The History of Yixing Purple Tea Pot

About the Origin of the Yixing Purple Tea Pot

Yixing, a picturesque city, is located on the Taihu Lake. The
city is famous for its plentiful products, fertile land, rich
resources and outstanding talents. Of the products, the
most charming is ceramics. Based on the textual and
archaeological researches in neolithic age as far 5000
years ago, the forefathers of Yixing were engaged in the
farming and the pottery making. Recent years have often
found some ruins of ancient pottery workshops and kilns
in its territory, in Yixing Ding Shu Town, There are 5
neolithic site (5000 years ago), 3 Han Dynasty kiln site
(Before A.D. 220), 3 Six Dynasty kilns (A.D. 420 - A.D.
581), 9 Sui Dynasty, Tang Dynasty kilns (A.D. 581 - A.D.
907), 20 Song Dynasty, Yuan Dynasty kilns (A.D. 960-A.D.
1368), 60 Ming Dynasty, Qing Dynasty kilns (A.D. 1368-
A.D. 1911).
Yixing is a famous tea area in ancient China, one kind of
Yixing tea (called Yun Wu Tea) was as palace tea in early
Tang Dynasty. The production was over 5000 kgs in the
Tang Dynasty. There were ten thousands tea workers for
pick tea every year, there were 30 tea factories, and
China's most famous tea master, Lu Yu came to Yixing for
drink tea time after time.
The most important diathesis is that rare purple clay was
found in the mountain of Ding Shu Town in Yixing. The
purple clay have very unique characteristics, it is the best
material for tea pot on earth. In 1976, a Song Dynasty
dragon kiln was found on Yiang Jiao Mountain of Ding Shu
Town, many purple clay fragmentary purple tea pot pieces
were unearthed. It is also affirmed by Song Dynasty
poems, some Song Dynasty's poem mentioned purple clay
tea pot, so it is accepted that Yixing purple clay tea pot
was produced in Song Dynasty midterm time, but some
specialists thought it was produced in Ming Dynasty. Mr
Zhou Gao Qi, a writer who lived in the Ming Dynasty, wrote
<<Yang Xian Tea Pot series>>, (PS: Yixing was called
"Yang Xian" in ancient time>>, this is the earliest book
that specially described the origin and technology features
of yixing purple clay tea pot, with purple clay material. To
the origins of purple tea pot, he told us: "one white foot
monk who live in Jing Sha temple in Ding Shu, he liked
study pottery with potters, slowly originally created simple
and unique tea pot with purple clay for his own to enjoy it
(PS: there are many temples in ancient China, many monks
enjoyed tea using bowls there, but it is very regrettable
that people cannot find their tea pots), Mr. Wu Yu Shan, a
Jing Si (college student) in Zhen De Year Ming Dynasty
(1514), come to Jing Sha temple for his study, Gong Cun,
his servant went there also, in carefree time, Gong Cun
study make purple tea pot under the monk, he imitated an
old tree by the temple and made a unique Gong Cun pot,
(PS: This pot is collected in China History Museum now,
the cover has been lost, the cover was added by Qing
Dynasty Master Wang Yu Ling, so people think Gong Cun is
founder of yixing purple tea pot.

The Developing of Yixing Purple Tea Pot in the Ming
Dynasty
In 1965, a purple tea pot was unearthed in an ancient
tomb in Nang Jing city, the man buried in the tomb is Wu
Jing, who was a eunuch of Ministry of Rites in Jia Jing Year
Ming Dynasty (1533). In 1991, one purple tea pot was
unearthed in an ancient well in the famous Nan Chan
temple in Wuxi, this tea pot is very alike with that pot in
Wu Jing tomb on the purple material and made technology,
many porcelains of Zheng De year Ming Dynasty were
unearthed together with this pot.
In early Ming Dynasty, the most famous masters are Zhao
Liang, Dong Han, Yuan Chang, Shi Peng. They lived in Jia
Jing year and Long Qing year in Ming Dynasty. Main design
is Ti Liang Tea Pot.
From Wan Lie Year Ming Dynasty to Ming Dynasty last
stage, many masters were produced in China, the most
famous is Mr. Shi Da Bing (Shi Peng's son), who has a very
high status at that time, it wasn't easy to get his pot, for
even a great officer.
It was found only 7 pieces in China belonging to really Shi
Da Bing's tea pots (don't need argue it), there are only 15-
20 pieces abroad, Shi Da Bing was very strict in making tea
pots, pots were broken if they didn't satisfy him. Many
masters copied Shi Da Bing's pots in Qing Dynasty,
including some famous great masters.
Second famous master is Hui Meng Cheng in Ming Dynasty,
other great masters are Li Mao Ling, Li Zhong Fang, Xu You
Quan, Ou Zheng Cun, Shao Weng Jing, Shao Wen Ying,
Jiang Bo Kua, Cheng Xing Qing, Cheng Guang Pu, Cheng
Jun Qing, Cheng Zi Qi, etc.
Tea culture changed in Ming Dynasty also, the people
replaced tea bowl with tea pot, replaced boiled tea with
tea steeped in hot water, replaced the fermented tea cake
with the bulk fresh tea, replaced big tea pot of early Ming
Dynasty with smaller tea pot due to small tea pot better
keep the tea's fragrance. Most of the people think purple
tea pot cut down those tea pot of silver, stannum, copper.
The purple tea pot have become the need of the literati
and scholar-bureaucrats, many of them started to collect
the purple tea pots.

The thriving prosperity of purple tea pots from the Qing
Dynasty to the early years of the Repbulic of China
Qing Dynasty is the golden era of the purple tea pot,
although it is not as good as the porcelain tea ware from
Jing De Town, but its designs are richer than porcelain tea
ware, showing its unique individuality and elegant
demeanour. The decoration technology of the purple tea
pot arrived at a high level, besides carved calligraphy,
there are clay painting, carved painting, colour glaze
painting, bas-relief, stack clay painting, stick clay painting,
mill clay painting, inlay clay, inlay gold, hollow out, bind up
gold, bind up silver, bind up lacquer, burnish, etc. More
purple tea pots have entered to the imperial palace as the
articles of tribute in early Qing Dynasty. (In fact, purple
tea pots have already entered to the palace in Wan Lie
year Ming Dynasty (1570), because of one tea pot by Shi
Da Bing made was found in the Imperial Palace)
Kang Xi, one of the earliest emperors in Qing Dynasty, he
are very liked very much purple tea pot and tea bowl, but
he liked to add colour enamel on it to make them more
showy, and he refused the seal of makers on the purple
tea pot, he allowed only the title of the emperor's reign.
This rule was continued by Yong Zheng emperor and Qian
Long emperor, so you will not see the seal of any maker to
the palace purple tea pot in early Qing Dynasty, only have
the title of an emperor's reign.
Yong Zheng emperor were very interested in the designs
of purple tea pot, he commanded himself to imitate the
designs of purple tea pot to make porcelain tea ware,
silver tea ware, copper tea ware, (it was proved by the
original record in Yong Zheng 11 year, No.3360), although
Yong Zheng emperor reigned only for 13 years, but there
are many Registers about purple tea pot in his record.
Most of the palace purple tea pots are from Qiang Long
emperor era, Qiang Long emperor liked to drink tea in his
whole life, even when he went on his six time tour of
inspection. He said ever: "The emperor cannot stop tea to
any day"), so he liked more purple tea pots, he ordered to
carve his poem on the purple tea pot, so most of the palace
purple tea pot showed Qian Long's poem on them in Qian
Long era. Qian Long emperor ordered also to make special
tea ark for holding purple tea ware when on tour. Qiang
Long emperor advocated his people to use purple tea pot,
so purple tea pot were very fashionable in Qiang Long era
and for a long time after Qian Long.
After Qiang Long, more purple tea pots entered the palace,
it was no longer restricted to the seal of makers, so you
can easily find many purple tea pots with the seal of
famous great master in the Imperial Palace among those
palace purple tea pots that were made after Qian Long
emperor's time.
In Kang Xi emperor's 24 year (1685) reign, Kong Xi
emperor agreed make business with overseas countries, so
purple tea pot export to Europe with Chinese tea, quickly
purple tea pot was attracted and welcomed by European
people, they praised it as "Red Porcelain", early or late,
Portugaler, Hollander, German all made their pottery tea
ware copy of this "Red Porcelain", in 1711, Mr. Bo Te Ge,
one famous potter from Germany, succeded to make 2000
pcs red pottery tea pot imitate yixing purple teapot, and
wrote disquisition <<Red sand porcelain>>,There is one
Yixing Purple tea pot that was collected in the state
museum of Denmark, which was used by the king of
Denmark in 1674. Yixing purple tea pot was exported to
Japan, East-South Asia, Central America etc.
In early days of Qing Dynasty, the most famous great
master is Mr. Cheng Ming Yuan, it was recorded in <<Yang
Xian Famous potters>> by Wu Qian in 1786 (PS: Yixing is
called "Yang Xian in Ancient), Wu Qian think that Cheng
Ming Yuan's tea pot is the best in one hundred years
history, he exceeded all tea pots of three era, it was equal
with Shi Da Bing. It has been proved, the carved
calligraphy on the Cheng Ming Yuan's tea pots were
written by famous calligrapher Mr. Cao Qian Rang, this
modus operandi was continued up to now all along, many
famous literators, painters, and politicians like to write
their epigraph on the purple tea pot for rise it's value. Even
they invited some great master to their home for making
purple tea pot for them, let the masters enjoy those
antique ones they collected.
Other great masters are Zheng Nin Hou, Wang Nan Ling,
Yu Rong, Shao Yu Ting, Shao Xi Mao, Cheng Ying Qian,
Cheng Han Wen, Yang Ji Cu, Zhang Huai Reng, Yang Ji
Yuan, Yang You Lan, Shao Ji Zu, Shao De Xing, Cheng
Weng Bo, Cheng Weng Ju, Cheng Ci Wai, Xu Weng Long etc.
In the medium-term and later period in Qing Dynasty, the
most exponent is Man Sheng pot that was made in
cooperation with Cheng Man Sheng and Yang Peng Nian.
Yang Peng Nian made pot, epigraphed by Cheng Man
Sheng who was a famous calligrapher and painter, so the
"Man Sheng pot" was very rare then and afterward, Yang
Bao Nian (Yang Peng Nian's brother) and Yang Feng Nian
(Yang Peng Nian's sister) help Yang Peng Nian made "Man
Sheng Pot", usually Cheng Man Sheng's seal is on the
bottom of the pot, the seal of Yang Peng Nian is on the
bottom of the cover and handle, his seal is smaller than
Cheng Man Sheng's. We think it is not candid to Yang Peng
Nian who a famous master.
Another great master is Shao Da Heng, his famous tea pot
is the Eight Diagrams bundle bamboo pot and fish dragon
pot, Mr. Huang Yu Ling is a outstanding master after Shao
Da Heng.
Other masters are Wu Yue Ting, Ge Ming Xiang, Feng Cai
Xia, Deng Kui, Jiang Yu Ling, Zhu Shi Mei, Shao Er Quan,
Sheng Xi, Shao She Da, Shao You Ting, He Xing Zhou, Wu A
Kun, Sheng Rui Tian, Jing Shi Hun, Fan Da Sheng, Cheng
Bo Ting, Fan Die En, Cheng Shou Fu, Jiang Wan Feng, Jiang
Zheng Xian, Shi Bao Fen etc.
On the last stage of Qing Dynasty to the early days of the
Repbulic of China, it is a prosperous period to yixing purple
tea pot, some ethical capitalists start to replace the feudal
household, mainly in Shanghai. Those dealers appeared in
Shanghai, for dealing yixing purple tea pot, they made-
order purple tea pot in Yixing, as a result, some great
masters were come forward.
The most accomplished are Cheng Shou Zheng, Yu Guo
Liang, and Pei Shi Ming, Cheng Shou Zheng's De ball pot
and archaize pot were took gold award on the Panama
International Exhibition in 1919, he is the first master who
took gold award internationally in purple history. Through
the hard work by zisha pottery artists and masters of
different generations, the zisha pottery tea pot present
their rich culture and artistic quality to world and gain very
great prestige by showing their special charm. For
example, at the beginning of the 20th century, they were
awarded first prize at Panama International Exposition,
and excellence and gold prize at Chicago Exposition,
London Arts Exhibition and Philadelphia International Arts
Exposition.
It is developmental still to purple tea pot before the War of
Resistance Against Japan(1937), according to the record,
there are 40 sites dragon kilns for special fire purple tea
pot in the aera of Ding Shan, Shu Shan in 1919, it rised to
63 site in 1929, it rised again to 76 sites in 1936, 1936 is
the blossomest year in the period of the Repbulic of China,
the fired kiln time was 4740 time for one year, produced
two million pieces of purple tea pots. Purple tea pot's
shops were set up in many cities, such as Shanghai, Hang
Zhou, Wuxi, Tiang Jing, Qing Dao etc. cities. Even some
branch stores were set up in Japan, Singapore, th
Philipines. They main merchants were Cheng Ding He
Company, Wu De Sheng Company, ie. Hua Xuan Company,
Ge De Company, and Li Yong Company. There are two
seals at least to those purple tea pots in this period, one is
the seal of maker, another is the seal of the shop.

