早期实用紫砂壶值不值得收藏

开篇故事：听说王先生和姜先生为一把紫砂壶发生一些争议。

起因是王先生曾劝导姜先生买下一把紫砂壶。

然姜先生经过研究以及与部分藏友探讨后，认为这件器物并不值得收藏。

于是王先生欣然接手了这件器物并视为珍宝。

记者饶有兴味地与王先生进行了沟通，并看到了这件有争议器物的照片。

根据王先生提供的数据，这把壶口径11厘米、底径22.5厘米、高21.5厘米、腹周长83厘米，可谓是体型丰满而硕大。

那么两位先生的分歧究竟在什么地方以及这件器物究竟有没有收藏价值呢？四系紫砂壶分歧之一、这件器物是不是紫砂壶？这件器物一定是老物件大家都没有争议，但是在它究竟是不是紫砂壶的问题上产生分歧。

姜先生以及一部分藏友认为：其一，这件器物还不能算真正意义上紫砂壶，首要原因在胎土——此器物胎土质地较粗，更接近于日用陶，敲击的声音“仆仆”的，离我们共识的紫砂矿不能同日而语；其二便是这把壶的器形——过于硕大、朴实无华、无印无款，既不能沏茶泡茶也缺少文人气，与紫砂壶的要素、功能及其审美相去甚远。

四系紫砂壶（口沿和缺系处砖灰色的胎质）王先生则以为，在紫砂工艺发展的早期或者说萌芽期，就能利用精纯的紫砂矿是不可能的。

早期的胎土中泥沙比例与后期截然不同——泥多砂少，因此其胎土较为粗杂，甚至近似日用陶的缸胎是在情理之中的事情。

另一方面，烧制温度不高，也会使得器物呈现出砖红色（见图），声音沉闷。

但是经过仔细查看，会发现该器物的胎质里面还是含有未能溶解的云母类物质，与纯粹的陶土有天壤之别。

四系紫砂壶（底部）工艺制作更能说明问题。

其外在形象与当今壶式并无二致：桶形体、矮颈平口、六方形曲流、肩上对称分布四系。

该器物为手工制作，三段拼接——壶颈、折肩、壶底的拼接痕迹明显。

腹内切出三角形出水口，细察之后，居然能看到“推墙刮底”痕迹显著（见图），工艺上区别于一切陶或瓷的拉坯制作工艺，有着鲜明的早期紫砂壶制作特色。

底部可以清晰地看到炭火烧烤的痕迹（见图），或利用四系吊起、或垫底支烧，由此可以判断该器物是用来煮水煮茶的。

王先生诙谐并充满自信地说：你好好端详这把紫砂壶——它的外形就真真切切地告诉你它应有的定义；你再看它老气浑秋的模样，它有着历经数百年才能形成的润亮的皮壳；如果你拿它的包浆与明清紫砂壶做一对照，那种光泽只有紫砂壶才具有！分歧之二、这件器物属民俗用品，缺少文人审美王先生对以上提法不以为然。

他认为：紫砂器自宋代向明清发展、由简单往复杂渐变必然经历民俗民用到文人参与的过程，这是不争的事实。

一般来说，早期紫砂壶到当今紫砂壶的演变一定会经历体大到娇小、简陋到繁复的过程。

当早期的壶由民俗民用而起步，进而由明清文人参与进来进行设计和创作，于是诗书画印开始在茶壶上附着，人文价值和艺术欣赏性亦凸显出来。

于是收藏者便把现代审美意识固化起来，那些较早较粗制的紫砂壶就被贬之以缺少文人审美，这似乎有城市的白领儿女嫌弃乡下爹娘的味道。

当今紫砂壶收藏，如果按照制作年代来划分，一般分为明清紫砂壶、民国至文革以前以及现当代（改革开放后）三大板块。

相对于动辄数十万的明清壶，上世纪50年代和60年代初期的紫砂壶亦成为人们是投资和收藏的主要目标。

因为这些茶壶一般由老艺人手工制作，品质优良，工艺规范，更重要的是价格尚未攀升。

至近期，收藏者的眼光更关注到当代一些年轻的国家级工艺美术大师的身上，这些年轻的工艺大师的精品紫砂壶不仅泥料上乘，而且注重器物本身的审美，所以备受青睐。

然而我还是强调收藏或投资紫砂壶不仅要知晓紫砂壶的现代审美，更要了解紫砂壶的演变历史和文化背景。

早期紫砂壶并不是无审美可谈的，就拿这把壶来说，从造型学上来说，它平唇、短颈、折肩、丰满肩部向下逐渐收腹、平底内凹成圈足，腹部设六棱长流，肩部设两对穿系，内孔的三角形切口能看到速度和动感，折肩和底部的交接痕迹恣肆和淋漓，推墙刮底的平行线刚劲有力…细节虽然粗制，但整个器形浑厚饱满。

