张正中：守正出奇 行稳致远| 守艺人
问：紫砂行业里，您被誉为是学院派与传统融合的典范，您是如何看待的？
张正中：我创作的紫砂作品，虽然外形设计大胆开放，但内在依旧保留了传统紫砂工艺的精髓。我所理解的学院派，并不是单纯地反对保守或者是所谓某个学院的流派，而是有着共同创作目标和系统创作理念的一个群体。当然，系统的创作很大程度上需要学院教育，因而这个群体大部分可能来自于美术学院。我并不喜欢学院派这种区分方式，因为我觉得这样很容易把传统割裂开来。传统对于任何工艺门类都很重要，不仅值得尊重，还是创新的源泉。我所理解的创新，既不是打破传统，也不是为变而变，而是要把自己内心的设计思想以恰当的形式语言传达出来，在此过程中可能需要借助传统的一些工艺、手段和方式，继而使得传统和创新产生共鸣。
以紫砂壶为例，它的造型是代代延续下来的，受到不同时代和不同地区的影响而不断发展变化。因此，我们想要了解这些造型，首先要了解古人的生活方式，了解这些经典器物背后的故事。
比如，我们宜兴人爱喝茶，以前人们都喝宜兴红茶，出工干活还要带上一壶茶解渴，当时就用“大洋桶”器型，泡上一大壶茶，最后会留一点茶酿，再续水续喝。如果到了潮汕地区，当地人就喜欢用体量小的茶壶，这是另一种饮茶方式，所以常用的紫砂壶和我们宜兴地区的也有所不同。清代的一些老茶具，基本都是包嘴的，原因就是当时人们喜欢拿着茶壶直接“嘬”着喝，因此这个壶嘴就起到了吸管的作用，为了防止烫嘴或伤嘴，就采用了“包嘴”的形式。
随着经济的发达，人们的生活也越发精致，衣食住行更加考究，连鞋都细分为跑鞋、皮鞋、布鞋等，甚至为了搭配衣服匹配不同的鞋型和颜色。那么我们的紫砂壶呢？到了今天，我们会发现，壶越做越小了。为了满足人们不同的饮茶需求，衍生出各类精致的茶具。大叶片的茶需要壶身高一些、饱满一些，使得叶片舒展；银针之类的茶，壶则可以矮一些；如果约两三好友喝茶，壶不宜太大。
Q: In the purple sand industry, you are regarded as a model of the fusion of academics and traditions. What do you think?
Zhang Zhengzhong: The purple sand works I created, although the external design is bold and open, still retains the essence of traditional purple sand craftsmanship. The academic school I understand is not simply against the conservative school or the so-called school of a certain school, but a group with common creative goals and systematic creative ideas. Of course, the creation of the system largely requires academy education, so most of this group may come from the Academy of Fine Arts. I don't like the academy's distinction, because I think it's easy to break traditions. Tradition is important to any craft, not only to be respected, but also to be a source of innovation. Innovation, as I understand it, is neither breaking the tradition nor changing for the sake of change, but conveying my inner design ideas in an appropriate formal language. In this process, it may be necessary to resort to some traditional crafts, means and methods. , which in turn makes tradition and innovation resonate.
Taking the purple clay pot as an example, its shape has been passed down from generation to generation, and it has been continuously developed and changed under the influence of different times and different regions. Therefore, if we want to understand these shapes, we must first understand the way of life of the ancients and understand the stories behind these classic objects.
For example, we Yixing people love to drink tea. In the past, people used to drink Yixing black tea, and they had to bring a pot of tea to quench their thirst when they went to work. At that time, they used a "big ocean bucket" shape to brew a large pot of tea, and at the end they would leave a little bit of tea. Tea brew, and then continue to drink water. If you go to Chaoshan area, the local people like to use a small teapot, which is another way of drinking tea, so the commonly used purple clay teapot is also different from our Yixing area. Some old tea sets in the Qing Dynasty were basically covered with mouths. The reason was that at that time people liked to "suck" directly with the teapot, so the mouth of the pot played the role of a straw. In the form of "package mouth".
With the development of the economy, people's lives have become more refined, and their clothing, food, housing and transportation have become more sophisticated. Even shoes are subdivided into running shoes, leather shoes, cloth shoes, etc., and even match different shoe types and colors to match clothes. So what about our purple clay pot? Today, we will find that the pot is getting smaller and smaller. In order to meet people's different tea drinking needs, various kinds of exquisite tea sets are derived. For tea with large leaves, the pot should be taller and fuller, so that the leaves can stretch; for tea such as silver needles, the pot can be shorter; if two or three friends are drinking tea, the pot should not be too large.