The status after 1937
When the War of Resistance Against Japan (1937), yixing
purple tea pot product was destroyed, many masters have
to go into exile, most kilns were in desolation.
After 1949, the people were liberated, the product of the
yixing purple tea pot was renewed, many masters returned
to yixing, the state factories were set up for special
produce purple tea pots, the designs of the purple tea pot
grow to hundreds kinds, many excellent craftsmans were
appeared, the most famous great master is Mr Gu Jing
Zhou (1915-1992), one of his purple tea pot was sold out
on USD65,000 on Macao in 1997, this is the highest price
to one purple tea pot on the modern times. Mr Gu Jing
Zhou is appellatived as "leading scholar of the times"
Another famous great master is Mrs Jiang Rong (1915-),
who the most famous master live in Yixing now. Her purple
tea pot was the State Department premier'gift when
visited to overseas in 1957.
Other great masters are Xu Xou Tang, Xu Hang Tang, Wang
Yian Xian, Lu Yao Cheng, Tan Quan Hai, they are the rule
China industrial arts great masters by the China State
Department awarded. The price of their tea pot is over
USD1,000 at least! From 1980 up to now, Yixing, the
artists of older generation, with the vigor of their youth
still existing, make their artworks still richer in substances
and forms, while the young and mid-aged artists never
stop making exploration and creation in styles and shapes,
and this presents one vast panorama of prosperity in
Yixing's ceramic business, like a hundred flowers
blossoming in a garden

