Makers
Potters, scholars and metalworkers, explored through documented objects
27 entries
- 供春GongchunGongchun is an early named figure in accounts of Yixing teapot making. Zhou Gaoqi describes him learning at Jinsha Temple; that written tradition and the attribution of surviving tree-burl pots are separate questions.sources cited
- 时大彬Shi DabinShi Dabin was a leading late Ming Yixing potter. Texts discuss his move toward smaller teapots, while excavated vessels bearing his name provide material evidence; a burial date, an inscription date and a maker attribution are not the same thing.sources cited
- 陈鸣远Chen MingyuanChen Mingyuan is associated with early Qing Yixing teapots and scholar’s objects that turn fruit, plants and ancient vessel forms into clay. His biography and the attribution of individual signed works need to be distinguished: a name on an object is evidence to examine, not a complete authorship history.sources cited
- 惠孟臣Hui MengchenHui Mengchen’s name is associated with small Yixing teapots and was also used on later gongfu pots. Begin by separating the historical potter from the long-lived mark: a Mengchen inscription does not by itself date a vessel or identify its maker.sources cited
- 沈存周Shen CunzhouShen Cunzhou is associated with early Qing engraved pewter tea vessels. Their metal bodies and literary inscriptions bring a different craft tradition into the history of teaware, alongside the better-known Yixing clay pots.sources cited
- 朱坚Zhu JianZhu Jian is associated with Qing teapots that combine a Yixing clay body, a pewter exterior and contrasting fittings. Reading the vessel from inside to outside helps explain how pottery, metalwork and engraved decoration meet in one object.sources cited
- 陈曼生Chen ManshengChen Mansheng (1768–1822) was a calligrapher and seal carver whose collaboration with Yixing potters made the teapot a surface for poetry. His studio name, a potter’s seal and an inscribed text can record different roles in making one vessel.sources cited
- 杨彭年Yang PengnianYang Pengnian was a Qing Yixing potter associated with collaborations with Chen Mansheng and other literati. The potter’s work gives the vessel its usable form; a studio seal and literary inscription can record other contributions to the same object.sources cited
- 杨凤年Yang FengnianYang Fengnian was a Qing Yixing potter known for forms drawn from flowers and bamboo. Looking at how petals, stems and nodes become a lid, handle or body is a useful starting point before considering signatures and family relationships.sources cited
- 邵大亨Shao DahengShao Daheng was a Qing Yixing potter celebrated for the balance and strength of his forms. Compare the smooth volumes of his plain pots with the structured decoration of attributed bamboo forms before turning to the later praise surrounding his name.sources cited
- 黄玉麟Huang YulinHuang Yulin (1842–1914) was a late Qing Yixing potter whose repertoire included naturalistic and archaic vessel forms. His association with collector Wu Dacheng links teapot design to the study of earlier bronzes and inscriptions.sources cited
- 程寿珍Cheng ShouzhenCheng Shouzhen (1858–1939) is known for Yixing teapots with strong, rounded profiles, especially the stacked-sphere Duoqiu form. His name and the sobriquet Bingxin Daoren appear in different positions on documented pots; these marks should be read together with the vessel.sources cited
- 裴石民Pei ShiminPei Shimin (1892–1976) made Yixing teapots and small naturalistic objects, and also worked on restorations. A replacement lid attributed to him on a Gongchun tree-burl pot offers a useful lesson: different parts of one museum object can have different histories.sources cited
- 顾景舟Gu JingzhouGu Jingzhou (1915–1996) was a Yixing potter, teacher and writer who refined traditional teapot forms for the twentieth century. His collaborations with artists are best understood through individual vessels, where shape, inscription and authorship can be examined together.sources cited
- 吳茂成Wu MaochengWu Maocheng made small red-clay teapots at the Dongyang Pottery Factory in Banshan, Nantou. He opened the workshop in 1948 after working as a potter at the Xiede factory.sources cited
- 徐汉棠Xu HantangXu Hantang works with familiar Yixing forms at different scales. Museum objects and his own account show how changes to a curve, a handle or a surface can give a pot a distinct character.sources cited
- 蒋蓉Jiang RongJiang Rong (1919–2008) turned flowers, fruit and small creatures into working parts of Yixing vessels. Museum objects and her recorded account show how observation, modelling and fired-colour tests informed that work.sources cited
- 吴云根Wu YungenLook at the straight handle above a softly squared body. A pot catalogued under Wu Yungen’s name makes the contrast visible; other documented works reveal decoration, collaboration and naturalistic modelling.sources cited
- 汪寅仙Wang YinxianFollow the curve from spout to overhead handle on the 1993 Daqū pot. Wang Yinxian (1943–2018) made this vessel from Zhang Shouzhi’s design; another museum pot turns a lotus seed pod and kingfisher into a quite different composition.sources cited
- 王寅春Wang YinchunFollow the straight wall of one pot, then the swollen sides and softened corners of another. These two museum-catalogued works introduce a twentieth-century Yixing potter through differences that can be seen, before turning to signatures and disputed dates.sources cited
- 俞国良Yu GuoliangLook at the square pot’s tall handle, then follow its names from the lid to the base and body. Museum records connect Yu Guoliang with the making, while other writing points to a wider collaboration. The sources do not agree on every mark.sources cited
- 周桂珍Zhou GuizhenLook first at the dragon-shaped handle and the three feet of AC88.46. This pot introduces Zhou Guizhen through a documented object, then asks a second question: who made the vessel, and who added the writing?sources cited
- 陈景亮Chen Ching-liangLook at the tall rattan handle and round side opening of the tea-roasting vessel attributed to Chen Ching-liang in Taiwan Tea Ware. This Taiwanese maker can be approached through two different objects: one adapted to handling dry leaves, the other catalogued by a museum as a sculptural ceramic teapot.sources cited
- 徐友泉Xu YouquanLook at the three feet beneath the rounded body of C81.504. Its lid repeats the divisions of the body, while a short spout turns an ancient vessel outline into a teapot. This catalogue example introduces Xu Youquan through objects associated with his name, before asking how securely that association can be understood.sources cited
- 吕尧臣Lü YaochenFollow the rounded body, raised lid and small knob of the Duoqiu pot illustrated under Lü Yaochen’s name. A familiar Yixing form becomes a way into his work: how do the spout, handle and ornament change the whole vessel?sources cited
- 陈用卿Chen YongqingLook first at the pierced, ball-shaped knob of C81.418, then at the raised band around its body. This large pot offers a concrete introduction to Chen Yongqing, 陳用卿: a historical maker approached through named objects whose attributions still need careful wording.sources cited
- 朱可心Zhu KexinLook for the bamboo joints on the spout, handle and lid knob of the pot catalogued by Wuxi Museum under Zhu Kexin’s name. The plant is not merely pictured on the wall: its structure helps organize the parts used to pour, hold and open the vessel. Other documented pots reveal different ways of making that connection.sources cited