Father & Son teapots

Alans Museum has over the years collected a number of teapots where there are two versions of a similar design, i.e., a big one and a smaller version. These can be considered as father-and-son teapots. Some of these teapots are made by craftmasters while others are by unknown potters or potters not listed in the Who's who in Yixing (they are still old teapots of the 80s). Some example of these father-and-son teapots are shown below.

 

 

Teapot with unusual handle

Have you seen a teapot with  a handle made at 90 degrees to the sprout?

This is a teapot design made specifically for the Japanese market. The teapot has a 'China Yixing' mark at the bottom. It is basically a small teapot for kung-fu tea appreciation. The name of the teapot is "Xi Shi', named after a beauty of the Romance of Three Kingdom era. Is there any difference between this teapot and the usual one with the handle placed at 180 degrees to the sprout? Well, you have got to own one to feel the difference. Some people say it is easier to handle this type of teapot for brewing and serving tea, especially if the teapots are bigger in size. For smaller ones, the difference is insignificant. Anyway, not many such teapots are made. May be they are that popular with tea drinkers.

Xi Shi Teapot with unusual handle

Tradition Xi Shi teapots of the 80s 

Monk's hats

The monk's hat teapot design was created during the Ming dynasty by a potter known as Shi Dabin.  Shi was a student of the legendary Gong Chun who was considered to be the first potter in Yixing where records were kept regarding his pottery work. Since then, most of the potters in Yixing have all tried their best to craft this teapot design. Some have made some modification to the original design while others like Gu Zingzhoun had received fame and honour by making this teapot. His monk hat teapot was made in such perfection that it had long been considered the best of all monk hats.

Short wall version of Monk's hat

Alan Museum has a monk hat teapot with some minor modification. The body is round rather than the traditional segmented shaped. It was made by a young craftsman by the name of Fan Xiaofang.

Round Monk's hat by Fan Xiaofang
 

Old pocket watch

A pocket watch is a watch that is made to be carried in a pocket, as opposed to a wristwatch, which is strapped to the wrist. They were the most common type of watch from their development in the 16th century until wristwatches became popular after World War I. Pocket watches generally have an attached chain to allow them to be secured to a waistcoat and to prevent them from being dropped. Watches were also mounted on a short leather strap when a long chain would have been cumbersome or likely to catch on things. This provides a protective flap over their face and crystal. Women's watches were normally of this form, with a watch fob that was more decorative than protective. Chains were frequently decorated with a silver or enamel pendant, often carrying the arms of some club or society, which by association also became known as a fob. Ostensibly "practical" gadgets such as a watch winding key, or a cigar cutter also appeared on watch chains, although usually in an overly decorated style. Also common are fasteners designed to be put through a buttonhole and worn in a jacket or waistcoat.

Pocket watches were introduced to China in the early 18th century. These time pieces immediately caught the attention of the Qing emperors. Qianlong emperor, in particular, was so fascinated with these timepieces that he even set up a room in the palace to keep all the clocks and watches that were given to him by foreign visitors.

Alans Museum has a silver pocket watch made particularly for the Chinese market during the Qing dynasty. It came with a key for winding purposes. The watch is still in working condition. Since the mechanism is mechanical, it needs to wind up for it to tick.

Vases from Cultural Revolution era

Cultural Revolution, 1966–76, mass mobilization of urban Chinese youth inaugurated by Mao Zedong .  Mao was one of the most prominent Communist theoreticians and his ideas on revolutionary struggle and guerrilla warfare have been extremely influential. In an attempt to prevent the development of a bureaucratized Soviet style of Communism. Mao closed schools and encouraged students to join Red Guard, a group of politically active students of the Cultural Revolution (1966–69) who carried out Mao Zedong's aim of re-revolutionizing Chinese society. These students from the Red Guard denunciated and persecuted Chinese teachers and intellectuals, engaged in widespread book burnings, facilitated mass relocations, and enforced Mao's cult of personality. The movement for criticism of party officials, intellectuals, and "bourgeois values" turned violent, and the Red Guard split into factions. Torture became common, and it is estimated that a million died in the ensuing purges and related incidents. The Cultural Revolution also caused economic disruption; industrial production dropped by 12% from 1966 to 1968.