The Production and Development of Yixing Teapot
The production and development of Yixing tea pot which
form the major type of Yixing purple clay tea pot are
closely related to the Chinese custom of tea drinking that
has persisted for more than one thousand years.
China is the homeland of tea and in the early periods, the
Chinese had started the planting and usage of tea.
Tongyue (Contract for a Boy Servant) by Wang Bao of the
Western Han dynasty, Shilun (Discussion on Food) by Hua
Tuo of the late Eastern Han dynasty, Feng Shi Wenjianji (A
Record of Things Heard and Seen by Feng) by Feng Yan,
Chajing (Classic of Tea) by Lu Yu, Pipaxing (Ode of Pipa)
by Bai Juyi of the Tang dynasty, Hingzhou Ketan
(Discourse on the Floating lslands) by Zhu Yu, and
Dongling Menghualu (Dream of Prosperity at the Eastern
Capiyal) by Meng Yuanlao of the Song dynasty, etc. contain
information of tea trade and tea drinking. People began to
realize that tea not only stops thirst, but also stimulates
one's consciousness. Merchants travelled several hundred
miles to engage in tea trade and on the market, there were
tea houses where customers could just put down a coin
and take the drink. Preparation methods for tea drinking
include 'cooking tea','brewing tea' and 'infusing tea', and it
became very popular in the society. The wares related to
tea drinking include tea-cups, tea-bowls, tea whisker, tea-
grinder, hot water vase, tea vase, water-container, flower
vases and so on4. In the realm of teapot, it was said that
Su Dongpo had once designed the 'Dongpo teapot',which
was a kind of large teapot with overhead handle. Coming
to the Ming dynasty, at the area where the Han people
resided, natural dry form of loose tea leaves and tea buds
replaced the production of tea cake or tea plaster; the
process of tea preparation changed to brewing method and
teapot became the principal tea ware. In the early Ming
dynasty, the size of teapot was still quite large but it
gradually became smaller in later times. In particular, the
teapots used in preparing the 'Gongfu tea' in the Fujian
and Guangdong regions is characterized by its small size.
In Volume 2 of Yangxian Mingtaolu (Record of Famous
Pottery Wares from Yangxian), a record of tea drinking is
extracted from Taiyang Baiyongzhu (Taiyang's Explanation
on a Hundred Poems) by Zhou Shu, which reads "In
tasting tea, people of the province (Taiwan) prepare tea by
themselves, and before drinking, they smell the fragrance
first, while the small teapot by Gongchun ismost
esteemed."
The popularity of tea drinking among the upper classes
had created significant impact. Records in Chapter 65 of
Sanguozhi (History of the Three Hingdoms), Guangya by
Zhang Yi of the Wei dynasty, Shanfu fingshoulu (Recorde
by a Cooker) by Yang Hua of the Tang dynasty, Yunxian
Zaji (Miscellaneous Records of Yunxian) by Feng Zhi, and
Chapter 867 of Taiping Yulan ([A Book Prepared at the]
Taipingtianguo Period of the Song Dynasty for Emperor's
Reading) by Zhang Fang of the Song dynasty show that the
Emperor of the Wu Kingdom, Sun Hao; Emperor Huizong of
the Song dynasty, Zhao Ji, men of letters of the Song
dynasty like Su Shi and Lu You were all fond of drinking
tea. As early as the Tang dynasty, treatises on tea tasting
had already appeared and tea ware was also discussed.
The Song people were fend of "tea-contesting" and they
paid special attention to the production and colours of tea
wares5. The Ming people opined that "The small teapots
are much esteemed. Each guest should bring his own
teapot and prepare tea by himself in order to get the
pleasure. Why? The reason is that small teapot would keep
the fragrance and the taste of tea would not loseo".
Besides. there were other theories which read "If one
tastes tea by himself, he would attain the true spirit, if two
people taste tea together, they would get the pleasure, if
three people taste tea together, they would just appreciate
the taste of tea, however, if seven or eight people share
tea, it would be known as wasting tea"; and "tea drinking
is most suitable for those engaged in self cultivation7".
Such theories were regarded as treatises that reveal the
true essence of tea drinking. The development of theories
on tea tasting had no doubt influenced and promoted the
production of tea wares. And purple clay wares form the
prominent major part of tea wares.
Purple clay tea wares were sent as tributary objects to the
imperial cuurt in the Qing dynasty. The National Palace
Museum of Taipei has collected some round and square
purple clay teapots decorated with flowers of the four
seasons in colour enamels, which bear the Kangxi mark.
Archives of the lmperial Workshopshow that on the
twentieth day of October of the fourth year of Yongzheng
reign (1726), "six large and small Yixing teapots were
taken out". Documents dated to the fifth day of October of
the twenty-third year of Qianlong reign (1758) record that
the Suzhou Textile Workshop had sent in "four pieces of
Yixing teapots" . The Palace Museum, Beijing has collected
a purple clay teapot which has a Qianlong mark at the base
and a set of tea wares with a container, which was
designated for the use of Emperor Qianlong when he was
on tour. The teapot and tea caddy inscribed with imperial
poems by Emperor Qianlong are now illustrated in this
catalogues.
The production of Yixing tea wares is also associated with
the demand from overseas markets.
In the late Ming period, when the Portugal Eastern india
Company was engaged in trading Chinese tea to Western
Europe, purple clay wares were also exported to Holland,
which aroused the interest of the Europeans, and they
called such wares 'red porcelain wares', 'red mud wares'
or 'red clay wares'. About 1680, the Dutch potter Ary de
Milde started to imitate such wares. In 1690, the English
potter Elers also began to imitate purple clay wares by
using red clay in order to satisfy the demand for tea wares
from the English upper classes who were fond of drinking
tea. Mottahedeh of New York, USA has collected a square
teapot decorated with openwork design of tree branches
and plum flowers and a teapot with twin-spouts made by
Zheng Ninghou. The latter is a teapot with overhead
handle and the interior of it is divided into two
compartments for oontaining two different kinds of tea.
The twin-spouts have silver fittings, and the sides of which
are respectively carved with English words 'green' (for
green tea) and 'Bohea' (i.e. Wuyi, a place at Fujian,
famous for tea production). In Japan, purple clay tea
wares were imported in the late Edo period and teapots
with the marks 'Hui Mengchen' and 'Chen Mingyuan' were
most treasured. In the mid 19th century, under the
direction of Dr. Hirano Tadashi, potters attempted to
produce purple clay wares at Tokoname. In the Meiji era,
the potter at Tokoname, koie Takasu invited Jin Shiheng, a
native of Suzhou, who excelled in producing purple clay
tea wares to teach his techniques in Japan. Among Yixing
purple clay wares, there were items designated for export.
For instance, the extant tea wares with the mark 'gongju'
(Tributary Bureau) were manufactured for export to
Thailand and they bear marks like 'Tianqi gongju', 'Shunzhi
gongju', etc. These export wares were still produced in the
19th century and in the Guangxu reign, Qing dynasty, a
large number of purple clay wares were exported to Japan,
Mexico and other countries in South America.
Owing to the special qualities of purple clay ware, they
were mostly made into tea wares in history. The
development histroy of purple clay tea wares is in fact the
major part of that of purple clay wares.
Men of letters of the Song dynasty like Ouyang Xiu and Mei
Yaochen had composed poetic verses praising the 'purple
vases', which suggest that purple clay wares might have
first appeared in the Northern Song dynasty and won
appreciation of the upper classes. In July 1976,
accumulated layers of wasted sherds from ancient kiln
sites were discovered at Yangjiaoshan, Dingshu County,
Yixing, which include some coarse purple clay sherds of
the early periods in purplish-red colour. These sherds
show that the production techniques at that time were of
low standard and eminent firing defects were found. Most
of these products were teapots after restoration of the
sherds. Studies reveal that the upper dating limit of the
Yangjiaoshan kiln would not be eariier than the mid
Northern Song dynasty. It prospered in the Southern Song
dynasty and gradually declined in the mid Ming dynastyo.
Such a discovery might testify that the manufacturing of
purple clay wares startedin the Northern Song dynasty.
The history of purple clay wares as shown in historical
records dated back to the Zhengde period of the Ming
dynasty, when Gongchun learned to produce teapot from
the monks at the Jinsha Monastery. According to the book
Yangxian Minghuxi (Chronology of Teapois fiom Yangxian)
compiled by Zhou Gaoqi in the Tianqi period, which is the
first publication on purple clay wares, Gongchun's teapots
were already very rare at that time. There are two extant
recorded teapots by Gongchun: one is said to have been
collected by Wu Dazheng and later acquired by Chu
Nanqiang. The lower part of the handle of this teapot is
inscribed 'Gongchun'. The lid was added by potter Pei
Shimin and Huang Binhong termed this teapot as 'teapot
with knur texture'. This teapot is now in the collection of
the Museum of History, China. Another is originally in the
collection of Dr. Luo Guixiang, who later donated it to the
Hong Kong Flagstaff House Museum of Tea Ware. The base
of this domed teapot with six lobes bears the mark
'Daming Zhengde Banian Gongchun' (the eighth year of
Zhengde period, great Ming dynasty, [made by Gongchun]).
Contemporary master Gu Jingzhou said that he had seen
as many as twelve teapots with knur texture, however,
their features do not agree with that of the Gongchun
teapot as recorded in historical documents. Thus it is very
difficult to authenticate them as genuine10. However, we
should not ignore the historical value of the extant
Gongchun teapots which are attributed as a landmark in
the production of purple clay wares in the mid and late
Ming Dynasty.
The most important dated purple clay ware obtained from
archaeological excavations is a teapot with overhead
handle now in the collection of the Nanjing Municipal
Museum. This teapot, measuring 17.7 rm in height, was
unearthed from the tomb of Wu Jing, an eunuch of the
Ming dynasty, at Majiashan, Zhonghua Gate, Nanjing in
1965. From the same tomb an epitaph with inscription
dated to the twelfth year of Jiajing reign was also
unearthed (see illustration following). The paste and
production method of this teapot could be similar to that of
jars unearthed from Yangjiaoshan,but is a bit finer. On the
surface of the teapot are 'glaze drops' which reveal that
when firing the purple clay wares were not put inside
saggars; and they were fired at the same time with large
jars. This unearthed teapot provides an important
information for the study of the purple clay wares
produced in Gongchun's time11.
Shi Peng, Dong Han, Zhao Liang and Yuan Chang were
famous potters of the Jiajing and Wanli periods, and were
collectively known as "Four Masters". In Yangxian
Mingtaolu (Record of Famous Poiiery Wares from
Yangxian), Wu Qian of the Qianlong period, Qing dynasty
said that Dong Han first produced lobed teapots while
Zhao Liang excelled in producing teapots with overhead
handies. Some of their works are still existing, though
quite rare, and attract much attention from collectors and
connoisseurs.
Shi Dabin, the son of Shi Peng, was the most renowned
potter after Gongchun and lived in the Wanli period. The
clay he potted contains sal ammoniac and his products are
noted for simple and archaic forms instead of pleasing
appearance. At the begikning, he imitated the teapots
made by Gongchun and produced large teapots. Later he
acquainted with literati like Chen Jiru and learned the art
of tea appreciation from them. He then made an unusual
practice by producing small teapots. Such a change was of
great historical signiTicance. A book on tea says, "If the
teapot has to serve tea with true taste, the major clues are
that fresh waster and fire had to be used, and tea should
be drunk instantly, so that the colour, sound and fragrance
could be kept. For this reason, it is appropriatefor the
teapots to be small and shallow and not large and deep,
and the lid to be globular and not flat, so that the
freshness of water and the fragrance of tea could be
condensediz". Potters active in the same period or later
with Shi Dabin like Li Maolin, Li Zhongfang and Hui
Mengchen also excelled in producing small teapots.
The marks on the teapots made by Shi Dabin are
charactenzed by his carving strokes with a sense of
fluency. In Yangxian Mingtaolu (Record of Famous Pottery
Wares from Yangxian), a record of another feature of his
products extracted from Zhang Yanchang's Yangxian
Taoshuo (Discussion ofpottery Waresfrom Yangxian) says
that the lid fits the teapot so perfectly that the whole
teapot could be lifted up by just holding the lid. In the Shi
Dabin's period, the clay used for producing purple clay
wares contains sal ammoniac - a natural mineral of
ammonium chloride - and as a result, gold sprinkles would
appear after firing.Wu Qian's Yangxian Mingtaolu (Record
of Famous Pottery Wares ]rom Yangxian) also points out
such a feature. "From the early period of Gongchun to Shi
Dabin, the colour of the finely grained clay is in light black,
and on the clay are silver sprinkles. This might have been
produced by the sal ammoniac in the clay, and they are
like charming pearls." As shown in the book Chibei Outan
(Miscellaneous Noies of the Chibei Book Room) compiled
by Wang Shizhen, who lived at the same time with Shi
Dabin. the works of Shi Dabin had already been 'esteemed
throughout the country (China)' when they first appeared.
Zhou Gaoqi also said "(his) teapots share half of the
market throughout the country13". Even the novels
contain records on his works. Chapter two of the book
Chuke Pai'an fingqi (Excidng Stories, First Edition), the
Shangyoutang edition of the first year of Chongzhen, has a
story which describes the interior decoration of a room of
Wang Xi and says, "On the wall, there is a painting on
paper by Zhou Zhimian, and on the table, there is a teapot
by Shi Dabin." It is unfortunate that such treasured
teapots are very rare and there are only sixteen pieces
recorded in the book Yangxian Shahu Tukao (Illusirated
Study of Pottery Teapois from Yangxian) by Li Jingkang
and Zhang Hong. Although we could see some tangible
pieces or illustrated pieces in books attributed to him, very
few in number could be identified as genuine. However, it
is fortunate that archaeological finds in recent years have
provided valuable information for the study of his works.
which will be discussed in detail later.
The most renowned potter to come after Shi Dabin was
Chen Yuan of the Kangxi and Yongzheng periods, Qing
dynasty. His literary names include Mingyuan or Huyin. Wu
Qian said that "his specialised talent is very outstanding in
the world", and even Gongchun and Shi Dabin "can not
surpass him". Chen acquainted with men of letters like
Yang Zhongne, Cao Lianrang and Ma Sizan, etc. His
products of tea wares and scholar's table objects
amounted to several ten types and the calligraphic style of
his marks reveal the legacy of that of the Jin and Tang
dynasties. Objects in the shape of fruits and melons made
by him, such as teapot in the shape of bundles of pine,
bamboo and plum blossom, dish in the shape of leaf with a
cicada, brush stand in the shape of a plum trunk, wrist-
rest in the shape of bamboo trunk and six types of fruits
(water-chestnut, arrowhead water-caltrop, chestnut,
walnut and peanut) are all noted for delicate
craftsmanship and lifelike essence, which are highly
treasured. Before him there is another potter Chen Ziqi of
the Chongzhen period, who excelled in modelling
naturalistic objects like pomegranate and crabe. It is said
that Chen Ziqi was the father of Chen Yuan, however,
judging from their ages, such a relationship could not be
established. Though there are only ten piecesof Chen
Yuan's works recorded in Li Jingkang and Zhang Hong's
book, his achievements had in fact opened a new realm in
the art of purple clay wares.
Chen Hongshou (1768 - 1822), pseudonym Mansheng, of
the Qianlong and Jiajing periods was a native of Qiantang,
Zhejiang province. He was known coilectively as "Eight
Masters of Xiling School" with Huang Yi, Xi Gang and Zhao
Zhichen etc. and excelled in literature, painting,
calligraphy and seal-carving. He had servedasthe
magistrateof Yixing for three years and developed a keen
interest in purple clay wares. Moreover, he had designed
eighteen types of teapots and employed Yang Pengnian,
Yang's brother Baonian and sister Fengnian to produce
them. The teapots made by them often bear the mark
"Amantuoshi" at the base and the mark "Pengnian"
beneath the handie and are collectively known as
"Mansheng teapot" . The surface of these teapots is
usually flat and smooth, on which paintings and
calligraphiesare carved. Besides Chen Mansheng himself,
other people who engaged in composing the inscriptions
included his close friends like Jiang Tingxiang, Guopinjia,
Gao Shuangquan, and Zha Meishi, etc. The participation of
literati, officials and collectors in designing and producing
teapots had actually started in the late Ming period and
those men like Xiang Yuanbian, Zhao Yiguang, Dong
Qichang, Chen Jiru, and Song Luo were all enthusiastic in
taking up such a practice. Virtually, the combination of the
Yixing purple clay wares with other arts such as painting,
calligraphy and seal-carving was promoted by Chen
Mansheng. Such a style became popular thereafter and
Chen Mansheng had indeed contributed a lot to the
promotion of the Yixing pottery industry.
It is said that over several thousand pieces of 'Mansheng
teapot' have been produced. In the collection of Dr. Luo
Guixiang, there is a teapot with the inscription 'Teapot No.
1379, inscribed by Pinjia', which is now in tlie collection of
the Hong Kong Flagstaff House Museum of Tea Warei'.
Another example illustrated in the book Yangxian Shahu
Tukao (lllusirated Stady of Poiiery Teapois from Yangxian)
bears the inscription 'Teapot No. 4614, production
supervised by Master Man, for the appreciation of (Pinyin
translation for the first character not available) Quan',
which is now in the collection of the Shanghai Museumis.
As a matter of fact, if there were so many `Mansheng
teapots' produced, they could hardly be made by a few
potters like Yang Pengnian, Yang Baonian and Yang
Fengnian. It was disoovered recenfly that some of the
`Mansheng teapots' bear marks inscribed by other potters.
Shao Daheng of the Daoguang and Xianfeng periods was
another master excelled in producing teapots. There are
few records on him, however, his extant works are noted
for excellent craftsmanship and distinctive design, which
show that he was more talented than other common
potters. Three teapots with his mark 'Daheng' are
illustrated in the present catalogue. Among them, the
teapot in the shape of a fish transforming into a dragon
was first produced by Shao Daheng and the one in the
shape of a bundle of bamboo with design of eight trigrams
is another superb work by him. The third onewith a round
bladder and copper overhead handle bear a dated
inscription 'suici jiachen mengqiu zhiyue' (dated the
autumn month of the year jiachen), which provides
valuable information on the active period of Shao Dalieng.
Teapots made by him had indeed produced significant
impact in later dynasties.

