养和功力。

学而不厌的吴海龙不仅孜孜不倦地虚心向今人学习，他更重视向古人学习。百年吴德盛，百年金鼎，留下了宝贵的金鼎紫砂文化，留下了诸多的紫砂精品。吴海龙家中珍藏了许多传世名壶，从清代的陈鸣远、邵大亨到现代、当代的任淦庭、吴云根、裴石民、王寅春、朱可心、顾景舟、蒋蓉等等。得天独厚的文化资源和古董资源，给吴海龙的学习和研究创造了得天独厚的条件。祖上传承下来的名壶常常在吴海龙的手上把玩，把玩其实就是学习、琢磨和探索。他一头埋进底蕴深厚的紫砂文化之中，钻进了浩瀚的祖宗遗存之中，潜心研究祖上传下来的各种紫砂工艺，如饥似渴地钻研、领悟和学习，从中汲取先辈们的精华，从而激发自已的创作灵感，从家藏老壶中传承并创新。

他从家中珍藏的历代名家的作品中汲取精华、反复揣摩，不断开悟：

壁瓶，又称轿瓶、挂瓶。为诸多瓶式的一种，以挂于壁面而名，又称“轿瓶”、挂瓶。器型为常见花瓶、尊等竖部的一半，靠壁一面平坦有孔，以利于悬挂于墙壁上，做家居装饰之用。壁瓶的造型为常见花瓶竖剖的一半，正面鼓圆，背面平坦。图中所示紫砂壁瓶，通高20.5厘米，正面观看与常见花瓶无异，长圆腹，收颈，束底，敞口，圈足，比例协调优美，背面则十分平坦，颈部有一小孔，便于悬挂墙壁之上，因壁瓶使用的时间太久，瓶身出现了鸡爪纹。

吴德盛紫砂壁瓶是当年吴德盛的一款工艺特殊的紫砂陶器。下方落天圆地方印款两枚，椭圆印章为：吴德盛制，方章内容模糊待考。这件壁瓶用料精选团泥，砂质细腻匀净，发色古雅，因长年使用而表面光润。壁瓶腹部陶刻山石细草，山石奇峻，瘦透空灵，丛丛细草伴石而生。刻者刀法精熟干练，深刻细琢轻挑快走，意趣横溢。石草旁有小字：蒲石延年，落款：跂陶氏刻。

After several years of hard work, Wu Haiwen accurately mastered all the techniques of zisha pottery. From the selection of soil to the refining of mud, from billet to painting, from carving to firing, proficient in everything, quite learning and skills. But sensitive and studious, tireless learning, thirst for knowledge, Haohailong Wu simply will not meet the existing learning results, will not stop his steps to continue learning. During this period, he not only studied hard and earnestly from his father, but also humbly consulted and learned from some famous local teachers of Zisha. He had been carefully guided by many famous teachers of Zisha. Under the guidance of his father and under the careful guidance of many famous purple sand teachers in Yixing, Wu Hailong has laid a solid foundation of purple sand skills in the long process of learning art, and also has a lot of learning and skills in creation and understanding.

Wu Hailong not only tirelessly humbly learn from the present, he paid more attention to learning from the ancients. One hundred years Wu Desheng, one hundred annuity tripod, left a precious golden tripod purple sand culture, left a lot of purple sand boutique. Wu Hailong home collection of many legendary pot, from the Qing Dynasty Chen Mingyuan, Shao Tyong to modern, contemporary Ren Ganting, Wu Yungen, Pei Shimin, Wang Yinchun, Zhu Kexin, Gu Jingzhou, Jiang Rong and so on. Unique cultural resources and antique resources, for Wu Hailong's study and research to create unique conditions. The famous pot passed down from ancestors is often played in Wu Hailong's hands. Playing is actually learning, pondering and exploring. He immersed himself in the profound purple sand culture and the vast remains of his ancestors, devoted himself to the study of various purple sand techniques handed down by his ancestors, and eagerly studied, understood and learned from them, thereby inspiring his own creative inspiration and inheriting and innovating from the old pot in his home.

He absorbed the essence of the works of the great masters of the past dynasties in his home, deliberated over them, and became enlightened:

Wall bottle, also known as sedan bottle, hanging bottle. It is a kind of bottle, which is hung on the wall, also known as "sedan bottle" and hanging bottle. It is half of the vertical part of common vases and statues, and has a flat hole on the side of the wall to facilitate hanging on the wall for home decoration. The shape of the wall bottle is half of the common vertical profile of the vase, with the front drum round and the back flat. The purple sand wall bottle shown in the picture is 20.5cm high. The front view is the same as common vases. It has a long round belly, neck, bottom, open, and foot circle, and the proportion is beautiful.