因注重实用的缘故，所以彻底废弃装饰，仅以柔和的线条和挺括的外轮廓给人留下深刻印象。

如果硬是要在它身上寻找装饰的话，也许口沿制成唇口、颈肩部一些弦纹、六棱的曲流等等都带有匠人的一丝丝追求。

虽然轻描淡写，但这种刚劲的美是霸道的！我无意于用不同风格和不同时代的器物做比拼，但收藏还是注重历史的，欣赏数百年前的器物显然需要我们具有穿越的审美目光。

分歧之三、这把紫砂壶有无投资价值早期紫砂壶与清紫砂壶显然是有收藏和投资价值的。

第一，它身上传递了数百年前的许多信息，包括它呈现出来的外观所提示的时代信息、遍身的制作痕迹让后人明了紫砂制作的沿革，它甚至在提示我们：这把紫砂壶的使用年代或许还是煮茶向冲泡茶过度的时期！第二，由于是民俗民用以及制作粗率，可以推想当年应有大量作品问世；但是正因为是民间使用，所以历经历史沿革，损毁当在情理之中。

虽然没有精确数据统计，但如果按照一般的逻辑推理，这样的存世紫砂壶与当代茶壶相比，其数量应该是少之又少。

第三，收藏文化是对历史的一种回顾，既要关注当下，也不能偏废历史。

这样历史久远的老壶想必是公私紫砂博物馆争相收藏的品种，即便是个人收藏，不管你喜欢还是不喜欢，当你积累到一定的量的紫砂器，一定会去追寻更加久远的品种，这也是系列收藏的必须。

第四，当今收藏市场，伪仿明清名家的壶，甚至仿造当代名家的壶比比皆是。

况且紫砂鉴定相比瓷器鉴定的难度有过之而无不及，因为紫砂以传世为主，无确切纪年、无出土痕迹，数百年来外形和纹饰变化不大，收藏者只能通过泥质、制作工艺、款识等去识别，很少有不上当的。

但这样一把早期紫砂壶呈现在那里，并且公然宣布：“我是明代的产品，没有人怀疑我的出身”。

你又何苦不把它揽入怀中呢！王先生最后调侃道：你有没有注意到自家天然气灶台上的不锈钢水壶？它跟眼前这把紫砂壶有多大的区别吗？如果将紫砂壶系上安装上软提梁，说不定还能放在炉台上烧开水呢！他认为，与姜先生的分歧主要表现在对紫砂壶定义的宽窄上，并没有太大的鸿沟。

记者后记：相比前不久苏富比拍下的动辄上千万甚至上亿的艺术品而言，这种数千、数万就可易手的艺术品似乎非常的微不足道了，但却是艺术市场的常态。

记者觉得此紫砂壶之争很有意思在于，其实不光是紫砂壶，扩大角度来看类似事件比比皆是，高古瓷市场不如明清瓷，高古玉市场不如明清玉，我们究竟该以什么角度来审视古代艺术品身上所传递下的历史信息？并非一时可解答之题，于是先提笔记下这一小插曲。