要想清楚地了解紫砂壶，就要分析每个时代、每个地区的生活状态和方式。我们这一代紫砂艺人，基本受过教育。到了现在的年轻一代，更是在大学中系统地修习设计专业，有些考研考博继续深造，学习研究陶瓷艺术，拥有了丰富的理论知识和文化修养。当重新回到宜兴从事紫砂创作设计，就一定要追本溯源，根据当下人们的生活习惯设计合适的器型；要根据不同的茶叶配置不同的紫砂壶，毕竟紫砂壶是用来泡茶的实用器，它因茶而生。
紫砂这一行很是特别，我们要在条条框框的规矩中做出自己的特色。如果师父做“仿古”，你就跟着做一模一样的，那只能永远在传统中停滞不前。当工艺技法日趋成熟，紫砂艺人应该要有自己对紫砂创作的思考。紫砂壶发展至今已有五百多年的历史，不能总停留在传统的“供春”“石瓢”“仿古”上。我们应在传统紫砂中开拓出自己的世界，融入自身独特的哲学思考和思维空间。总的来讲，我的创作是在尊重传统之下的创新，经由传统启发而产生的新模式。
To get a clear understanding of the Zisha teapot, it is necessary to analyze the living conditions and ways of each era and each region. Our generation of Zisha artists are basically educated. Now the younger generation has systematically studied design in universities, and some of them have continued their studies for postgraduate entrance examinations and postgraduate entrance examinations. They have studied and studied ceramic art, and have rich theoretical knowledge and cultural accomplishment. When returning to Yixing to engage in the creation and design of purple sand, we must go back to the source and design appropriate shapes according to the current people's living habits; we must configure different purple sand pots according to different tea leaves. After all, purple sand pots are practical for making tea. utensil, it is born from tea.
The line of purple sand is very special, we have to make our own characteristics in the rules and regulations. If the master does "Antique", and you do the exact same thing, then you can only stagnate in the tradition forever. When the craftsmanship becomes more and more mature, Zisha artists should have their own thoughts on the creation of Zisha. Zisha teapot has a history of more than 500 years, and it cannot always stay on the traditional "spring offering", "stone scoop" and "antique". We should open up our own world in the traditional purple sand and integrate our own unique philosophical thinking and thinking space. In general, my creations are innovations that respect traditions, and new models inspired by traditions.
问：你说真正的创作是发自内心的，这个怎么理解呢？
张正中：我指的创作除了形式上的创新，更重要的是把个人的情感、审美融入紫砂。我认为，真正的创作是发自内心的，我们设计制作的紫砂壶应该带有浓厚的个人特征、个人风格和个人辨识度。初学紫砂壶制作，很多人从学做“仿古壶”开始，我想这是临摹必经的阶段。但是临摹得再好，最后铭上自己的印章，仍然不是你的原创。临摹只是传统的一部分，而不是全部。我们要理解古人的创作精神，沿用他们的精神和手艺，这才是继承传统。
现在我所带的徒弟，基本都受过高等艺术设计教育，学历相对较高，有硕士十余个、博士三个。他们在高校完成学业后，再跟着我学紫砂造型设计和成型工艺，甚至学习喝茶。因为紫砂的审美，有着它特殊的语言。比如“寿珍掇球”，倘若照着西方审美不一定很美，但在紫砂界公认为其比例协调，增一分不能，损一分不得，气韵浑厚，高雅不俗。一些外来的艺术家，很难设计出真正属于紫砂语言的造型作品。就像“曲壶”,它不一定是专属于紫砂的，若用不锈钢或木头材质制成，也会很漂亮。它是可以激发审美的，它的线条是存在于万物中的，不仅仅是紫砂的。
当你对紫砂材质的特性和艺术精神有了深刻的感悟，并找到艺术的语言，连接个人的艺术实践，在地域文化和传统精神的丰富聚合中，才能达到创新的可能性。创新不仅是形式的变化，它是骨子里的改变，其灵魂是不可能模仿的。
真正的当代紫砂艺术一定是与人的内在体验相联系，是与幸福感相联系的。只有完全进入人们内心，服务于人们的感受和观念，才能表达出发自内心的当代紫砂语言，创作出属于这个时代的紫砂作品。
Q: You say that real creation comes from the heart. How do you understand this?