Wu Desheng Purple sand wall bottle is a special process of Wu Desheng purple sand pottery. Below the sky round place printing style two, oval seal is: Wu Desheng, the content of the square seal is vague. This wall bottle is made of finely selected clay, with fine and uniform sand, antique hair color, and smooth surface due to years of use. Wall bottle belly pottery stone fine grass, stone strange, thin and ethereal, clusters of grass with stone. The cutter is skillful and skillful, deep and fine cut and light pick and go fast, full of interest. Stone, the grass next to the small print: pu Shi Yannian, inscribe: Qi dow.

据资料记载，壁瓶最早出现在明代神宗万历年间，壁瓶的出现，深得明代藏家和文人雅士的青睐，那时的睡床有顶有柱，壁瓶既可挂于墙上，也可挂于床柱。壁瓶便成为当时高端人士家中饰品亮眼的标识。明代剧作家高濂在他于万历十九年所刊行的养生专著《遵生八笺》一书中对壁瓶作出如此的赞许：“四时插花，人作花伴，清芬满床，卧之神爽意快，冬夏两可。”到了清代，壁瓶的身价更为高贵，开始出现在清代的皇宫。北京故宫博物院中至今还有清代紫砂壁瓶收藏。

山水碑文 四方倭角贯耳瓶是吴德盛的遗存宝物。该器为陈设佳器，四方倭角，平口束颈，腹圆弧如悬胆，造型规整而线条优美，两侧贯耳呈方形，简雅端方。一面刻高山流水瀑布，刀法流畅，构图精美，山林树石似有皴法的艺术感，有文“枫林飞瀑”，配以段泥发色，更有山有风来，水有声起的引人入胜之感。另一面刻“云峰碑文”，刻字秀雅隽永。古意氤氲，文风习习，令人观之忘俗。山水碑文 四方倭角贯耳瓶底款刻有：吴德盛制铭：云峰碑文 字右西峰西东字大小不一载金石志中 惟少栖息于此 郑公手书八字 阳羡歧陶镌 吴氏 枫林飞瀑 时纪丁巳孟秋之月 歧陶画刻 陶氏。

According to records, the wall bottle first appeared in the Ming Dynasty Shenzong Wanli period, the wall bottle appeared, deeply favored by the Ming Dynasty collectors and literati. At that time, the sleeping bed had a top and a column, and the wall bottle could be hung on the wall or the bed post. The wall bottle became a bright symbol of high-end household ornaments at that time. Gao Lian, a playwright of the Ming Dynasty, praised the wall bottles in his health monographer Zunsheng Bajian published in the 19th year of Wanli: "Flowers are arranged at four o 'clock, people are the companions of flowers, the bed is full of Qingfen, the sleeping spirit is refreshing, and the summer and winter are not clear." In the Qing Dynasty, the value of wall bottles became more noble and began to appear in the imperial palace of the Qing Dynasty. The Palace Museum in Beijing still has a collection of purple sand walled bottles from the Qing Dynasty.

Landscape inscriptions in the four corners of the wall ear vase is Wu Desheng's remaining treasure. The device is a good display, four sides of the wall, flat mouth neck, abdominal arc such as hanging gall, regular shape and beautiful lines, both sides of the ear is square, simple and elegant end. One side of the carving of mountains and waterfalls, the knife technique is smooth, the composition is exquisite, the mountains and trees and stones like texturing method of art, there is the text "maple forest waterfall", with a section of mud hair color, more mountains and wind, water sound from the fascinating sense. The other side engraved "Yunfeng inscription", engraved elegant meaningful. Ancient dense, literary style, the view of forget the vulgar. Landscape inscriptions Sifang Wajiao Guan ear bottle bottom engraved: Wu Desheng inscriptions: Yunfeng Stele inscription right Xifeng Xidong characters of different sizes Jin Shi Zhi but inhabits here Zheng Gong handwriting eight characters Yang Xianqi pottery engrave Wu Fenglin waterfall, Ji Ding Si Meng autumn moon pottery engraved Tao.