At the beginning of the story: it is said that Mr. Wang and Mr. Jiang as a teapot has some controversy. After Mr. Wang had to persuade Mr Jiang bought a teapot. However, Mr. Jiang through research and discussion with some friends, think it is not worth collecting artifacts. So Mr. Wang is pleased to take over the object and as a treasure. The reporter amused and Mr. Wang had to communicate, and saw the controversial photos of objects. According to the data provided by Mr. Wang, this pot diameter 11 cm, 22.5 cm in diameter, 21.5 cm high, 83 cm in the abdominalcircumference, can be described as plump and huge body. So what are the differences of the two places and the objects of the collection?Four teapotOne of the differences, these wares Is it right? Teapot?The objects must be old objects we have no dispute, but disagreement in it Is it right? Teapot on the issue. Mr. Jiang and a portion of the friends of Tibet that: one, these wares is not the true meaning of violet arenaceous crock, primary cause in fetal soil -- the utensil embryo texture coarse, closer to the daily-use pottery, percussion sound "the servant of servants", from the consensus that we purple mineral can not be on the same day and language. The other is this the pot form -- too large in Shuo, simple and unadorned, Muji have no money, neither tea tea is the lack of popular culture, and purple sand pot elements, functions, and aesthetic far.Four teapot (rim and tire quality department lack of gray brick)Mr. Wang thought that in purple craft development early or bud said and will be able to use the pure purple mineral is impossible. In the early stage, the ratio of the sediment in the early stage and the later stage is different from that in the early stage of the earth, so that the soil is relatively coarse, and even the cylinder of the daily use is reasonable. On the other hand, the firing temperature is not high, it will make the objects appear red brick (see Figure), the sound dull. But after a careful review, found the artifacts for fetal inside still contains mica is not dissolved substances, and pure clay are worlds apart.Four teapot (bottom)Process production is more able to explain the problem. The outer pot in the same type and the image: barrel body, flat mouth, short neck, shoulder six square meandering symmetric distribution system four. The utensils were made by hand, and the three segment was made of the stitching of the pot neck, the shoulder and the bottom of the pot. Abdominal cut triangular outlet, careful scrutiny can actually see "pushing a wall scraping the bottom" significant traces (see photo), process the difference in all pottery or porcelain casting production process, distinct early teapot production characteristics. Bottom can clearly see the traces of charcoal grill (see chart), or the four lift, or bottom support burn, which can judge the artifacts is used to cook a boiled tea. Mr. Wang humorous and full of confidence to say: do you well to scrutinize the teapot, its shape is the genuineness of tell you it should be defined; you can see it old-fashioned muddy autumn appearance, it has a after hundreds of years to the formation of embellish bright hull; if you take its pack slurry and the Ming and Qing Dynasties purple sand pot control, that kind of luster only teapot is!The differences of the two, the object is a folk articles, lack of aestheticMr. Wang for the above reference to disagree. He thinks: Zisha since Song Dynasty Xiang Mingqing development, from simple reciprocating impurity gradient bound to experience folk civil scholars involved in the process, this is an indisputable fact. Generally speaking, the early teapot teapot to the evolution of today will experience large to small, simple to complex process. When early pot by folk civil started, and then from the Ming and Qing Dynasties, literati involved design and creation, and poetry, calligraphy, painting and seal began attached to the teapot, the humanities value and the artistic appreciation is also highlighted. And collectors tomodern aesthetic consciousness of curing, the earlier than the crude teapot will be demoted to lack the taste of literati aesthetic, it seems to be a city of white-collar children abandon rural parents.Today's teapot used, if in accordance with the production time to divide, Ming and Qing Dynasties teapot, Republic of China to the Cultural Revolution previous and contemporary (reform and opening to the outside world after three plate. With respect to the tens of thousands of the Ming and Qing Dynasties pot. In the 1950s and early 1960s teapot also become people is the main goal of investment and collection. Because these tea kettle is generally made by the old artist, the quality is fine, the craft standard, the more important is the price has not been climbed. Until recently, collectors look more attention to when some young National Arts and crafts masters, these young masters of the craft of fine sand pot not only mud quality, but also pay attention to the ware aesthetic, so favored.However I still emphasize the collection or investment Zisha Hu not only to know teapot modern aesthetic, but also to understand the teapot the history and cultural background. Early teapot and aesthetic to talk about, so they took the pot, from the shape, its even lip, short neck, folding shoulder, plump shoulder down gradually abdomen, flat bottomed concave Quanzu, abdominal six rowed flows shoulder design of wear, the inner hole of the triangular incision can see the speed and dynamic, folding shoulder and the bottom of the handover and unrestrained traces and dripping, pushing a wall scraping the bottom line parallel to the vigorous and effective... Although the details of crude, but the shape of mellow. Due to focus on practical reasons, so thoroughly abandoned decoration, only to the outer contour of the soft lines and crisp to leave deep impression. If you insisted on it for decoration.。