Zhang Zhengzhong: In addition to the innovation in form, what I am referring to is the integration of personal emotions and aesthetics into Zisha. I think the real creation comes from the heart, and the purple clay pot we design and make should have strong personal characteristics, personal style and personal recognition. Beginning to learn how to make purple clay pots, many people start by learning to make "antique pots". I think this is a necessary stage for copying. But no matter how well you copy it, it is still not your original work that you put your own seal on in the end. Copying is only part of the tradition, not the whole. We need to understand the creative spirit of the ancients and use their spirit and craftsmanship. This is the inheritance of tradition.
At present, the apprentices I bring have basically received higher education in art and design, with relatively high academic qualifications. There are more than ten masters and three doctors. After they finished their studies in colleges and universities, they followed me to learn Zisha modeling design and molding process, and even learned to drink tea. Because the aesthetics of purple sand has its special language. For example, "Shouzhen Balls" may not be very beautiful according to the Western aesthetics, but in the purple sand industry, it is recognized that its proportions are harmonious. It is very difficult for some foreign artists to design the modeling works that truly belong to the Zisha language. Just like the "curved pot", it is not necessarily exclusive to Zisha, if it is made of stainless steel or wood, it will be very beautiful. It can inspire aesthetics, and its lines exist in all things, not only those of purple sand.
When you have a deep understanding of the characteristics of purple sand material and artistic spirit, and find the language of art, connect with personal artistic practice, and in the rich aggregation of regional culture and traditional spirit, can you achieve the possibility of innovation. Innovation is not only a change in form, it is a change in the bones, and its soul cannot be imitated.
The real contemporary Zisha art must be related to people's inner experience and happiness. Only by fully entering people's hearts and serving people's feelings and concepts can we express the contemporary Zisha language from the heart and create Zisha works belonging to this era.
问：听说您几乎跑遍了全国有名的茶山，非常爱茶？
张正中：我一直有个观点：做壶的人最好要学茶。懂茶的人，更懂做壶。精于茶道的人，在一定程度上来说能更好的做壶。壶的拿捏灵便、出水爽利、形态饱满、匀称周正等等，这些都是让壶客赏心悦目的必备条件。
我印象非常深刻的是有一次在汕头吃海鲜，朋友说今天的石斑鱼做失败了，多（蒸）了六秒。你看，这就是做到极致。就像我们喝茶，每一款茶的冲泡和出汤时间的控制，稍微快一点或稍微慢一点，那么茶味就不对了。
多年来我跑遍了全国各大茶山，最近几年一直在琢磨岩茶，研究紫砂壶对于岩茶的适用性。读万卷书、行万里路，了解得更多，对紫砂创作的帮助就越发的大。现在不止是我们宜兴本地，全国优秀的人才都在进入紫砂行业，福建、广东、东北，河南、安徽等全国各地，都到宜兴来做紫砂，很多人都是从喜欢茶开始的。
Q: I heard that you have traveled almost all over the country's famous tea mountains and love tea very much?
Zhang Zhengzhong: I always have a point of view: those who make pots should learn tea. Those who know tea know better how to make pots. Those who are proficient in tea ceremony can make pots better to a certain extent. The jug is easy to handle, the water is clear, the shape is full, the shape is symmetrical, etc. These are all necessary conditions to make the jug pleasing to the eyes.
I was very impressed that one time I ate seafood in Shantou. A friend said that today's grouper failed to cook, and it took 6 seconds more (steamed). You see, this is the ultimate. Just like when we drink tea, the brewing time of each tea and the control of the soup time are a little faster or a little slower, then the tea taste will not be right.
Over the years, I have traveled all over the country's major tea mountains. In recent years, I have been pondering rock tea and researching the applicability of purple sand teapots to rock tea. Reading thousands of books, traveling thousands of miles, and knowing more, will help you more and more in the creation of Zisha. Now not only our local Yixing, but also outstanding talents from all over the country are entering the purple sand industry. Fujian, Guangdong, Northeast China, Henan, Anhui and other parts of the country come to Yixing to make purple sand. Many people start from liking tea.
