清早期时大彬款紫砂水洗

时大彬（1573年-1648年），著名的紫砂“四大家”之一时朋的儿子，明清时期宜兴紫砂艺术一代宗匠。

时大彬，作品风格坚致朴雅。后在泥料中掺入砂，开创了调砂法，并改进了供春“斫木为模”的制法，使紫砂壶制法得到一大飞跃。

他精选紫砂泥调配成各种泥色，用以制品，形成古朴雄浑的风格。他的早期作品多模仿供春大壶，后根据文人饮茶习尚改制小壶，并落款制作年月，被推崇为壶艺正宗。传世作品不多，北京、上海、南京、台湾等博物馆均有收藏。

韩美林的新派紫砂造型

韩 美 林 韩美林，1936年生于中国山东济南。1955年考入中央美术学院（后更名为中央工艺美院）。现为清华大学教授、清华大学学术委员会副主任、中国艺术研究院研究生院博士生导师。兼任中央文史研究馆馆员、中国美术家协会陶瓷艺术委员会主任、世界华人协会副

他在泥料中掺入砂，开创了调砂法制壶，古人称之为“砂粗质古肌理匀”，别具情趣。在成形技法方面，改进了供春“斫木为模”的制法，把打身筒成形法与镶身筒成形法结合起来，由此确定了紫砂壶泥片镶接成形的基本方法，是紫砂壶制法的一大飞跃；又首创方形、圆形壶式，成为紫砂壶造型的典型壶式。时大彬听从陈继儒等文人的建议，改作大壶为小壶，使紫砂壶更适合文人的饮茶习惯，把文人情趣引入壶艺，使壶艺与茶道相结合，把壶艺推进到了一个新的高度。

Shi Dabin (1573-1648), the son of one of the famous "four masters" of purple sand, was a master craftsman of Yixing Zisha art in Ming and Qing Dynasties.

Shi Dabin's style is firm, simple and elegant. After that, sand was added into the mud to create the sand adjusting method, and the method of making "Zhumu as the mold" was improved, and the purple clay pot making method got a great leap forward.

He selected purple clay mixed into a variety of mud colors, with products, forming a simple and vigorous style. His early works mostly imitated the big teapot for Spring Festival. Later, he reformed the small pot according to the tea drinking custom of literati, and signed the date of production, which was praised as the authentic pot art. There are not many handed down works, which are collected by museums in Beijing, Shanghai, Nanjing and Taiwan.

He mixed sand into the mud and created the sand mixing pot. The ancients called it "coarse sand, ancient texture and even texture", which has a unique taste. In the aspect of forming techniques, the method of "wood as mold" was improved, and the forming method of body beating cylinder and inlaid cylinder was combined to determine the basic method of inlay forming of purple clay pot, which was a great leap forward of purple clay pot making method. It also initiated square and round pot type, becoming the typical pot style of purple clay pot modeling. At the suggestion of Chen Jiru and other literati, Shi Dabin changed the teapot into a small one, which made the purple teapot more suitable for the literati's tea drinking habits, introduced the literati's taste into the pot art, combined the pot art with the tea ceremony, and promoted the pot art to a new height.