During the Cultural Revolution, renown artists were force to involve in art work that glorified Mao and his teachings, the peasants and the ordinary workers. Factories were told to produce things that carried revolutionary slogans and ideas.

Alans Museum has a pair of vases made during the Cultural Revolution era. Instead of painting beautiful scenery and landscape on the vases, these vases (both left and right) depict humble peasants going to the field to work. This showed the government at that time put a lot of emphasis on simple ordinary folks such as farmers and workers. They were considered the heroes and pillars of the country.

Peasants on Jingdezhen vases

Jade Pixiu 貔貅

Pixiu (貔貅) is an auspicious animals in ancient Chinese mythology. It is considered a wealth-bringing divine animal.  

Pixiu is fierce and powerful by nature. It is also believed to be an animal capable of driving away evil spirits and bringing happiness and good luck to its owner.  It is considered a house-guarding animal with the ability to ward off unplesant things and exhibit loyalty in protecting its master. That is the reason why many Chinese people  like to wear jade Pixiu as a form of ornament to be carried around wherever they go. 

Pixiu has a mouth but no anus, so it just swallows up things without passing anything out. Hence, it is regarded as a divine accumulator of wealth from everywhere without letting anything out. Pixiu is used in feng shui not only to ward off evil spirits but also bring in wealth for its owner. As such, businessmen like to keep Pixiu in the corner of their home or offices to bring good luck to their businesses and finance. As for gamblers, they like to take Pixiu with them whenever they visit the casino.

Large Pixiu for putting in office

Alans Museum has collected a number of Jade Pixius, these are the small ornamental type for wearing around the neck. There are also the bigger versions for putting at the corner of a house for auspicious reasons. The value of these jade ornaments depends on the quality and colour of the jade used to make them.

Small jade Pixius for wearing
 

Jade boulder

Jade, or Jadeite, to be precise, has long been revered by Asians as symbol of good luck, good health, and power to resist evil spirit. Jade, with its pearly luster and tough and resistant nature, continues to be treasured by Chinese people. The Chinese have had a love affair with Jade for the last several thousand years. Jade comes in different colours: green, white, brown, blackish, violet, reddish and yellow, of all these colours, the deep green ones are considered the most sought after and pricey..

Jade has been treasured in China as the royal gemstone, "yu" for 5,000 years. The word "yu" is used in Chinese to call something precious. Jade was thought to preserve the body after death and can be found in emperors' tombs from thousands of years ago. One tomb contained an entire suit made out of jade, to assure the physical immortality of its owner. For thousands of years, jade was a symbol of love and virtue as well as a status symbol.

Alans Musuem has in its collection a small boulder of jade the size of a baby's fist. It still has its skin intact but some part of the skin is removed to reveal the greenish jadeite colour.


Jade boulder

Chicken-blood stone 鸡血石

Chicken-blood stone is one of the most prized ornamental stones in China. It is considered rare and highly regarded for its value and auspicious qualities. Found in only two locations around the world and the one from Changhua is considered even more precious and valuable for their higher quality and vibrant color. It is found only in Yu Yan Mountain, more than 1,000 meters above sea level, in the Changhua County (Zhejiang Province) in China.

"Soft, smooth, solid, delicate, moist, and coherent" are six characteristics used to describe this precious stone known as chicken-blood stone. The stone gets its name for its bright red colour, resembling fresh chicken blood.

In China, a longstanding belief is that chicken-blood stone protects its owner from evil and brings good luck and blessings. Thus the Chinese give chicken blood stone to bless people for events such as marriages, birthdays, promotions, and success. In 1972 Premier Chou Enlai (the firste prime minister of new China) presented a pair of chicken blood stone seals to the Japanese Prime Minister Tanaka Kakuei to celebrate the establishment of formal diplomatic relations between China and Japan.