Most famous purple clay potter masters and their Tea Pot
from China Ancient to the present age and today:
Ming Dynasty (A.D. 1368 - A.D. 1644)
Gong Chun (A.D.1500-?), first master who have name for
made Yixing Purple sand tea pot in China ancient.there
was only one true tea pot in this world that was collected
in China History Museum in Bei Jin
Shi Da Bing (A.D.1580-A.D.1650). He had invented a full
conventional making technologyfor make Yixing tea
pot.His pots were collected in Shanghai History
Museum ,Nan Jin History Museum and San Francisco Asia
Art Museum in USA.

Qing Dynasty(A.D.1644-A.D.1911)
Cheng Ming Yuan(A.D.1680-?) ,He was a very famous
Master in Qing Dynasty,His tea pots were collected in
many history museums such as Washington Art
Museum,Seattle Art Museum.Hong Kong Chinese university
Museum,Shanghai Museum.Tian Jing Art Museum,Yixing
Pottery Museum.
Cheng Man Shen(A.D.1768-A.D.1822).He invented famous
"Man Shen Pot"that maind 38 designs and bringed great
effect to later masters.
Shao Da Heng((A.D.1837-A.D.1874) ,He had leaved only a
little of the tea pots in this world,but all of these tea pots
are excellence.
Huang Yu Ling(A.D.1842-A.D.1913) ,He is importest purple
sand potter master in Qing Dynasty.His pot was collected
in Bei Jin the Imperial Palace Museum now

The Republic of China(A.D.1911-A.D.1949 ) to today:
Cheng Shou Zhen(A.D.1857-A.D.1939) His pot had got gold
cup in 1926 Philadelphia Sesquicentennial Celebration and
the International Expositions in Leipzig and Liege in the
1930s.
Yu Guo Liang(A.D.1874-A.D.1939) ,a famous purple sand
potter master in period of the Republic of China.
Feng Gui Ling(A.D.1907-A.D.1945)
Gu Jing Zhou(A.D.1915-A.D.1996) ,He is one of the most
outatanding potters in purple caly of our age,He is praised
as "a great master of our period","a star in the art of tea
pot making".His reputation rivals that of Shi Da Bing of
Ming Dynasty.
Zhu Ke Xin( A.D.1904-A.D.1986)
Pei Shi Ming(A.d.1892-A.D.1979)
Wu Yun Geng(A.D.1892-A.D.1969)
Jiang Rong( A.D.1919- )
Wang Yian Xian(A.D.1943- ).
Lu Yiao Chen(A.D.1941- ).
Xu Han Tang(A.D.1932- ).
Li Chang Hong(A.D.1937- ).
Gu Dao Rong(a.D.1937- ).
Zhou Gui Zheng(A.D.1943-).
Xie Man Lun(A.D.1942- ).
Ge Jun ,a famous influential young potter craftsman
Hua Jian Min , a famous influential young potter craftsman

