When it comes to the old purple sand pot, people often think of words such as "long history" and "priceless". As a witness of history and culture, the old pot does carry a unique value. However, the collectible value of old pots does not only lie in their age.
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Old pots can be divided into two categories: used and unused. There will be traces of slurry on the surface of the used old pot, and there may be tea stains on the inside, which need to be treated before it can continue to be used. Most of the unused old pots come from old collectors, and due to long-term storage, the smell of kiln fire has also subsided, and the quality of tea soup will be smoother when used in such old pots.
In terms of use value, we should not blindly pursue old pots. After a hundred years of wind and frost, the health condition of the old pot is worrying, it is difficult to distinguish the real from the fake, and the risk of use cannot be ignored. As a utensil for daily life, the practicality of the old pot is obviously not as good as that of the new modern one.
So, the charm of the old pot is **? This requires us to understand from the perspective of collecting.
The reason why an excellent old pot is worth collecting is its unique shape, excellent production technology, and the humanistic spirit behind it. These factors made it an outstanding work of the year, and became the standard for measuring the level of purple sand in the minds of future generations. If the clay and production of an old pot are mediocre, the mere age is not enough to be called a masterpiece. The real old pot is often from the hands of masters such as Chen Mingyuan and Chen Mansheng in history. It can be said that the key to the value of these old pots today lies in the excellent craftsmanship and unique aesthetics behind them, rather than simply their age.
Contemporary purple clay pots also have many good works in craftsmanship and art. For example, Mr. Gu Jingzhou and other contemporary masters, their works are worth millions of yuan, and they are not inferior to the old pot at all. Therefore, we should not simply judge the artistic and technological value of a work by simply judging the old pot above today's work.
In addition, we cannot simply assume that the clay of the old pot is necessarily better than the modern one. Although the ancient method of refining brings a unique style, it lacks modern precision control, and the advantages and disadvantages are mixed. Today, on the other hand, masters have better tools and techniques to control clay, and there are many excellent works. It is necessary to be wary of questioning the doping of purple sand with chemical mud today, but this problem is rarely found in the master's works, and the credibility of the old pot in this regard is also low, and the counterfeiting technology is very mature.
We should take a holistic look at the artistic and technological value of each Zisha piece, rather than judging it based solely on its newness. A new work is not necessarily inferior to the old pot, and our appreciation of the old pot also needs to pay attention to its quality and connotation, and we can't just look at the age and ignore the real value. Old pots have their own unique significance as historical witnesses, but contemporary works have the potential to match or even surpass them in many ways. We should have an open and comprehensive perspective to appreciate each unique purple sand work.