紫砂以茶壶为大宗，而任淦庭大师刻制的一对吴德盛制四方双色筒瓶则为陈设佳器，其造型一致，均为方口，直壁深腹，底承四足，造型规整而线条优美，非紫砂大师所不能为也。二者均以书画相配为饰，在相对的两面绘折枝花草，笔法流畅，构图精美，枝叶山石似有皴法的艺术感，譬如其中一筒瓶于花卉上方留白处落“阜长任熏写”，并“漱石氏镌”，旁“陶”字印;余下壁面则题书诗文“万叠云山供画本，一庭修竹领春兰”、“霜毫飞出玉玲珑，骨格天然高士风。闻说岭头春信早，谁知先到墨林中。跋陶氏并刻”、“呼龙畊烟种瑶草，招鹤下云眠古松。壬戌夏月跋陶”、“亲向罗浮伴月痕，至怜花尽冷霜根。黄花渐逐西风老，待传云香为返□跂陶。”字迹隽永。此对筒瓶器底均有“吴德盛制”减地阳文篆书款。

Zisha takes teapot as the bulk, while a pair of Wu Desheng quadrional two-color cylinders carved by Master Ren Gan Ting are the best furnishing device. Their shapes are the same, with square mouth, straight wall and deep belly, bottom bearing four feet, regular shape and beautiful lines, which are not impossible for Zisha master. Both of them are decorated with matching calligraphy and painting, and the folding branches and flowers are painted on the opposite two sides. The brushwork is smooth and the composition is exquisite. The branches and leaves and rocks like texturing method of art. The rest of the wall is the title of the book poetry "Wan stack Yunshan painting book, a court repair bamboo collar Chunlan", "frost millillion fly out of jade Linglong, bone natural Koshifeng. Smell said Ling head spring letter early, who knows the first to Molin forest. L 'envoi dow and engraved ", "dragon frank smoke yao grass, recruit under the crane YunMian ancient pine trees. Renxu summer month postman Tao ", "pro to the Luo Fu with month marks, to flow flowers as cold frost root. Huanghua gradually by the west wind, old YunXiang for return/Qi tao." The handwriting is very good. This pair of bottle bottom has "Wu Desheng system" reduced digyang seal script.

紫砂陶刻文字的内容与形式除了要与器物相谐相和外,还需要展现出一种清新高雅的情怀,尽量不以粗鄙流俗的文字内容入刻。形式章法也需要和器物、器形相得益彰。跂陶刻制的双色诗文瓶别具一格。

In addition to harmonizing with the objects, the content and form of zisha pottery inscription also need to show a fresh and elegant feelings, and try not to use vulgar text content into the inscription. Form rules also need to complement objects and shapes. Qi pottery pieces of double color poetry bottles of having a unique style.

山水诗文陶刻是中国传统手工艺品中最经典的技法之一,始终占据紫砂器皿的装饰设计的重要地位。制作而成的作品皆古色古香,稳重耐看。这一对紫砂帽筒潜陶刻紫砂山水诗文竹节帽筒和任淦庭、徐秀堂刻制的纤筒（对组）。可谓是民国时期紫砂陶刻之精品。

As one of the most classic techniques in Chinese traditional handicrafts, landscape poetry and prose pottery carving has always occupied an important position in the decoration design of purple sand vessels. The works produced are ancient, stable and durable. This pair of purple sand hat tube is carved with purple sand landscape poetry and bamboo knot hat tube and the fiber tube carved by Ren Ganting and Xu Xiutang (pair). It can be said that the Republic of China period of fine purple sand pottery.

朱可心制、任淦庭刻的大圆竹壶很具特色，他认真地进行琢磨和研究，悟出其中精髓。

The large round bamboo pot made by Zhu Kexin and carved by Ren Ganting is very characteristic. He seriously carries on the consideration and research and realizes the essence of it.

顾景舟 任淦庭刻制的大石瓢壶：

Big stone ladle Kettle carved by Gu Jingzhou Ren Ganting:

王寅春制、亚明画、任淦庭及徐秀棠刻紫泥亚明四方壶：

Wang Yinchun made, Yaming Painting, Ren Ganting and Xu Xiutang carved Purple Clay Yaming Quad-pot:

吴汉文、任淦庭合作刻制的人物笔筒和铺首方尊：

Figure pen holder and head square statue co-carved by Wu Hanwen and Ren Ganting:

吴汉文、任淦庭刻制的金鼎商标款紫泥粉浆赏瓶和任淦庭刻“松鹤延年”诗文大花瓶：

The Golden Ding trademark Purple Clay Paste Appreciation Bottle carved by Wu Hanwen and Ren Ganting and the large vase carved by Ren Ganting with the poem "Songhe Yannian" :

冯桂林制、任淦庭刻、吴汉文画的《传炉》和朱可心制、任淦庭刻的大圆竹壶：

Handing Down the Furnace by Feng Guilin, engraved by Ren Gan, painted by Wu Hanwen, and large round bamboo pot by Zhu Kexin, engraved by Ren Gan:

