Chen Hongshou (1768 ~ 1822), a nat期货苏一刀ive of Qiantang (now Hangzhou, Zhejiang), a painter and calligrapher. The word Zi Gong, No. Man Sheng, Man Gong, Man Gong, Gong Shou, Yi Yu, Yum Xianli, Yum Xianke, Jia Gu Ting Chang, Lao Man, etc. He used to be the Zhizhi of Ganyu Daizhi County, Liyang Zhixian County, Jiangnan Coast Defense. His works of poetry, calligraphy and painting, and Yixing Zisha pots are well-made, and they are called "Mansang pots". Calligraphy is longer than lines, grasses, seals, and scripts. The book is steep and elegant, and the book is opened vertically and horizontally. The seal carving method is Qin and Han seals, bordering on Ding Jing, Huang Yi and others. The printed strokes are broken, bold with a knife, natural and casual, the edges are revealed, the ancient clumsy and wild, thick and thick. It is one of the "Xiling eight houses".
Chen Hongshou has extensive knowledge in art and his attainments are extremely high. He is one of the famous "Xiling Family of Eight". His seal carving was in Qin and Han Dynasties, his paintings are proficient in landscapes and flowers, and his calligraphy is best known as Lishu. His calligraphy is best known for Lishu and Xingshu. His Lishu is fresh and free, and he is free to form. It was an innovative style at the time to intersperse and move with each other. He studied Han steles extensively, and was particularly good at absorbing nutrients from the stone carvings of Hanmoya. He formed a peculiar personal appearance with a peculiar stone structure in his pen. The strokes are round and fine, such as silver painting iron hooks, the mood is small and simple, the porcelain is magnificent, and the rise is spicy. Compared with the previous official scripts, Chen Hongshou's official scripts have the characteristics of "crazy", indicating that he has innovative courage and talents, but in the use of knots and rules, the pen is still abiding by the ancient law.
Chen Hongshou is best known for designing clay teapots outside of Jinshi calligraphy and painting. He is the leading figure of China's second-generation zishahu masters, and Chen Hongshou and Yang Pengnian during the Jiaqing and Daoguang years of the Qing Dynasty. He advocates innovation in making pots, because he advocates "poetry, calligraphy and painting, don't have to be at home", but must see "day fun." He put this artistic proposition into purple sand pottery. Form two major contributions to the pot industry. The first major contribution is to combine poetry, calligraphy and painting with the pottery art of the purple sand pot, to inscribe poems with bamboo knives on the pot, and to engrave and paint. The second major contribution, he used his talent to improvise and design a variety of novelty clay teapots at will, which brought vitality to the innovation of purple clay teapots. His cooperation with Yang Pengnian is a model. The purple sand pots we have seen during the Jiaqing period, the pot handle and the bottom of the pot are printed with the word "Peng Nian", or the "Aman Tuo Room", which were designed by Chen Hongshou and made by Yang Peng Nian. It is called "Manson Pot". Chen Hongshou made Zisha pottery more literate. Although the production technology is not as subtle as the mid-Ming Dynasty, it has a great influence on future generations. He collaborated with Yang Pengnian, a famous pot maker at that time, and inscribed by him or his friends. This kind of purple sand pot rich in literati art is known as the "Manson Pot" and is especially loved by future generations. The Shanghai Museum has three albums of Chen Hongshou, all of which are similar in composition. They are all painted in purple clay pots and chrysanthemums. The picture is concise, beautiful and cute, which shows the craving for pots. The three paintings have the same title: "The tea is cooked, the chrysanthemum is blooming, the autumn is appreciated, will you come?" And this picture is accompanied by an additional title, emphasizing the exquisiteness of Yang Pengnian's pot making and his own pot making The hobby is particularly rare.
This collection is made by Mr. Chen Hongshou, the eighth hand-made pot made by Mr. Chen Hongshou. The shape of the collection itself is beautiful, which is in line with the style and concept of the collection he made. It is close to nature and has a strong three-dimensional sense. The vivid appeal of nature and the humanistic atmosphere make it awe-inspiring; the bottom of the pot is "Aman Tuo Room". The carved art of the traditional Chinese painting and calligraphy is introduced into the production process of the purple sand pot with the engraved name, making the original light. The unpretentious purple sand adds a lot of timeless decorative taste, and also makes the purple sand have a strong book spirit, greatly improving the artistic value and cultural value of the purple sand pot, making the purple sand pot a real work of art and entering the art hall, this is Chen Hongshou Outstanding achievements established in the history of purple sand art development. The shape of this pot is neat and exquisite, exquisite workmanship, extremely good craftsmanship, incisive and incisive, fine pottery clay, natural encapsulation, well preserved, taking into account both practical value and collection value. The shape is simple, the color is elegant and moving, and the painting is interesting and beautiful. It is the best choice for the purple sand collection.