Craftsmasters of Yixing

In October 1958 Yixing Zisha Factory No. 1 was established by the government. Before that there was no proper ranking of the craftsmen working in Yixing. Potters would mine, mix and cure their own zisha clay to make zisha ware such as teapots, cups, vases and figurines. After the setting up of the Yixing Zisha Factory, the craftsmen in the factory were organized and ranked according to a set standard. New craftsmen were required to take courses and examinations to advance and be recognized. It takes about three years of training to advance through the following titles: carftsman, assistant carftmaster , craftmaster, senior carftmaster and finally national carftmaster. At every stage there was an examination. Initially the teapots were very creative and diverse in designs and the artists gained national and international recognition. But, this would change with the Cultural Revolution a movement which frowned on bourgeois luxuries such as artisan crafted teapots that costed far more than any common person could afford.

Starting in 1966, because of the Cultural Revolution, Factory No. 1 began to turn out plain utilitarian pot in a style known as shui ping hu in vast numbers. Instead of having the name of the master who made the pot on the bottom these pots have only characters that represent the location of manufacture: Yixing, China. During this time the walls of the factory were filled with slogans painted in red that insisted that art was for the people. The quality of these pots was much worse than before the revolution. Despite this many tea connoisseurs prize these pots for their simplicity and high quality clay.

With the end of the Cultural Revolution New Ranks for craftsmen were subsequently introduced in the 1970s, which consist of the following: 1) Technician 2) Craftsman 3) Craftsman – independent porters 4) Asst. Craftsmaster 5) Craftsmaster 6) Senior Craftsmaster 7) Provincial Grandmaster 8) National Grandmaster.

Today, teapots produced by the factory are diverse and highly creative; masters have resumed signing their work and their creations are in high demand. A Craftsmaster can keep customers waiting for up to two years for a commissioned pot.

Zhu Kexin's earlier work

Prof Pan Chunfang, 2nd generation craftsmaster

Prof Pan's teapot set

The seals used by Zhu Kexin

One of the founders and Deputy Director of Research and Technology at the factory Gu Jingzhou was also an accomplished master artist. Gu was the first master in Yixing to be awarded the National Grandmaster title. His teapots have sold for millions of dollars in auctions. Jiang Rong was another  Grandmaster at Factory No. 1, she created teapots that emulated nature. Ren Ganting (1889-1968) ambidextrous artist who created natural forms. He participated in the National Labor Heroes Convention. Pei Shimin (1892-1979) started making teapots at age 14. Zhu Kexin (1904-1986) began making teapots before the war. Together with Gu Jingzhou, they worked in the Jiangsu factory where they trained the second generation of teapot craftsmasters who in turn trained the 3rd and 4th genartions potters of Yixing.


Gu Jingzhou's teapot auctioned for 14.9 million Yuans

在刚刚结束的保利八周年春拍中国古董珍玩夜场上，由顾景舟制壶、吴湖帆画风动竹枝、赠予江寒汀的“寒汀石瓢壶”以1495万元的成交价创造顾景舟单把紫砂壶的世界纪录。

Gu's pot auctioned for 8.28 million yuans
2013嘉德春拍，顾景舟、韩美林作“此乐提梁壶”以828万元成交 

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紫砂七老之朱可心：近代花货巨匠

朱可心（1904-1986）,原名开张、凯长，宜兴紫砂名艺人，花货巨匠，一代宗师，中国美术家协会江苏分会会长。生于宜兴蜀山，14岁拜汪生？为师学艺，31年受聘于宜兴陶瓷职业学校任技师、工场教员，作品"云龙鼎"获美国芝加哥博览会"特级优奖".54年受命组建宜兴蜀山陶业生产合作社，为宜兴紫砂工艺厂创始人之一。56年被江苏省政府任命为技术辅导，先后授艺带徒数十人，名艺人有汪寅仙、李碧芳、潘春芳、许成权、范洪泉、谢曼伦、曹婉芬、王小龙、高丽君、史志鹏、倪顺生、李芹仙等，57年参加全国民间艺人代表大会，六十至七十年代设计新品达数百种，分别为国内外各大博物馆收藏。
朱可心是现代紫砂史上德艺双馨的杰出人物，是大家公认的紫砂花货一代宗师。他从艺七十余年，刻苦钻研，全面继承和发扬紫砂传统技艺，创作了数以百计的紫砂经典作品。朱可心善于从自然界中吸取灵感，作品变化法度合宜、疏繁得体、生意盎然。他的流世佳品《报春壶》、《三友壶》、《彩蝶壶》等至今畅销不衰。朱可心是近代紫砂历史最重要的一位人物，获得多项第一。
第一个夺取了国际大奖：1932年朱可心作品《云龙鼎》获百年一度的美国芝加哥博览会"特级优奖".第一个在新中国成立后的1953年"全国美术工艺观摩大会上获得国内大奖。朱可心是第一个进入高等美术院校进修的紫砂艺人。1954年参加中央美术学院华东分院"民间美术工艺研究班",系统学习了有关工艺美术理论。第一个参与企业管理。1954年合作化后，即担任副主任负责技术管理。第一个开发设计了一种造型多种装饰的系列产品，满足了人们的需要。
朱可心大师受人敬仰的还有他的一生清风，淡薄名利。即使是到了晚年，依然清贫甘苦、勤俭朴实、不受利诱 、保持晚节。进入上世纪80年代，随着改革开放，紫砂艺术品首先在港台地区受到青睐。朱可心作为当代制壶巨匠、花货素饰器一代宗师，自然也成了港台紫砂市场中令人注目的追逐对象。朱可心大师本来对自己的作品就极为严谨，早先的作品也已基本捐献给了博物馆。加上由于身体的原因，已到晚年的他就更少有作品流到市场。一些商人为了渔利，百般纠缠，欲用朱可心大师的印章制假，而他秉持磊落的品行不为金钱而折腰，到自己已无力做壶时让家人当面将印章全部销毁。这在紫砂市场中假冒、代工等现象时有耳闻的当今社会是尤为值得人们敬仰的风范。