紫砂壺藝名家王寅春與顧景舟之“圓器”造形風格研究

本研究以當代宜興壺藝名家王寅春、顧景舟爲研究對象，採田野調查法及比較研究法交互進行。二人從藝均超過六十年，皆成長在戰亂變革的年代。從比較的觀點，將個人、作品、時間等三方面交互探討，經觀察發現：1.1956年至1965年間，即戰後社會重整之際，共同出現數量高峰現象。2.在1966年至1970年間，即「文化大革命」時期，數量同時明顯減少。此外，王氏、顧氏皆以「圓器」最擅長，尤以顧景舟數量爲最多，經觀察發現：1.在造形結構方面，二人皆以側把式爲主。王氏以筒形身筒搭配壓蓋及三彎嘴形式出現；顧氏以球形身筒較多，配以壓蓋、一彎嘴或二彎嘴形式出現。2.表現形式方面：二人皆以單色泥保留紫砂泥的表面肌理。王氏以明確有力的線條，表現出壺體的力度；顧氏則以細膩和緩的線條，表現出整體的柔順秀氣。王氏以調砂技法裝飾，顧氏則常以陶刻手法將書畫家作品留在壺上。

關鍵字

宜興；紫砂壺；王寅春；顧景舟

並列摘要

In this research, the objects of study are the contemporary Yixing pot masters, Yin Chun Wang and Jing Zhou Gu, and it has been undertaken interactively by Field Survey and Comparative Method. Both of them, their art experiences were longer than 60 years, and grew up in the turmoil of war. From the comparative standpoint, taking three aspects: individuals, work, and time one another, the research detection are: 1. Between 1956 and 1965, as Post-War Reconstruction time, their work amounts appeared in peak status. 2. From 1966 to 1970, as 'Cultural Revolution' period, both work quantities decreased obviously. Additionally, Wang's and Gu's all the most excelled at 'Round Teapots'; especially, Jing Zhou Gu had the highest creations. By observation, the study supposed that: 1. In terms of formative construction, two people took side-handle as the principal formation. Wang’s made tubular body with a lid and three-bend spout to appear his work; Gu's used globular body with a lid and one-bend or two-bend spout to display the craft. 2. In a form of expression, two of them chose monochrome clay to reserve the surface texture of purple clay. Wang's produced clear and strong lines to represent power of teapot body; Gu's adopted delicate and soft lines to express mild elegance of the entirety; Wang's applied the clay-blended method to decorate production; Gu's performed the pottery-carved technique to remain painting and calligraphy piece on the teapots.