储铭制、任淦庭刻 大牛盖洋桶壶和任淦庭 刻绘棱形花盆：

Chu Ming System, Ren Ganting carved bull cover bucket pot and Ren Ganting carved prismatic flower Pot:

范锦甫制、吴汉文刻漱石绘柿子壶和朱可心制任淦庭刻竹鼓壶：

Fan Jinfu made, Wu Hanwen Carved Sushi Painted persimmon Pot and Zhu Kexin made Ren Ganting carved bamboo drum Pot:

任淦庭制特大花盆和通景花鸟图卷缸

Ren Ganting large pot and Tong Jing flower and bird scroll cylinder

任淦庭刻“松鹤延年”诗文大花瓶：

Ren Ganting carved a Large Vase of poems titled "Pine Crane Lasting Years" :

土地孕育了生命，土与火的结晶，构成了中国古老文明的象征。祖传的古董栩栩如生，风采照人，神韵浓郁，散发出恒久的魅力。吴家珍藏古董琳琅满目，熠熠生辉。面对每件具体的作品吴海龙都要认真观察，细细品味，从传统的工艺造型认真分析，研究每一件器形的结构，根据造型艺术的理论和法则，研究其由点、线、面组成的主体与附件如壶的嘴、口、底、足、盖的子等等的配置关系，各个方面的比例，外轮廓线的结构上的缓冲过渡，明暗面的技法处理，空间与实体所形成的虚实对比等等认真的推敲，

通过反复推敲，吴海龙不仅从中看到了很多门道，学到了很多技巧，更让他悟出了其中原理，其中的文化内涵：

紫砂壶不只是技艺卓绝，还有其丰富的内涵，更重要的是文化,是深厚的传统文化，是深厚的艺术魅力和感染力。

紫砂壶制作技术是物质的基础，艺术是精神所在。紫砂壶在技术和艺术之间，虽两者含意不同，但两者都那么巧妙的融为一体，不可分割。没有精湛的技艺平和高超的制作手法，就不会有很强的表现力和感染力。紫砂壶的陶刻装饰艺术，集诗词、书画、文学、繁刻、艺术于一体，更进一步地把紫砂壶艺推向高文化层次。镌铭的内容与茶切、壶切、水切、形切、装饰相切，茶句，词句从论茶延伸到哲学、伦理、道德、知识等领域，这不仅升华装饰层次，而深缝的文化内涵，渗透在紫砂壶艺中提高了品位，使人值得珍赏和珍藏。

紫砂壶登大雅之堂,它与民族习性、生活习惯、礼仪接待和谐融洽，它不仅保值、增值的体现了社会发展各个历史时期的艺术价值和社会地位,同时也饱含了紫砂艺壶的文化、文物价值。

通过长时间对吴家浩瀚品牌的器型、底足、款识、陶刻、画功、发色的探索与学习，先辈的精神和气韵穿越千百年的时光隧道，渗透到了年轻的吴海龙身上。他悟到了很多，学到了很多，紫砂技艺突飞猛进。他严谨的制作工艺，高雅而古典的设计理念，让紫砂陶作品具备了很高的艺术含量，制作出的作品能充分展示他扎实的功底，他设计制作的紫陶作品也出版于百年无锡名人的图谱。

The land breeds life, the crystallization of earth and fire, which constitutes the symbol of ancient Chinese civilization. Ancestral antiques are lifelike, elegant style, rich charm, emitting permanent charm. Wu's collection of antiques shines brightly. In the face of each specific piece of work Wu Hailong should observe carefully, taste carefully, from the traditional process modeling analysis, study the structure of each piece of ware shape, according to the theory and law of plastic arts, study its point, line, surface composed of the main body and accessories such as pot mouth, mouth, bottom, foot, cover of the sub configuration relationship, the proportion of all aspects, The buffering transition on the structure of the external contour line, the technique processing of the light and dark surface, the contrast between the virtual and the real formed by the space and the entity, and so on.

Through repeated deliberation, Wu Hailong not only saw a lot of ways and learned a lot of skills, but also understood the principle and cultural connotation:

Zisha teapot is not only excellent technique, but also its rich connotation. More importantly, it is culture, profound traditional culture, and profound artistic charm and appeal.

Purple clay pot production technology is the basis of material, art is the spirit. Between technology and art, although the two meanings are different, but the two are so artfully integrated, inseparable. Without exquisite skills and superb production techniques, there will be no strong expression and appeal. The decorative art of pottery carving of Zisha teapot integrates poetry, calligraphy and painting, literature, numerous engravings and art, further pushing the art of Zisha teapot to a high cultural level. The inscribed content is relevant to tea cutting, pot cutting, water cutting, shape cutting and decoration. Tea sentences and words extend from the discussion on tea to philosophy, ethics, morality, knowledge and other fields, which not only sublimates the decoration level, but also improves the cultural connotation of deep seam, penetrates into the purple clay pot art to improve the taste and make people worth precious appreciation and collection.