Alans Museum has collected a fairly large piece of chicken-blood stone. It has traces of red colour on the front face of the stone. The stone sits on stand carved out of a piece of greenish colour soap-stone.

Chicken-blood stone 鸡血石

Ox's nose teapot

The animal that is very important to farmers in old China is the Ox. It appears in the zodiac sign and every twelve year cycle, there is the year of the Ox.

There is a classic shape in teapot design that typifies the ox. In this design only the nose of the animal is used in the teapot design. The lid is made in such a way that it looks like the nose of the ox. The body is like a cylinder. The unusual design of the lid makes the teapot looks rather elegant.

Ox's nose teapot

This particular teapot is made o red zisha clay. The name Ma Ziyuan was engraved at the bottom of the teapot.

Round teapot of the 60s

Yet another round teapot of brown zisha clay in Alans Museum's collection. This particular teapot has the look and design of an antique teapot. The name Sinmei was engraved at the inside of the lid while there was nothing engraved at the bottom of the teapot. It could be made during the Cultural Revolution era where potters were not permitted to put their name behind their work. They were not supposed to glorify themselves in the things they did.

It is interesting to note that the designs of round teapot can be so diversified and different  that no two round teapots can look exactly the same.

Round teapot of the 60s


Ball-shaped teapot that won Gold award

This is the teapot design than won a gold award during an international event held at San Francisco called the Panama Expo in 1915. It was created by a famous potter who lived during the late Qing dynasty by the name of Chen Soujen. The design has since become a such classic shape in teapot design that most potters would like to try their hands on it. The lid has a shape of a half ball (a bit unusual by its size), together with the round knob and the circular body, the whole design looks marvellously harmonious in all its features. It caught the attention of the judges and eventually won the gold award. The news brought great excitement to Yixing and the potters were all encouraged by this great achievement by a native of Yixing.

Small ball-shaped teapot

Alans Museum keeps two such teapots, one big size of purple grey colour while the other smaller version purple brown in colour.

Large ball-shaped teapot

Animal as motifs

Yixing potters, past and present, like to use animals as motifs on the cover of the teapots they have designed and created. A great variety of animals have been seen on the covers of teapots. Some are domestic animals, others are from wild life.  As the potters are very skillful and have artistic talent, the little animals they crafted are lively and cute. When you brew tea with such teapots, you not only can enjoy the fragrance of fine tea, you can also appreciate the beautiful things of the world. In this case, you can admire those little animals that we are so familiar with. They are just like us, the inhabitants of the great earth. They have their  role to play in our life. For instance, buffalo is associated with farmer; statue of lion is to keep watch over property (there are usually statues of stone lions in front of banks and other buildings as symbols of protection); rabbit is often associated with Chang Er (the lady that ascended to the moon as told in old legend) and squirrels that depict life and its abundance.

 Alans Museum has collected a couple of such teapots using animals as  themes in the teapot designs. Below are just some examples.


Buffalo, farmer's best friend

Squirrel

Lion

Squirrel

Rabbit
 

Round teapot by Fan Yafang

Fan Yafang, a potter of Yixing, was active during the 1970s and 80s.

Alans Museum has a teapot by Fan acquired in the late 1980s. The design is what people called the imitation of tradition shape. The teapot has two colours developed as the temperature of the kiln was not controlled properly. Some part of the teapot has a light brown colour while the other part has a deep purple colour. One interesting thing about this teapot is that when hot water is poured into the teapot, the two colours combines into one. The teapot glows to give a silvery white colour, resembling that of the traditional zisha colour.

Fan Yafang's teapot

Square bamboo teapot

This is a teapot whose design came from a section of a square bamboo. The teapot is made from a purple zisha clay. As it was made during the 1970s, the words China Yixing were engraved at the bottom. The name of the potter was Meihong, engraved at the inside of the cover.

