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.