Wang Yinxian
Follow the curve from spout to overhead handle on the 1993 Dàqū 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.
On this page
From a drawing to a vessel#
Look at the open space inside the tall handle of 大曲壺, C1994.0082. The Hong Kong museum guide describes a snail-inspired design: the broad curve links the body, spout and handle without modelling a literal animal. It dates this pot to 1993 and records height 16.8 cm and width 20.8 cm. These are this object’s measurements; the guide does not define the width as body diameter or give a capacity. Item 13, PDF 32–34
The guide credits Zhang Shouzhi with the initial design and Wang with making it three-dimensional, bringing her experience of clay selection and forming to the work. “Designed by” and “made by” identify different contributions here; neither should erase the other.
A seed pod, a bird and a lid#
Now look at C82.21: the body resembles a lotus seed pod, with a kingfisher perched on the cover. The 1994 catalogue dates it to about 1980 and gives height 14 cm and width 13.2 cm. It is catalogue no. 96, printed p. 144 / PDF p. 150. This is a second accessioned object, not another view of the Dàqū pot. Catalogue 96
The comparison reveals two ways of working from nature: recognisable plant and bird forms in the earlier pot, and a simplified flowing outline in the later collaboration. Neither object alone defines the full range of Wang’s work.
Where the marks can be located#
For C1994.0082, PDF p. 33 labels photographs of the base and the inside of the lid: two impressions appear on the base, and an oval impression and a pictorial impression beneath the lid. We do not offer new readings of all these marks. The 1994 plate for C82.21 instead supplies detached insets and the readings (汪)寅仙 and 寅仙; the parentheses indicate the supplied surname. Those insets do not establish where the impressions occur on that pot. Located views · Detached insets
Training, then comparison#
The national heritage register records factory training from 1956 and names Wu Yungen, Zhu Kexin, Pei Shimin and Jiang Rong among her teachers. Training record
Return to the two vessels before turning a training lineage into a stylistic rule. Ask which parts are modelled, how their outlines connect, and whether the source identifies one maker or several collaborators.
Sources#
- Hong Kong Museum of Art: Ordinary to Extraordinary: Stories of the Museum — 大曲壺
- Yixing Purple Clay Wares: The K.S. Lo Collection / 宜興紫砂陶器，香港市政局，1994，ISBN 962-215-124-8
- 中国非物质文化遗产网：汪寅仙（代表性传承人01-0120）
Status and editorial notes sources cited
Sources are listed below. Their presence does not certify every claim; source-specific interpretations and unresolved questions are identified in the text. This page has not received independent expert approval.