The Professional Training Pattern of Purple-clay Pottery
Art
As a kind of folkart, purple-clay pottery, like many other
crafts, was passed down form masters to apprentices in
the ancient way. It was taught face to face, and hand to
hand. There was no exception to this in modern or ancient
times, in China or elsewhere. The apprentice generally had
to learn for three to five or six years under the master's
guidance. There was a fixed ceremony for an apprentice to
acknowledge an artist as his master, and he had to kneel
down before the master. The master-apprentice contract
was to be signed by the guarantee. During the
apprenticeship, the apprentice was only offered meals,
without pay. And the master's artistic style, creative
experience and technical level would inevitably leave
impression upon the apprentice's technique, idea and
moral character. Even if a famous artist, the artistic trace
and behavioral pattern of his earlier ages could be found in
the course of his style-making.
1
The Training Pattern In The History
The earliest purple-clay artist recorded was Gong Chun,
originally Wu Yishan's servant. When he was
accompanying his master reading in Jingsha Temple, he
secretly learned the old work's skill and thus began
making pottery. So the old monk was considered his
master.
Shi Dabing was a consummate craftsman in Ming Dynasty.
He had many learners, of which, Li Zhongfan was the most
brilliant one. Some of his teapots were actually made by Li
Zhongfan. Other disciples were: Xu Youquan, Ou Zhenchun,
Chao Wenjing, Chao Wenying, Chen Junqing, Shen Junyong.
There was no literal record after that period. So it was
difficult to make inferences.
Huang Yuling, the famous artist in Qing Dynasty, was
taught by Chao Xiangpu, and Cheng Shouzheng was Chao
Youting's disciple.
2
The Period During The Republic of China
In 1931, "Public Vocational School of Yixing, Jiangsu"was
established. In it ,they set up the "potter branch", which
was renamed "Kiln branch" the next year. In 1933, the
"kiln branch"separated from Yixing vocational school and
in dependently founded "Junior Pottery Vocational Scholl
of Yixing, Jiangsu", which enrolled students who had
higher primary school education or above. Situated in
Shushan Bei Chang, it made use of the pottery factory as
their workshop. The first president was Wang Shijie, who
had graduated from Empire University of Industry, Tokyo,
Japan. Wu Yun-geng, Zhu Ke-xin, etc, were invited to be
teachers and technicians of the experiment workshop.
From then on, the traditional teaching way of "one master,
one apprentice" was changed. A master may admit many
disciples, while a disciple could also learn from different
masters.
In 1921, "Applied Pottery Company" founded "Potters'
School". Yu Guoliang, Chao Yunru were teachers at that
time. Excellent students were: Feng Guiling, Chu Liang,
Chen Hanxi, etc.
Wang Shenyi taught Wang Baogeng, Zhu Kexin, Wu
Yungeng. Jiang Zuocheng taught Pei Shiming, Jin Ashou
taught Wang Yanchun.
3
After 1949
In 1954 the purple-clay production team was established
in Shushan Workshop. Many purple-clay artists were
assembled together from other places. Among them were:
pottery carving artist, Ren Ganting, model-makers: Zhu
Kexin, Gu Jingzhou, Wang Yanchun, Pei Shiming, Wu
Yungeng, Jiang Rong, etc.
In 1955
Zhu Kexin admitted Pan Chunfang, Bao Xinyuan, Si
Zhipeng, Li Qingxian, Li Bifang, Ni Shunsheng, Cao Wanfen,
Wu Qingan;
Gu Jingzhou admitted Li Changhong, Gao Haigeng, Shen
Juhua, shan Shufang, Bao Xiuyun;
Wu Yungeng admitted Gao Yongjin, Si Jihua, Xu Xuan and
Zhu Fengying, Wang Xiaolong, Li Tianxing and Li Yuanru as
apprentices.
In 1956
Wang Yanchun admitted Gao Honghing, Chen Xiaogeng, Ge
Yubing, JiangHongda, Ji Debao, Bao Saifeng, Fang Lipiu;
Wu Yungeng admitted Si Yuqing, He Tingchu, Xu Ciyuan,
Fan Hongquan, Wang Yuexian, Xie Xuexian, Wu Xinnao;
Yu Honggeng admitted Xu Maotang, Bao Qijun;
Ren Ganting admitted Xu Xiutang, Xian Qiying, Feng Xiya,
Chao Xinhe, Wang Pinrong, Zhang Hetang and Zhu
Rongjuan as apprentices.
From 1958 to 1959
Zhu Kexin admitted Wangyanxian, Fan Hongquan, Xie
Manlun;
Gu Jingzhou accepted Gao Haigeng, Li changhong, Shen
Quhua, Zhou Guizheng;
Wang Yanchun admitted He Daohong, Gao Hoonghing;
Wu Yun-geng accepted Lu Yaochen, Xu Ciyuan;
Chen Fuyuan accepted Pan Chiping, Zhou Zhunyan, Gu
Chaopei as apprentices.

Material and Characteristics
Yixing tea pot's Material and Characteristics:
The yixing purple clay teapot is reputed as the "first of all
tea-sets in the world" for its unique material and
characteristics?tea inside it does not seep though no glaze
is applied on its surface, tea brewed in it tastes rich and
mellow for the teapot is porous;tea in it does not decay or
change its color when kept overnight, it long retains its full
flavor, for the base clay is odorless; the teapot keeps tea
warm in winter, but not hot for the hand in summer, it
does not crack when heated on a stove or when boiling
water is poured in; the longer it is used, the more lustrous
it becomes, the more refined and classic it looks, and the
more fragrant the tea kept in it.
Yixing tea pots are made by a very special unglazed clay
material called "zisha" clay.
Zisha, or purple clay, from which Yixing ware is made, is
found throughout the hilly southern area of the Yixing
region. The particular qualities of this clay substance set
the Yixing apart from other unglazed earthenware teapots.
Geologists have pinpointed the origins of Zisha in the area
compressed sedimentary lake deposits.
There are actually three different varieties of Zisha. The
most common of these are the Zini or rose-brown clays.
The other two more rare clays are know as Banshanlu or
creamy white to light-brown clays and Zhuni or red clays.
Chemically, all are composed primarily of quartz, kaolin
and mica and contain high amounts of iron oxide, which
lends the clays their purple-red color. Zisha clays are also
fairly sandy.
Recognized by artisans and literati centuries ago, these
characteristics of the Zisha or purple clays help to make
Yixing pots especially well-suited for brewing tea.
Excavations have shown that the composition and
structure of the clays used in making authentic Yixing
teapots today closely resemble those used in pots from the
1500s and later.
Yixing tea pot each piece is shaped by hand on a potter
wheel and left unglazed, both because it makes better tea
and because doing so allows the color of the clay to shine
through. Highly prized for its porous nature, which is
excellent at absorbing the flavor of tea, Purple sand or clay
does not really in purple color only, it depends on the
layering from the ground, different layers has different
color, Yixing clay occurs naturally in the characteristic
colors: light buff, cinnabar red and purplish brown. it can
have many natural color after fired.
Other colors are created by mixing these three clay. A
principal factor in determining the depth of the color is the
concentration of iron in the clay.
Zisha clay has very special characteristics chemistry
composition and texture,a 4% 0f the water absorption
rate,a very low thermal conductivity,and other unique
qualities,it already is confirmed and is received that zisha
clay is best raw materials for made teapot in whold world.
When properly refined and fired to a high (but sub-
porcelain) temperature, it produces a type of pottery that
is slightly absorbent. Legend has it that if you have
prepared tea in an Yixing teapot many times, you can
reach a point where by adding boiled water alone you can
make tea because the teapot itself holds enough of the tea
flavour. the characteristics of yixing teapots as follow:
(1) One of the special attributes of Yixing teapots is the
ability to retain heat. Small pores produced in the clay
during firing retain both heat and flavor, and the low
shrinkage rate of Yixing clay allows the skillful potter to
make a closely-fitting lid that inhibits oxidation thus
heightening the tea flavor.
Yixing tea pot can keep tea's heat,primary colour,aroma
and taste.this is proved by the test:the fine qualities of tea
will been retain for 5 days if you use yixing teapot.but it
only can retain 3 days if you using other ceramics teapots.
(2) The Yixing teapot is free of lead, arsenic, cadmium, and
other toxic materials. Yixing ware is unlike other unglazed
earthenware teapots. The Yixing teapot has a fine and
solid texture, a four percent water absorption rate, a very
low thermal conductivity, and a double air hole design
which enhances the pot brewing properties. The principal
standards for evaluating a teapot brewing quality are the
color of the tea soup produced and the level of tea phenol,
caffeine, and aminophylline. The performance of the Yixing
teapot is far superior to that of the standard teapot with
respect to all four of these criteria. Not only are the Yixing
teapots beautiful and unique works of art, but also, they
are excellent brewing vessels. in fact,yixing teapots
exceeds the strict standards imposed by china's pottery
reserch institute and are also approved by the usa"fda".to
ensure this high standard of quality,
(3) After firing, Yixing tea pot is solid and impermeable,
yet porous enough to "breathe". A Yixing teapot enhances
the tea brewed in it with respect to colour, smell, and taste.
Its walls seem to absorb the tea and keeps fragrance. In
summer, it keeps tea overnight without spoiling. With hot
tea inside, it does not scald the hand with purple sand
being a slow heat-conductor. But in winter, it may serve as
a handwarmer and may be left on a low fire to make
certain types of tea which need simmering. To the Chinese
tea connoisseur, it is the "ideal teapot".