The clay is of a high quality zisha clay, as can be seen from the glossy look when the teapot was wiped with a soft cloth. Square teapot with certain design is not easy to make as the sides are joined together and the cover has to fit nicely to the body. Distortion and warpage are often defects associated with square teapots after firing due to stress concentration at the corners of the teapot.

Square bamboo teapot

Plenty of provisions

Squirrels Teapot

This is a teapot designed during the early years of the 1960s. It carries the meaning of self sufficiency in the people's lives. There are two squirrels and a bunch of grapes at the side of the body of the teapot and a squirrel at the top cover. This theme was proper during that time as the people of China were beginning to experience a better life. There were developments in every sectors of industry. The people were hard working and there was plenty of food around and everyone had more than enough clothing to wear. Of course, many known potters had made this teapot in their career at Yixing.

Alans Museum has two such teapots made by Zhihua. The clay used was a fine Yixing zisha purple clay. The surface of the teapot is smooth and the squirrels were well crafted. The squirrels looked very lively poking at the grapes as if they were send the message that there is plenty of food around.

Teapots ot the 70s

The years of the 1970s were full of turbulence and uncertainties as the Cultural Revolution was at its climax. Teapot production was strictly scrutinized. Potters were not allowed to leave their marks on the teapots they made. It was a crime back then to glorify personal efforts or be famous for personal gains. Hence teapots made during those years normally have a stamp at the back of the teapots with words such as China Yixing. Some recognized potters used pseudo names on the cover of the teapot for identification purposes. In those cases, the characters used were very small so as not to arouse suspension from the authority. If you are observant, you may be able to pick up some teapots of this period made by craftsmasters or even nation masters.

Alans Museum has quite a number of such teapots made during the cultural revolution.

A brown zisha teapot

A purplish zisha teapot

Zhou Juefang's (周菊芳) red zisha

Zhou Juefang, Prof Pan Chun Fang's student, is currently a craftsmaster of Yixing. Apart from acquiring her skills and techniques from Prof Pan and his wife, Xu Chenquen, she develops her own style and technique and continue to look for breakthrough in designs of teapot. Together with her husband, they are famous for a series of teapots depicting the great earth. These teapots are made using the potter's wheel method and are award winning masterpieces. Some of her teapots are bought by museums and party headquarter for permanent display.

Alans Museum has another piece of her work acquired in the 1990s. It is red zisha teapot that was featured in a book published in the 1990s.

Zhou Juefang's red zisha

周菊芳
性别：女
证书编号：320223670816158
类别:工艺美术师

 

Teapot decorated with fans

Alans Museum has an old teapot acquired many years ago. It has many fans crafted at the upper region of the teapot body. The teapot was made by a certain potter name Dai using zisha of a high quality. The use of fans as an object to decorate teapot is rarely seen in other teapot designs. The only ancient story where fan become an important plot of a story was the fan used by a certain princess whose husband was the notorious demon, King of the Cows, in the story Journey to the West featuring the Tang dynasty Monk and the Monkey King. In the story, the Monkey King wanted to borrow this fan to put out the fires in the North so that the Monk could proceed to the west to bring back the scriptures to China. But there was a problem. The fan belong to a wicked princess (a demon herself) and her husband was also a demon whose power and tricks were comparable to that of the Monkey King. Moreover the King of the Cow wanted to eat the flesh of the Monk to gain longevity. This is a classic story in the Journey to the West where the Monkey King defeated the King of the cows and took the fan from his wife to put out the fires. This paved the way for the Monk to continue his journey to the West (India) and eventually brought back the scriptures to China.

The design of this teapot seems to borrow the theme from this story as the fan resembled the one used by the Monkey King to put out the fires. Whether the story was properly told or not, the teapot remains a prize item the museum's collection as it is professionally made using top quality zisha clay.

