中国艺术瑰宝紫砂界大师陈鸿寿——貔殏六方曼生壶

中国艺术瑰宝紫砂界大师陈鸿寿——貔殏六方曼生壶

陈鸿寿（1768～1822年），钱塘（今浙江杭州）人，书画家、篆刻家。字子恭，号曼生、曼龚、曼公、恭寿、翼盦、种榆仙吏、种榆仙客、夹谷亭长、老曼等。曾任赣榆代知县、溧阳知县、江南海防同知。其工诗文、书画，善制宜兴紫砂壶，人称其壶为“曼生壶”。书法长于行、草、篆、隶诸体。行书峭拔隽雅、分书开张纵横，独步有清一代。篆刻师法秦汉玺印，旁涉丁敬、黄易等人，印文笔画方折，用刀大胆，自然随意，锋棱显露，古拙恣肆，苍茫浑厚。为“西泠八家”之一。

英文翻译：

Chen Hongshou (1768 ~ 1822), a native 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".

陈鸿寿于艺术涉猎广泛，而且造诣极高，为著名的“西泠八家”之一。他的篆刻出入秦汉，绘画精于山水、花卉，书法以隶书最为著名。他的书法以隶书和行书最为知名，他的隶书清劲潇洒，结体自由。穿插挪让，相映成趣，在当时是一种创新的风格。他广泛学习汉碑，尤其善于从汉摩崖石刻中汲取营养，在用笔上形成了金石气十足、结体奇特的个人面目。笔画圆劲细插，如银画铁钩，意境萧疏简淡，雄浑瓷肆，奇崛老辣。陈鸿寿的隶书较之以往的隶书具有“狂怪”的特点，说明他有创新的勇气和才能,但在结字和章法上，用笔仍然属守古法,笔笔中锋，力透纸背。

英文翻译：

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.

陈鸿寿于金石书画以外，以设计紫砂壶最为人称道。是中国第二代紫砂壶大师的领军人物，清代中叶嘉庆、道光年间的陈鸿寿和杨彭年。主张制壶创新，因他倡导“诗文书画，不必十分到家”，但必须要见“天趣”。他把这一艺术主张，付诸紫砂陶艺。形成壶界两大贡献。第一大贡献，是把诗文书画与紫砂壶陶艺结合起来，在壶上用竹刀题写诗文，雕刻绘画。第二大贡献，他凭着天赋，随心所欲地即兴设计了诸多新奇款式的紫砂壶，为紫砂壶创新带来了勃勃生机。他与杨彭年的合作，堪称典范。现在我们见到的嘉庆年间制作的紫砂壶，壶把、壶底有“彭年”二字印，或“阿曼陀室”印的，都是由陈鸿寿设计、杨彭年制作的，后人称之为“曼生壶”。陈鸿寿使紫砂陶艺更加文人化，制作技术虽不如明代中期精妙，但对后世影响很大。他与当时的制壶名家杨彭年合作，由他或是他的朋友题铭，这种富于文人艺术的紫砂壶，以“曼生壶”知名于时，尤为后世宝爱。上海博物馆藏有三幅陈鸿寿的册页，构图相近，均以紫砂壶和菊花入画，画面简洁，清秀可爱，足见曼生嗜壶之癖。三幅画有相同的题识：“茶已熟，菊正开，赏秋人，来不来？”而此幅多附一段题识，强调杨彭年制壶之精妙，以及自己有制壶之癖，尤为难得。

英文翻译：

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.

本藏品为陈鸿寿老先生亲手所做貔殏八方曼生壶，藏品本身形态优美，符合他所制藏品风格及理念，接近于自然，立体感强，可谓对一无二，制作工艺复杂，难能可贵，充满大自然的生动情趣和人文气息，令人拍案叫绝；壶底署款为“阿曼陀室”，以刻名把中国传统绘画书法的装饰艺术和书款方式引入紫砂壶的制作工艺，使原来光素无华的紫砂增添了许多隽永的装饰情趣，也使紫砂具有了浓厚的书卷气，极大地提高了紫砂壶的艺术价值和文化价值，使紫砂壶成为真正的艺术品并进入艺术殿堂，这是陈鸿寿在紫砂艺发展史上建立的卓越功勋。此壶造型规整小巧，做工精湛，工艺处理极其到位，淋漓尽致，陶泥精细，包浆自然，保存完好，兼顾实用价值和收藏价值。造型朴实，色泽高雅动人，刻绘意趣美妙，是紫砂收藏的最好选择。

英文翻译：

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.