Unique Yixing Purple Clay
It is said that in ancient times, Dingshu was merely an
ordinary village on the lakeshore of Taihu.Villagers went
out to farm when the sun rose and went back home when
the sun set, making jars and pots out of pottery clay for
daily uses at leisure. They led a simple life. One day,
however, a wandering monk of unusual appearance came
to the village. He shouted over walking, "Rich and noble
clay! Rich and noble clay! "The villagers were curious and
watched him. The monk, seeing through their hesitation,
shouted again, "If not noble, why not rich?" The people
were even puzzled, staring at him blankly. The strange
monk shouted in a lounder voice and walked on with
quicker steps, as if there were no one else present. Some
wise old men felt strange and followed him, moving
towards Huanglong & Qinglong mountains. Suddenly, the
monk disappeared at a corner. The old looked around,
catching sight of several newly-dug hollows, in which was
clay of various colors. They carried the clay home,
pounding and firing, and unexpectedly got a totally
different color effect from the past. The villagers imitated
them one after another. Thus, the reputable purple-clay
came into being.The raw material of purple-clay pottery is
really of various colors and called the "clay of clays and
rock of rocks". Purple-clay refers generally to the clay of
green, red and gray color and is produced at Huanglong
Mountain in Dingshu, Yixing, hidden under the yellow rock
between the mixed clay mine. Green clay is the mixed
grease and red clay is the stone yellow, usually under the
tender ore bed.
Purple-clay, a kind of ore body, is as hard as rock when
unearthed. But piled on the open air, blown by wind and
struck by rain for months, it will turn into small loose
grains, as small as soybeans. Then it has to be crushed to
powder by a stone mill, sifted by a sieve and disturbed in
the vessel with some water, before it can be rubbed into
wet lumps, the crude clay. But before it is used to make
vessels, it is to be beaten with a wood hammer for tens of
times.
The plasticity of ready clay, the hardness of the shaped
clay-body and the low contraction rate make it possible to
create pottery of various kinds, fantastic designs and
different lines. For hundreds and thousands of years,
generations of artists have kept on experimenting and
exploring and added splendour to the civilization of
mankind.
The characteristics of the purple-clay may be summed up
into following aspects:
1.
Of high plasticity. With a liquid limit of 33.4%, modeling
limit of 15.9% and an index of 17.5%, purple-clay is of
high plasticity and can be made into various shapes of
different sizes. It has strong adhesion, but is not glutinous
in hands and implements. The mouth, handle and the
teapot body can be made separately before they are stuck
together and polished with clay. The clay pieces of square
vessels may be got together with grease clay, too. Such a
large capacity materially enables the pottery artists to
fully display their creative intention and give free play to
their artistic techniques.
2.
Of low contraction rate. From a claybase to a fired product,
its contraction rate is only about 8%. It also has a wide
range of firing temperature, a low deformation rate and a
strong intensity of the raw chaybase. So the teapot cover
suits the mouth very tightly, the contour is up to standard
and can not be twisted. The handle may be designed
thicker than that of a porcelain pot, and the round surface
of the pot mouth is in proportion with the mouth. Besides,
the clay can be used to make open-mouth vessels and
teapots with mouth and body of the same width.
3.
Purple-clay can be processed into pottery without any
addition of other materials. The produced pottery have two
layers of gas hole construction: close-mouth layer, that is
the gas hole inside the nodule body; and open-mouth layer,
which refers to the gas hole group around the nodule body.
The two layers of gas hole provide the purple-clay pottery
with fine ventilation. In addition, the tiny gas holes of high
density possess strong absorption, which the glazed
ceramic teapot lacks. Meantime, precisely and reasonably
shaped, the teapot, with its mouth and cover fitting
perfectly, has a displacement error within a tolerance of
less than 0.5mm, which decreases the possibility of the air
mixed with germs entering into the pot. Therefore, the
colour and flavour and fragrance of tea may last for quite a
long time and delay the time when the tea goes bad.
Furthermore, purple-clay teapot has the capacity to
tolerate sudden heat and coldness. Even if boiling water
and cold water are alternately poured into it, it will not
explode or crack.
4.
Another uniqueness of purple-clay is that it needn't be
glazed after it is shaped. It is smooth and shiny. After it is
handled and caressed for a long time. It will send out dim
light. While pottery clay of other texture can not be
compared to it in this aspect.

The Art of Shaping and Making Wares with Applied
Decoration
People have formed new demands with teapot under the
modern living style and prosperous tea culture. The art of
purple clay teapot has earned a good name not only with
its practical applicability, but also with its content, spirit,
and beautiful appearance. The art of teapot has
demonstrated an influential ability through its form, spirit,
and personality. Purple clay teapot has performed its
fullest in the face of art.
The art of purple clay teapot has formed a series of unique
and reasonable production through the execution and
improvement of technology. Potters have received serious
skill training to express their emotion, experience, life, and
concept through the application of clay material and tool.
Potters have demonstrated their creativity in their own
style with unique art language. Purple clay contains
meditative concept of art and design that should be
included in the list of collectors.
The style and gesture of purple clay teapot should be
stressed first, then teapot body that is formed with focal
point, line, surface, and body. For example, the
arrangement of mouth, handle, spout, base, foot, lid, and a
coordinate and balanced proportion. The following detail
should also be attended the structure of profile, the
producing technique of shade, the relation between solid
and void, etc. The viewpoint of collectors and creators will
reach a common ground and enjoy the true meaning of
purple clay art only if they can share the same concept of
beauty.
THE RELATIONSHIP BETWEEN THE TOTAL FORM AND
DETAIL PARTS
Due to the requirement of applicability, all of the Chinese
wares are formed with the art of spout, neck, shoulder,
belly, and base, therefore, the proportion, relation, change
of formation, connection of each part on teapot are the
fundamental elements of creation.}
There is no exception for purple clay, in the appreciation of
a teapot, the total form comes foremost in consideration.
Detailed parts including mouth, neck, shoulder, belly, foot,
base, cover, knob, spout and handle are treated in
subordination to the total form. The details should be
designed to harmonize with the whole, and appropriate
treatment of these parts will be able to highlight
distinctive features of the form.
1. Detailed parts of a teapot should be treated with equal
care and clarity, as they all contribute to the effect of a
unified and refined form. The turn of angle at the mouth,
base and foot should be presented clearly. The interior and
exterior rims of the mouth should be sharp and crisp, just
as the base should be clearly differentiated from the foot.
The reason is that these parts mark a change in outline
and in shape of a teapot.
2. The recessed cover and the pressed cover produce rich
liner rhythms, while the truncated cover forms an integral
part of the teapot.
3. In order to create stylistic uniformity with the teapot,
the knob of the teapot is sometimes a miniature
reproduction of the body in its upright or inverted form. At
other times, the form of the knob is an extended outline of
the cover or the body or modelled in the shape of a bridge
whose shape matches harmoniously with the form of body.
Designers usually utilize the relevant subject to make an
interesting knob with image to receive a better
coordination of the creation. For example, the teapot with
the theme of Tree Frog and Lily at Night.
4. The spout and handle of the teapot are visual extensions
of the shoulder rib that influence the balance of teapot
structure. Inappropriate placement and proportions of
teapot structure, and these parts will move the teapot's
central gravity away from the central axis, upsetting the
balance of form and the stability of the vessel.
Therefore, in addition to the integrated visual balance of
spout, handle, and body, the space occupied by the spout
and the handle should be on two sides of the teapot
symmetrically for the effect of grace and stability. For
example, the "Blast Teapot" of He Daohong. Sometimes,
the handle and spout slope towards the same direction for
the effect of balance and ingenuity. On the other hand, the
balance of spout and handle is not stressed, instead, the
contrast of their curves is the key feature for
demonstration. A visual balance of the curve from spout to
mouth of the teapot is created for the stability of the
teapot taking as a whole.
5. A teapot can have its center of gravity placed in its
upper, middle or lower part according to its form. A teapot
of small height and a wide base has a center of gravity
resting near the base of the vessel. In this case, the form
enhances the sense of stability, for example, the creation
of Lu Yaochen. On the other hand, a teapot of greater
height and smaller base has a center of gravity towards its
upper part. Its form should convey a sense of lightness
and vivacity, for example, the creation of He Daohong.
6. The stability of teapot is influenced by the base of
teapot. The teapot in stone weight shape has a profile of
an upright triangle with the center of gravity placed at the
base, the form, however, is enlivened by the three boss
legs, which offset the weight of a flat base. Take the
overhead handle teapot of Wang Yinxian for example, the
central gravity of the teapot is at its bottom, however, a
relationship of solid and void is formed in the image of
overhead handle. The teapot is given a great style with
personality through the fine touch of a graceful body.
FOCAL POINT, LINE, SURFACE, BODY, & DECOBATION
The art of purple clay teapot is presented with the gesture
of height, low, chubby, thin, hard, soft, square, round, etc.
The concept of the art is ,,the square is never the one of
the same square while the round always varies,,, of which,
it is divided into the category of styling art and decorating
art. Plain geometric ware and vein line are the main items
of styling art while applied decoration is the main item of
decorating art. The artist of purple clay teapot has created
the ware with a three-dimension body through the
application of focal point, line. and surface.
1. Plain Geometric Ware
All plain geometric wares follow this pattern: they feature
radial symmetry when viesed square and axial symmetry
when contemplated from above. To facilitate the making
and the practical use, most of the purple clay teapots are
modelled in round or symmetrical forms, with the center of
gravity resting on the central axis of the vessel. That is, a
vertical line extended from the center of gravity resting on
the central axis of the vessel. That is . a vertical line
extended from the center of gravity will meet the center of
the teapot's base, for example, the hexagonal teapot of
Wang Yinxian. The viewer of purple clay teapots react
rather relaxed and peaceful in a stable environment for
production. The stabilized vision has fulfilled the
fundamental requirement of "stability".
The art of making plain geometric ware is the easiest to
learn but hardest to master. The plain geometric ware is
completely exposed because of its simplicity, and
unadomed because of its plainness. The slightest
divergence will become more glaring than with products of
greater intricacy. Therefore, a perfect plain geometric
ware cannot be created without the knowledge of outline,
line, volume, proportion, and manufacturing technique.
Another feature of the plain geometric ware is its large,
smooth and plain surface which provides ideal space for
pottery creation. Thus, the combination of artisans and
teapot art has formed the good saying of "the carving
makes the pot priceless, while teapot carries the carving
down through the ages." For example, the compressed
round teapot of Gu Jingzhou is decorated with the paint of
Fan Jen.
All plain geometric wares, be they historic or of modern
times, are graceful and complete with precise structure,
harmonious proportion, coordinate rhythm between solid
and void, and subtle strength. It is a great combination of
content, formality, and fonction.
2. Vein Line
Artists take advantage of the exceptional advantages that
purple clay pottery contains unique raw material which is
fine and plastic, unglazed surface and bare biscuit. These
features provide conditions for creating the light and
shade of veins, and facilitate the expression of vein effect
on a purple clay ware. Therefore, with the concept of ''the
combination of points and the lines,, and ,,surface
cutting,'' artists of successive dynasties took advantage of
the wonderful vein lines and the harmonious cutting
method to symmetrize the structure of purple clay pottery.
The design of purple clay pottery requires the width of
lines to be appropriate, the turning explicit and the lines
themselves lively, for example, the "teapot with mallow
and wind design" ofJiang Jenshong. Only when angles and
lines are made explicitly and the concave-convex relation
symmetrical can the admirers feel a perfect combination of
substance and space, for example, the creation of
GuJingzhou.
The body, lid, mouth, and spout of the teapot are in the
shape ofhexagonal. Especially, when molding a teapot,
potters should see to it that the lid fits the body tightly and
also turns around smoothly, which means that if you turn
the lid, it always dovetails with the body. When used for
decorations, vein lines are required to suit the theme of
the teapot.
In addition, as the veins produce a strong melodious and
rhythmic effect, then hand touching the veined ware will
have a strange feeling - the feeling of order and measured
tempo. How they are treated, whether made bright or dark,
wide or narrow, concave or protruding, reserved or
unrestrained, dynamic or static, is closely related to the
theme. Appropriate decorations will make a purple clay
pottery ware look rich, forceful and vigorous. They will
give the work more artistic appeal by making it bright but
not dull, gaudy but not vulgar, for example, the "teapot
with the design of prunes and plate" by He Daohong.
When decorating round and square vessels, the vein lines
can form various and lively geometric shapes, such as
circle, square, trapezium and triangle with a great space
for creation.
Within modern culture and creative concept, the styling of
purple clay teapot has broken the traditional mold, for
example, the design of hexagonal, pyramid, polygon, etc.
for a great impression at sight. No matter what a massive
variety the purple clay teapot has presented, it has never
failed the fondamental requirement of "stability."
3. Applied Decoration
Apply the image of fruit, flower, tree, insect, fish, bird,
animal directly ftom nature to create a great teapot.
Artists have expressed their idea through decorating
pottery with the aforesaid images partly or totally, for
example, the pine, bamboo, di prunes teapot with
overhead handle by He Daohong.
The inspiration of the image of appliances in daily life is for
the creation of pottery; for example, teapot in stone
weight shape, jar, can, cylinder, square, etc.
The "Konchen teapot" of Gu Jingzhou, "Pine, bamboo,
&prunes teapot" of Jiang Rong, and "Prunes trunk teapot"
of Wang Yinxian are all expressed in a non-symmetrical
body shape for an effect of integration and diversification.
Artists must be able to demonstrate the theme of teapot
with various points, Iines, surface through a flowing-vision
and a consecutive change. It is a combination of contrast
and supplement for a better appearance and an energetic
life of purple clay teapot.
Purple clay pottery is with diversified gesture that can be
deemed as the treasure of styling art. It is an
accumulation of creativity through years of practice and
revision. Bases on the foundation, the art of purple clay
pottery is becoming perfect. However, it is not different
from the other fields of art that skills and understanding
remain two most important features for success.
The combination of beautiful body, meditated spirit, and
complicate content is the one and only way to get into the
paradise of art and to own a priceless teapot.