Teapot decorated with fans

Grobular teapot with overhead handle

Teapot with top handle is interesting to use. The overhead handle ensures that you have a proper grip on the teapot when serving tea. The only problem is when you need to remove the spent tea leaves, the handle is always seems to be obstructing the removal of tea leaves. Other than that, it is a superb design and potters are especially keen to make such teapots. The overhead design in teapot is thought to be a created by a poet who lived during the Song Dynasty Su Tongpo, the so-called Tongpo overhanging teapot.

Alans Museom has in its collection two unique globular teapots with overhead handle. They were made by Tan Juewei of the Yixing factory in the early 1980s.

Tan Juewei's overhanging teapot

Fan Zaoda's teapot

Fan Zaoda, a craftsmastre of Yixing, is a potter of the 2nd Zisha factory. He joined the factory in 1983 under the guidance of the factory manager, Xu Hantang who is Gu Zingzhou's very first student. Although he has mastered the traditional designs of teapot, he blends new innovative ideas in his work, enabling him to win praises from his peers.

Alans Museum has another of Fan's teapot. It has a butterfly carved on the top cover.

Fan Zaoda's butterflytea pot

范早大 :1966年2月生，宜兴紫砂工艺二厂工艺美术师。1983年进紫砂二厂，先从吴同芬学艺，后师从徐汉棠，在严格的基础训练下，逐渐夯实基本功，作品以传统造型为主，赋以新的创作构思，形成新旧和谐统一的格调，所制作的《龙旦壶》在“江苏省紫砂散文节”获二等奖。主要作品有《圣桃》、《南瓜》、《掇圆》等。

Crossing the new bridge上新桥

This is the teapot designed by the legendary Gu Zingzhou. It is called crossing the bridge (上新桥). One such teapot by Gu was sold in the auction house of China for millions of dollars.

Alans Museum has a teapot of a similar design made in the 1980s. It has a small ball filter (like golf ball) typical of the teapots made for export to the Japanese market. The teapot is purplish brown in colour with the name Li Juen engraved at the inside of the cover. There are two smaller version accompanying the big one in the photo below.

Crossing the new bridge (上新桥) by Li Juen in the 80s

The original teapot designed by Gu Zingzhou 

Zhou Juefang's (周菊芳) small teapots

Alans Museum commissioned Zhou Juefang to make some small teapots for kungfu tea appreciation in the 1990s. This was arranged through Prof Pan Chunfang when he was here to exhibit his teapots. At that time, Zhou was a student of Prof Pan at the Nanjing Academy of Art. The teapots are small in size and were made following the classic shape of the Se Shi pot, named after a beauty of the three kingdom fame. The small teapot is ideal for brewing fine tea due to its small size to capture the fragrance of the tea. The name Zhou Juefang was engraved at the bottom of the teapots. A total of three such teapots are currently on the museum's inventory list.


Zhou's small pots for kungfu tea

 

周菊芳性别：女
证书编号：320223670816158
类别:工艺美术师  See Posting on Zhou Juefang 's round pot for more detailed information on the potter.


Shao Yufen's (邵毓芬) Aladin lamp

There is a teapot in Alans Museum that resemble the Aladin's lamp of the stories of the Arabian nights. The design is interesting in a way it is dominated by the outline of the shape. The handle is designed in a very unusual way, totally out of the ordinary. One has to be extra careful when making tea with this teapot as the cover is unusually tall and heavy.
 It may topple over and ruin your dream.

The teapot is made by Shao Yufen, currently a craftsmaster of Yixing.