问：你觉得现在的紫砂创作环境是怎么样的呢？
张正中：我觉得现在的创作环境是越来越好，尤其是我们还有一群优秀的年轻人，有着共同的创作方向和艺术追求。我现在带徒弟就像学校带研究生，他们与传统手艺人是不太一样的，每个人都在挖掘紫砂创作的更多可能性，寻找自己的创作方式。如果越来越多人都是这样传授紫砂，我认为将来的紫砂会更丰富、更精彩。
学院派的专业教学与传统手工艺的传习方式有异同，但可以相互融合。不同的教育方式，则培养造就出学生们不同的人生。我带徒弟将两者结合，同时尊重他们的个性。他们通常是具有了紫砂制作的初级水平，再跟着我做光素器，提升工艺技术。我对传统的技法掌握有极高的要求，因为没有扎实的基本功，你的的创作就很难游刃有余的施展。可以说，紫砂没有传统就是无根之木。带徒中，除了教给他们紫砂应有的语言、工艺、技法、肌理、审美，更重要的是创作理念和品行艺德的渗透。
Q: What do you think the current Zisha creative environment is like?
Zhang Zhengzhong: I think the current creative environment is getting better and better, especially since we still have a group of excellent young people who share the same creative direction and artistic pursuit. Now I lead apprentices just like school leads graduate students. They are different from traditional craftsmen. Everyone is exploring more possibilities of Zisha creation and finding their own way of creation. If more and more people teach Zisha like this, I think Zisha will be richer and more exciting in the future.
There are similarities and differences between academic professional teaching and traditional handicrafts, but they can be integrated with each other. Different education methods create different lives for students. I take my apprentices to combine the two while respecting their individuality. They usually have the primary level of purple sand making, and then follow me to make photocells to improve the craftsmanship. I have extremely high requirements for mastering traditional techniques, because without solid basic skills, it is difficult for your creations to be able to perform well. It can be said that purple sand without tradition is a rootless tree. Among the disciples, in addition to teaching them the language, craftsmanship, techniques, texture, and aesthetics that Zisha should have, what is more important is the penetration of creative ideas and morality.
问：现在的年轻人更尊重个性，遵从内心的需求，所以他们有创作的能力，是不是会对紫砂有一个新的突破？
张正中：我希望，尊重年轻人，他们都有自己的个性。如果还是沿袭原有的带徒习惯，这不是我认为的有效方式。我希望他们保持一颗真实的、积极探索的心，去寻找创作语言，和我共同讨论各种紫砂创作的可能性。当他们在创作中遇到了技术难题，我和他们一起解决，这样也更符合他们的个性化成长。
Q: Today's young people respect their individuality more and follow their inner needs, so they have the ability to create. Will there be a new breakthrough for Zisha?
Zhang Zhengzhong: I hope to respect young people, they all have their own personalities. If you still follow the original habit of taking apprentices, this is not an effective way in my opinion. I hope they maintain a real and active exploration heart to find a creative language and discuss with me the possibility of various purple sand creations. When they encounter technical difficulties in their creation, I solve them together, which is more in line with their personal growth.
问：现在的紫砂市场分类还是比较模糊的，您觉得未来会如何区分？
张正中：紫砂是全世界工艺最复杂的陶瓷门类，它的存在不光是其工艺价值，还有其艺术价值与文化价值。
对于紫砂的未来，我觉得以后大致会划分为三类：
第一，商品壶。好看且便宜，可以大批量的生产，往工业化发展，符合市场需求；
第二，手工壶。就是做个人特色，走私人定制的路子，做高定壶；
第三，艺术品。具有高收藏价值，遵循哲匠之道。有思想、有灵魂，拥有大格局，能够突破时代，留在艺术长河中。
Q: The current classification of purple sand market is still relatively vague. How do you think it will be distinguished in the future?
Zhang Zhengzhong: Zisha is the most complex type of ceramics in the world. Its existence is not only for its technological value, but also for its artistic and cultural value.
For the future of purple sand, I think it will be roughly divided into three categories in the future:
First, the commodity pot. Good-looking and cheap, can be mass-produced and developed towards industrialization, in line with market demand;
Second, handmade pots. It is to make personal characteristics, follow the path of personal customization, and make high-end pots;
Third, artwork. It has high collection value and follows the way of the philosopher. With ideas, souls, and a big pattern, he can break through the times and stay in the long river of art.