Appreciation Of Purple Clay tea pot
The art of Yixing purple clay were originated in the Song
dynasty (960-1279). It reached its peak in the Ming
(1368-1644) and Qing (1644-1911) dynasties and
continues to develop to this day, the shapes of the teapots
becoming more varied and refined. The creative concept of
the potter is directly influenced by the aesthetic viewpoint
of his audience. Appreciation and authentication of this
unique purple clay pottery art is therefore vitally important.
It is thus necessary to discuss the aesthetics of the art of
purple clay ware.
It is commonly known that Yixing purple clay has a unique
character all its own. The unique ore of raw materials at
Yixing is one contributory factor. The main formation
techniques are the body beating method and the luting
method. These are quite different from the formation
methods employed in other ceramic trades.
Then again, its decoration is associated with a higher
cultural level than is the case with other ceramic ware.
Taken together, all these aesthetic elements are found in
the art of Yixing purple clay ware.
How should one appreciate a work? Take a teapot for
example -- the most famous form of purple clay ware --
and analyse it according to traditional formation methods.
Based on the theory and regulations of plastic art, the
main body is usually composed of dots, lines and surfaces
and the attachments are the teapot spout, handle, mouth-
rim, base, foot, lid and knob. There should be an
appropriate relationship and proportions between the
various parts. The outlines of different parts should flow
smoothly into each other. Attention should also be given to
the treatment of the convex and concave surfaces and the
contrast between solid and void. There are infinite
variations which give the object (vessel or teapot) its rich
sense of beauty.
The aesthetics of purple clay pottery can be classified from
an abstract point of view into the four elements of form,
spirit, air and gesture. Form is the beauty of shape, the
outline of the work and its formal representation. Spirit
means the spiritual perfection and rhythm of a piece, while
air is the ethereal quality expressed in the contents of the
art work and its harmonious colouration. Gesture
constitutes the formal characteristics such as the tall,
short, fat, thin, hard, soft, square or round quality shown
in the form. A genuinely perfect work is one which
success-fully combines all these attributes. Here we must
distinguish between the logical and the emotional
approach. If a teapot connoisseur inclines towards the
logical approach, he will be very concerned with the
appropriate size of the teapot, the angle of the spout, the
domed or flat shape of the lid, the tallenss or shortness of
the body and its functional use-tea-brewing. Thus he
applies logic without any real interest, whereas art
appreciation should ideally include both these aspects.
Irrespective of its shape, a work should arouse interest.
With interest comes affection, nurturing of the soul and
long-lasting enjoyment. Therefore in appreciating a new
form, one should comprehend the nature of its beauty
before attempting to criticize it. The enthusiastic response
of purple clay ware lovers is based on this premise.
Naturally, as a practical craft item, its usefulness is very
important. Its convenience in use generates feelings of
contentment and harmony. The size of the teapot should
therefore be designed according to tea-brewing customs
and practices. The smooth flow of water from the spout
and the practical and comfortable handle design also
require careful consideration.
Historically, the appreciation of purple clay ware can be
classified into three level.
(1) The elegant pottery art level -- the work should be
both logical and interesting, possessing beauty in form and
spirit and displaying an excellent production technique. It
is an attractive work with universal appeal, finding favour
with people from all walks of life. It can thus be regarded
as the best work of the highest calibre.
(2) The second level covers high quality products
reproduced in specific quantities for sale. These works are
exquisitely crafted and their forms completed and
satisfying.
(3) The common product created for everyday use in
accordance with people's local customs. These works vary
in shape and size and the production techniques used are
merely average.
My discussion here is focused on works of art. The content
and form of a work comprise many elements which are all
interrelated. Perfect form and exquisite manufacturing
technique are of paramount importance. In addition, the
finished form might be decorated to enhance the work's
visual impact. The suitability of the subject and content of
the decorative motif. the use of the decorative material
and the production technique all require consideration.
These are all related to the artistic level of the potter and
the discerning eye of the connoisseur.
This can be illustrated by some examples. For instance, the
traditional pottery engraving on purple clay ware can
enhance one's appreciation of the item. The content of the
inscription should be an excerpt from an appropriate
literary work. The calligraphy and painting should be
brilliantly executed and of high quality. The engraving
technique employed should be reminiscent of the
traditional art of bronze engraving and seal carving.
In recent years, enthusiasm for purple clay ware has
grown significantly, partly owing to the promotion of the
tea and pottery cultures. High quality products are in
limited supply and cannot keep up with the increasing
demand. Especially rare are elegant works by famous
potters. This has inevitably led to the emergence of a
minority of craftsmen devoid of artistic ethics. They team
up with cunning traders to forge works by famous artists,
flooding the market with bad forgeries and cheating many
purple clay ware lovers. It is therefore necessary to
discuss authentication techniques. As with the
authentication of paintings and calligraphy, one should
start by considering the dual aspects of logical perception
and emotional understanding. Logical perception involves
the study of aesthetics to heighten aesthetic awareness.
Exchanging views on the works of famous artists and
discussing and exploring in depth the styles of their works
helps to sharpen one's feelings for them. Experience
should be built up by studying their potting techniques,
expertise, use of colour and selection of clay, the
characteristics of their seals and certain other key aspects.
These are essential for authentication. In any art form, an
outstanding artist must have artistic techniques and
qualities unique to himself. This is personal style and
rhythm and flows from an inspiration which the forger
lacks. If a forger has a profound under-standing of all
these, then he too is a great master. It is not necessary for
him to forge works by others without taking credit. I dare
to venture that which is genuine is born genuine. That
which is forgery can never be genuine. Forgers have no
aspirations and forgery is totally shameful and abhorrent.
I shall also briefly discuss imitation and forgeries in the
history of purple clay art. From the mid-19th century to
the early 20th ,century was a popular period for imitating
the works of ancient masters. There were those who
copied extant works by famous artists and there were
works designed by curio merchants based on descriptions
contained in old texts on purple clay history. Forged
inscriptions by famous masters of the past were added, as
were seals. Over the past few decades I have witnessed
these types of forgery and have drawn the following
conclusions: All teapots imitating the work of masters of
the Ming dynasty far exceed the standard of Ming works in
potting technique and colouration. The reason is obvious.
As society progresses, so too do science and technology.
Thus, comparing imitations with extant works of the Ming
dynasty, it is evident that later copies are far superior. As
for the excellent works by great masters of the early to
mid-/Qing dynasty-Chen Mingyuan, Sheng Si, and Shao
Daheng, no matter how exquisite the copies, they are
deficient in spirit and rhythm. This can be likened to the
difference between jade and soapstone. However, if these
copies are extant today, they still have a reasonable
appreciation and collection value. They should be
distinguished from the forgeries of the present day. Over
recent years forgeries have been produced based on
illustrations contained in old texts and their workmanship
is poor. Their main objective is to cheat people and one
must be careful not to fall into the trap.
I have merely expressed here my random thoughts on the
subject for the benefit of purple clay art-lovers. I hope that
knowledgeable readers will be quick to point out my
inadequacies.