Aladin's lamp of the oriental

邵毓芬，工艺美术师，江苏省工艺美术陶瓷专业协会会员，54年生，72年进紫砂工艺厂，师从王寅春、高丽君，85年任紫砂一分厂紫砂艺术总辅导，88年任紫砂工艺厂艺徒培训中心带班老师，曾进中央工艺美术学院进修，擅长全手工制作，传统功力扎实，能制作所有关于紫砂方面的器皿，是紫砂界为数不多，真正具有实力的人之一。
早在80年代中期，其作品就享誉海内外，作品曾多次在美国、日本、新加坡、泰国、马来西亚、香港、台湾、澳门等国家和地区参展，并多次获奖，并曾和国内名人有合作，如书法家费新我、吴翔木，中央美院教授张守智等。作品“毓婷壶”被中央工艺美术学院收录为教学材料，“翔”被南京博物院收藏。98年被载入中外名人录。

An early 20th century teapot

Alans Museum has a teapot acquired many years ago. The clay is said to be extinct as this clay was no more in production long time ago.

The name on the inside cover as not clearly engraved. But the words Yang Xian Zisha were engraved at the bottom. The teapot is quite big in size. The clay has a light grey colour. When hot water is poured into it, the colour immediate changes to silvery grey, what an awesome sight.

An early 20th century teapot

Chu Kexin, a famous potter and a pioneer in Yixing in the early50s, was known to have made such a design. It was featured in a teapot magazine published in the 1990s.

Jiang Soonyin's ruyi teapot

Jiang Soonyin is a craftsmaster of Yixing.

Alans Museum had in the past acquired quite a number of her teapots. Here is another teapot by Jiang which was made using a fine Yixing clay. This clay is brown purplish in colour and the name of the pot is called 4-sided Ruyi pot. Jiang's teapot was probably made in the 1980s. The name Jiang Soonyin was engraved at the bottom.

4-sided Ruyi by Jiang Soonyin

Zhou Juefang's (周菊芳) double

Zhou Juefang, Prof Pan Chun Fang's student, is currently a craftsmaster of Yixing. Apart from acquiring her skills and techniques from Prof Pan and his wife, Xu Chenquen, she develops her own style and technique and continue to look for breakthrough in designs of teapot. Together with her husband, they are famous for a series of teapots depicting the great earth. These teapots are made using the potter's wheel method and are award winning masterpieces. Some of her teapots are bought by museums and party headquarter for permanent display.

Zhou Juefang's double

Alans Museum has two piece of her teapot modelled around an oriental flower. They were acquired in the 1990s during Pan Chunfang's exhibition. They have a around shape with segments of petals of the flower. The design of the body which blends well with the cover, knob, sprout and the handle. The teapots are ideal to brew green tea. When hot water is pored into the pot, the colour of the clay immediately darkens to give a shinny and glossy appearance. It is really interesting to observe this colour change.

周菊芳
性别：女
证书编号：320223670816158
类别:工艺美术师  See Posting on Zhou Juefang 's round pot for more detailed information on the potter.



Prof Pan's (潘春芳) design

Pan Chun Fang (潘春芳), a professor at the Nanjing Academy of Art, is a well known and respected potter in the zisha trade. He trained many potters who have become craftsmasters and grand masters in Yixing.

Alans Museum has a teapot made by him. It as acquired during one of the exhibitions he held in Singapore to promote his teapots. This teapot has a regular round shape. It is made with the finest purplish clay prepared by his brother. The word Chun Fang were engraved at the bottom of the pot.

Prof Pan's elegant teapot

潘春芳 南京艺术学院教授、硕导 江苏省陶艺学会副理事长美国西弗吉尼亚洲立大学艺术学院客座教授 1936年9月生于江苏宜兴，1955年入宜兴紫砂工艺厂，师从朱可心学艺。1964年毕业于中央艺术陶瓷系本科，1978年入研究生班。1981年入南京艺术学院，主持陶艺专业工作。1987年主编《紫砂陶器造型》由中国轻工业出版社出版； 1987年《砂壶集》由香港远东出版社出版；1992年《茗壶竞艳》（主要编委）由译林出版社出版；1998年《宜兴紫砂》由上海人民美术出版社出版。陶艺作品《藏女》、《石城南瓜茶具》、《彩釉挂盘》曾获得各种奖项。1995年及1999年先后以中国陶艺代表团成员身份访问欧洲及日本。曾多次在美国、新加坡、加拿大、台湾等地讲学，并举办夫妇陶艺作品展。


Prof Pan's exhibition in Singapore

Xu Yuanmin's zhisa

Xu Yuanmin is a senior craftsmaster of Yixing.