张正中
正高级工艺美术师
江苏省工艺美术大师
江苏省陶瓷艺术大师
高级职称评委、中级职称评委会主任
中国美术家协会会员
中国工业设计协会会员
中国陶瓷工业协会常务理事
中国工艺美术学会紫砂艺委会副主任
江苏省陶协艺委会副会长
第十四届无锡市政协委员
清华大学美术学院陶艺系校外辅导员
中国艺术研究院紫砂研究院客座研究员
江苏大学美术学院客座教授
江南大学客座教授
常熟理工大学客座教授
无锡工艺职业技术学院特聘教授
全国工业设计陶瓷产品设计师优秀教练
联合国教科文国际民间艺术组织授予“民间工艺美术家”
江苏省乡土人才“三带”名人
江苏省乡土人才大师工作室领办人
“中国紫砂优秀青年陶艺家”
“中国紫砂十二精英”
1964年生于宜兴。先后毕业于江苏大学、清华大学，硕士。1990年起长期从事紫砂壶艺的设计与制作。他所创作的作品既承涵中国紫砂的艺术品格，又熔铸了当代艺术的美学精神，接通了个人艺术实践和艺术发展史的关系，以当代性、世界性的艺术视野激活了中国传统紫砂艺术的新路。
作品曾多次参加“第十届全国美术作品展”“第二届全国陶瓷艺术展”“全国陶瓷艺术创新评比展”“第六届开罗国际陶艺双年展”等国内外展览並获奖；作品被中国美术馆、中南海紫光阁、清华大学美术学院、南京博物馆、美国大都会博物馆与香港茶具博物馆等多家单位和个人收藏；主编《古韵清流》《紫玉淳美》《传世典藏》《紫韵清流》等书籍；主持国家《中国民间艺术市场及其案例研究》子课题、江苏省“中高职陶艺专业课程体系衔接的构建与实践”课题；参与国家教学资源库“百工录·中国工艺美术非遗传承与创新”项目建设。曾由中国美术家协会等组织单位应邀，多次前往美国、法国、埃及等国进行陶艺交流。
Zhang Zhengzhong
Positive senior arts and crafts artist
Jiangsu Province Arts and Crafts Master
Jiangsu Province Ceramic Art Master
Senior Professional Title Judge, Director of Intermediate Professional Title Judge
Member of China Artists Association
Member of China Industrial Design Association
Executive Director of China Ceramic Industry Association
Deputy Director of Zisha Art Committee of China Arts and Crafts Association
Vice Chairman of Jiangsu Ceramics Association Art Committee
Member of the 14th Wuxi CPPCC
Off-campus counselor, Department of Ceramics, Academy of Arts & Design, Tsinghua University
Visiting Researcher, Zisha Research Institute, Chinese Academy of Arts
Visiting Professor, Academy of Fine Arts, Jiangsu University
Visiting Professor of Jiangnan University
Visiting Professor of Changshu University of Science and Technology
Distinguished Professor of Wuxi Vocational and Technical College
National Industrial Design Ceramic Product Designer Excellent Coach
Awarded "Folk Crafts Artist" by UNESCO International Folk Art Organization
"Three Belts" Celebrities of Local Talents in Jiangsu Province
Director of Jiangsu Local Talent Master Studio
"Chinese Zisha Outstanding Young Ceramic Artist"
"Twelve Elites of Zisha in China"
Born in Yixing in 1964. He graduated from Jiangsu University and Tsinghua University with a master's degree. Since 1990, he has been engaged in the design and production of Zisha pot art for a long time. The works he creates not only inherit the artistic character of Chinese Zisha, but also cast the aesthetic spirit of contemporary art, connect the relationship between personal artistic practice and the history of art development, and activate the traditional Chinese Zisha art with a contemporary and global artistic vision. new road.
The works have participated in the "10th National Fine Arts Exhibition", "The 2nd National Ceramic Art Exhibition", "National Ceramic Art Innovation Evaluation Exhibition", "The 6th Cairo International Ceramic Art Biennale" and other domestic and foreign exhibitions and won awards; It is collected by the National Art Museum of China, Ziguang Pavilion in Zhongnanhai, Academy of Fine Arts of Tsinghua University, Nanjing Museum, Metropolitan Museum of America and Hong Kong Tea Ware Museum, etc.; editor-in-chief of "Qingliu of Ancient Rhyme", "Purple Jade Chunmei", "Handed Down Collection" and "Purple Rhyme" Qingliu” and other books; presided over the national sub-project of “Chinese Folk Art Market and Its Case Study”, and the project of Jiangsu Province “Construction and Practice of the Curriculum System of Middle and Higher Vocational Ceramic Art”; "Art Inheritance and Innovation" project construction. He has been invited by the China Artists Association and other organizations, and has traveled to the United States, France, Egypt and other countries for many times for ceramic art exchanges.