The Evolvement In Modeling Crafts
The modeling methods of purple-clay pottery, since
Zhengde period in Ming Dynasty, has been becoming more
and more perfect, owing to generations of artists'
exploration and improvement as well as the progress of
science and technology. There are various methods which
may be summarized into: handforming, injecting mud
forming, applying base forming and printing, etc. The
handforming base forming, method, an ancient craft,
includes beating pot body and inlaying pot body.
Beating pot body forming: First cut the ready clay into
pieces in a certain length, width and thickness. Then beat
them into clay slices and strips according to the vessel
being made. Make scratches on the clay to show the width
and whirl the mouth, bottom and body pieces. Stick the
body pieces in the center of the revolving plate, and put
the clay piece around the body pieces to form a clay tube.
Then the left hand inside the round tube, use the right
hand, with a thin wood beater, to beat it into desired
shape.
Inlaying body forming is applied to make square vessels.
First cut the clay into square pieces, then beat them into
slices according to the required sizes and make them into
sample pieces. Cut the clay into slices according to the
sample and stick them together with grease clay. The key
of hand forming lies in the appropriateness of the claybase
forming and the polishing of the surface. The accurate
polishment may make the structure more rigid, the
contour more proper and the wrinkles more distinct so as
to attain the making requirement of being round as pearls
and smooth as jade and create the effect of a unified
whole.
Injecting mud forming. Widely adopted in recent ceramic
production, it takes advantage of the absorption of the
plaster model. Inject mud into the model, then take off the
model, a hollow claybase is available.

Judging a Pot
The tea pot is a product of applied art. It must be practical,
pour well, fell good, look good, and balance pleasantly in
the hand. But to the artisy who first creates a new design
the tea pot becomes a vehicle for Fine Art. He uses it to
express emotion-nobility, rectitude, long levity, prosperity,
serenity, tenderness. And a good piece should affect the
connoisseur with these emotions.
To achieve these effects the makers make use of shape
and style. Tea pots may be square or round, smooth or
segmented, solid or graceful, abstract or made after
particular shapes in nature. He may choose the pine,
bamboo or plum tree, the orchid or lotus flowerrr, the
dragon or the phonix or both. Pots are made on the
likenesses of fruit, crops, fish, birds, turtles, frogs,
squirrels and insects. Their shapes are inspired by stones,
rocks, streams, wallsm wells, and 'mountain and river'
landscapes. Or the artist may use the formal patterns of
the tripod or the coin.
Purple clay, which has a high iron content, gives its name
to Yixing pottery, but this is not the only colour to emerge
from Yixing kilns. Red clay and yellow clay are also used,
independtly or mixed, and after firing many different
colours or shades of colour are produced.
The potter makes his by hand and handles it when finished.
His hands will tell him if the pot is good or bad. The feel of
a pot in the hand must be satisfying.
And the completed pot has many parts - a body, spout,
handle , lid, knob...
These should be in balance. Their relation and structure
must be clear and reasonable. The lid must fit, not jamm or
rattle, and it must be deep seated and firm- not fall off
easily and break. Spouts and handles are separately made
and then connected to the body. This connection must be
smooth and the transition between the body and the spout
should be reasonable. Together they must handle well, the
spout allowing the liquor to flow freely, and the handle
providing a pleasant grip and balanced leverage and
control.
Use and function have produced the pot and shape and
colour provide the canvas. The engraving of this clay is the
final touch. Fine decoration must compliment the subject.
This decoration, often by the scholar artist or calligrapher
and seal cutter, displays his accpmplishment in literature.
And in such a pot, with its simple useful daily function,
pouring a cup of tea, all the arts combine.
In recent years there has been an upsurge in admiration of
purple clay. prices have jump from a few dollars to
thousands for a single pot. And with this increase in value
there has been also an increase in quality. More time and
care goes into every pot, and many more are rejected and
smashed when they come from the kiln. With the prices,
standards have risen too.
To authenticate an ancient pot the expect has to know the
politics and economy of that time. He must have
knowledge of the techniques and raw materials in use, and
the principal potters and potteries of the day. To identify a
'Mansheng Pot', he must know the seal and calligrahpy of
Chen Mansheng and be familiar with the pottery
teehnoiogy of the 19th century and with the knife
engraving of the potter and the period. And to become an
expert today is perhaps an even more formidable task-
there are so many famous potters, and such a variety of
the first rate artistic work.
An article shows the writer, calligrsphy shows the
calligrapher, a painting shows its painter, and pottery
shows the maker of the pot. But perhaps the pot is the
most revealing. You can feel it in your hands h= just as the
maker did. Some potters like a little spout, some a heavy
handle. Some reproduce trunks and knotty branches.
Others have exquisite engravings of ratans or leaves. Each
artist has some form that he likes best, and every pot
reflects of pottery there emerges and expected style, a
signature or masterstroke, individual to each article yet
common to every product from that hand. When you can
read this signature you too will be an expert in this art.
Besides his style and characteristic features each potter
marks with his own seal every product from his hand. This
seal authenticates the work. The seal itself is chosen with
great care. Every famous potter has his seal from a well
known engraver. The characters of the seal are cut in
stone with steel and the resulting inprint is said to 'smell'
of stone and metal. And there is no finger substrate for the
well carved seal than unfired clay. Pottery shown off best
the character of the perfect seal.
A potter gives this advice to amateurs.
Exchange information with each other, and meet and talk
to the potters themselves. Do not buy with undue haste. If
you pay a high price be sure that your pot is not a
counterfeit.
And remember that not every pot from even a famous
potter is a good example of his work. We have a saying:
"Three prototypes can not reach your ideal." This is jargon
in the pottery business. It means that it is not possible to
perfect an idea in the first throw. A fine pot must be made
many times, and there may be many failures on the way.
And if famous potters some times have failures, the hands
of unknown potters may produce a great sucess. If you
like a pot, collect it.
"Beauty in purple clay is good for the mind. It will mould
the sentiments, foster temperament, improve health."
In other words, to be happy and successful drink tea with
puple clay.
How care and use your yixing teapot
Since only purple sand teapots contain thousands of air
holes or micro-air pores, besides being able to keep the
hot water hot for a longer time and brew teas better, these
air holes can also self seasoning the teapot by absorbing
the aroma from the tea. These characteristics can only be
found in the purple sand, therefore,Yixing teapots are
most used by the serious tea drinkers. Serious tea drinker
like myself, I have been using one teapot for only one type
of tea inorder not to mix-up with the tea aroma in that
teapot. Normal tea drinkers may find using two or three
Yixing teapots sufficient, one for green tea(but make sure
to cool your water temperature), second one for Oolong
tea and a third one for black tea. Brewing a cup of good
tea has many factors besides using a good teapot,
different tea requires different methods to brew,When
purchased a new Yixing teapot, do not use it to brew tea
right the way, it needs to be treated with preparation work
inorder to have these air holes functioning properly in the
purple sand .
One cultured way if you have time to do it:
1)
place the teapot with the lid uncovered, carefully place the
pieces onto a cook ware which should be large enough to
hold the water and be able to cover the entire teapot.
2)
Place some tea leaves(preferably the same kind of tea
which you will use for your new teapot) in the water and
bring to a slow boil, since rapid boiling may damage your
teapot since the pieces may possibly be hitting each other
or hitting the walls in your cook ware.
3)
slow boil for about an hour, let your teapot cool down in
the cook ware with tea water still covering the entire
teapot, let it stand for a day or so,
4)
the next day you can take the teapot out and rub off any
purple sand residue inside of your teapot, rinse well with
water only, place the teapot back into the cook ware and
bring it to a slow boil again for around an hour or so. Let it
cool down in your cook ware still covering with the tea
water again,
5)
the next day you may take out your teapot and rinse it well
with hot water. After this process, the air holes in your
teapot are opened up and is ready for use.
One simple way for the initial use:
Fill your teapot with newly boiled water and allow the
water to sit for 5 to 10 minutes. Drain the water.
Fill the teapot a second time with newly boiled water and
add one teaspoon of your favorite loose tealeaves. Allow
this tea to sit for a period of 5 to 10 minutes. Drain the tea.
You are now ready to prepare your first pot of tea. Fill your
teapot with freshly boiled water to heat up the pot. Drain
the water. Put one teaspoon of tealeaves into your pot.
Again, fill the teapot with freshly boiled water. Drain the
water quickly to rinse the tealeaves. Fill the teapot a third
time with boiling water, allow it to steep for at least 1
minute and enjoy your tea.
How cleaning your tea pot:
Since the clay has the unique characteristic of absorbing
the flavor of your tea, washing with soap will take away
from that unique quality.so never wash your Yixing
teapots with any detergents or cleaning agents, just rinse
with hot water after each use would be sufficient, pat dry
with soft towels if preferred, leave the lid uncovered till it
is fully dried. Tea stains may build up on your teapot after
many used, don't worry about getting it off, collectors are
always looking for tea stains as this is one of the
characteristics required for a good old and antique teapot.
Avoid having dust and grease get to the teapot. we have
seen a good old teapot which have scaling tea stains, to a
collector's point of view, this kind of Yixing teapots worth
much more value and is rare to find.