Xu Yuanmin's zhisa

Alans Museum has a number of his teapots acquired in the early 1990s, at a time when he was still an apprentice of the factory. This is another teapot by Xu made in the early years. This particular teapot has a conical shape with ribs on the body. The sprout is straight and short with an elongated handle. An interesting design. It is made from Yixing purplish clay and the name Xu Yuanmin was engraved at the bottom.

Kao Haigen's (高海庚) work

Kao Haigen (高海庚), a potter who received training from Gu Zingzhou in the 1950s, was talented in all aspects of theYixing art of clay. He was active in the 60s - 70s era and often accompanied Gu Zingzhou on overseas assignments. He was assigned the tasks of training new potters, creating diversified teapot designs and opening new markets for the Yixing products. He was diligent in his work as a manager of the factory and he always took good care of the wealth fare of the workers. Unfortunately he died in December of 1985 at a very young age of 50 due mainly to overwork and stress. His teapots are scarce and highly sought after.

Alans Museum collected a teapot by Kao with the name Kao Haigen engraved at the bottom of the teapot. It is a classic shape that imitate an ancient form of Yixing teapot.

Kao Haigen's ancient shape.

高海庚(１９３９年~１９８５年１２月１２日)１９５５年进宜兴紫砂工艺品,跟随顾景舟学艺初露才华.１９５８年开始带领艺徒.１９６０年被送到中央工艺美术学院进修陶瓷设计一年,对其一生的陶艺创作产生重要的作用.１９７２年调到陶瓷公司生产技术工作,组织考察参加研制新品开发,聘请专家,教授讲学等,筹辨在许多地方举辨宜兴陶瓷展览,使诸多精品被收藏于北京故宫博物馆.１９７９回到宜兴紫砂厂,从事设计并负责生厂生产技术工作.创作<<集玉壶>>,<<扁作提梁壶>>,<<北瓜提梁壶>>,<<双龙提梁壶>>,<<水浪壶>>等表论文<<艺壶的继承与创新>>.１９８２年赴日本爱知系等地作陶瓷技术考察.回国后开始在前途充满信心,吸引海内外收藏家和经营者,逐渐将紫砂推进一个崭新的阶段.其远非常重视紫砂技术队伍的梯队建设,开展初级,中级,高级技术培训,著意培养技术中坚,使一大批技术骨干得到晋升.开设特艺斑,由顾景舟任技术总辅导,学习自制古壶名作,亲自上课传统造型分析,探讨展示创作新品进行主评解,, 同时广泛开展紫砂陶艺界和书画文学艺术界,其他工艺美术行业名家的交流活动,聘请院专家教授与紫砂陶人合作,共同切磋,使紫砂技艺达到新境地.１９８２年在北京故宫端门举办宜兴紫砂陶 报展览”得到充分 示.其一生酷爱陶艺热爱于美术设计,游注意观察周围事物,在繁忙的企业管理工作之作,设计了<<卧虎壶>>,<<追月壶>>均获成功.１９８５年去江西景德镇陶瓷院讲课与杨水善,张守智,韩美林,邓白,庄稼等著名专家一起开课,计讲授紫砂陶器皿造型受到极大的欢迎.１９８５年１２月,为维修隧道窑日夜忙碌,天气 冷大雪,身患重感冒仍到厂值班召开技术人员会议,因过度劳累,心肌炎复发,１２月不幸逝世.全国各地陶艺界的唁电如雪片,送葬那天二百多人的队伍连绵不绝