Purple clay pot on the elegant hall, it and national habits, living habits, etiquette and reception harmony, it not only value preservation, value added reflects the social development of various historical periods of the artistic value and social status, but also full of purple clay art pot of cultural value, cultural relic value.

Through the long-term exploration and learning of Wu's vast brand of style, foot, knowledge, pottery carving, painting skills and hair color, the spirit and charm of our ancestors penetrated into the young Wu Hailong through thousands of years of time tunnel. He realized a lot, learned a lot, purple sand skills by leaps and bounds. His rigorous production process, elegant and classical design concept, so that the purple clay works have a high artistic content, the production of the works can fully show his solid skills, the purple pottery works he designed and produced are also published in the 100 years of Wuxi celebrities atlas.

鲲鹏展翅

1979年，20岁的吴海龙经过五年的刻苦学习，实践历练，正式出道成师。开始自立门户，制作紫砂茶具。一出道，吴海龙就以极为严谨的态度去完成每一副作品，所有作品均以天然原材料为主，他从家藏老壶中汲取精髓，采用吴家的传统工艺和创新技法，在传承中不断创新，将高雅古典与现代文化融合，突出其精湛的技艺，自成一体，独创吴氏重传统更重创新的风格。其壶其技其艺更显超然，受到紫砂同行和前辈的赞叹。

吴海龙不怕吃苦，不怕寂寞，心无旁骛，认真学艺。身居简陋的小宅子里，整天用小锤子捶泥。阵阵捶泥声节奏分明，悦耳动听。工作虽枯燥寂寞，但海龙却乐在其中。他勤奋刻苦，埋头钻研。日复一日，废寝忘食，经常通宵达旦。忘却了暮色深沉的夜色，一点灯火伴天明，几声鸡啼驱疲劳。

In 1979, Wu Hailong made his debut as a teacher at the age of 20 after five years of hard study and practice. He started his own business, making purple clay tea sets. Since his debut, Wu Hailong has been very rigorous in completing each piece of work. All his works are mainly made of natural raw materials. He draws the essence from the old pot in his family, adopts the traditional techniques and innovative techniques of Wu family, and constantly innovates in the inheritance, integrating elegant classical and modern culture, highlighting his exquisite skills and creating his own body. Its pot its technology its art more transcendent, by the purple sand peers and predecessors praise.

Wu Hailong is not afraid of hardship, not afraid of loneliness, without distractions, serious learning. Living in a humble cottage, pounding mud with a little hammer all day. The sound of pounding mud is rhythmically distinct and pleasing to the ear. The work is boring and lonely, but the sea dragon enjoys it. He is diligent and immersed in study. Day after day, forgetting to eat or sleep, often pulling all-nighters. Forget the deep twilight of the night, a light fire with the dawn, a few chicken crow drive fatigue.

缘于底蕴深厚的家传文化和孜孜不倦的勤奋努力，吴海龙很快成为一个天才的鉴赏家和设计家。他设计的紫砂壶外形既尊重传统，又“方非一式，圆不一相”，突出变化，外形既古雅时尚、又朴实自然，别具一格。其作品寓意于壶，还魂于砂，严谨而不泥古，典雅也趣于天然。1992年，吴海龙设计的紫砂壶获的了轻工部中国工艺美术协会颁发的“陶瓷美术设计”奖。

为了更好的传承中国紫砂百年老店品牌，1997年9月，吴海龙自己创办了一个藏紫阁艺术馆。有了艺术馆的展示，他的紫砂壶艺作品便有了展示的窗口。

Thanks to his profound family heritage and tireless hard work, Wu soon became a talented connoisseur and designer. The shape of the purple clay pot he designed not only respects the tradition, but also "square is not a style, round is not phase", highlighting the change, the shape is both quaint fashion, simple and natural, unique. His works implied in the pot, the spirit in the sand, rigorous but not ancient, elegant and natural interest. In 1992, the purple clay pot designed by Wu Hailong won the award of "Ceramic Art Design" issued by the China Arts and Crafts Association of the Ministry of Light Industry.

In order to better inherit the brand of China's century-old purple sand store, Wu Hailong founded a Zige Art Museum in September 1997. With the exhibition in the Art Museum, his purple clay pot art works have a window to display.