China
Yixing and the other clay centres, the Tang and Song bowl kilns, porcelain, and gongfu tea
245 entries
Learn 16#
- 选购茶壶：你可以自己做的检查Buying a teapot: checks you can do yourselfBegin with the pot you will actually use: its size, grip, lid and pour. Then learn how to separate observable features from claims about its clay, maker or age, and what a test report can establish.sources cited
- 潮州工夫茶器Chaozhou gongfu teawareA Chaozhou gongfu setting heats water, brews tea and serves small cups. Follow those tasks through the vessels, then compare local names, variations and the published regional specification.sources cited
- 香港茶樓、羅桂祥與茶具文物館Hong Kong teahouses, K.S. Lo and the Flagstaff House collectionHong Kong's teaware connects Cantonese teahouses, Chiu Chow gongfu tea and museum collecting. Start with the vessels on those different tables, then explore the workshops, collectors and catalogues that recorded them.sources cited
- 怎样读懂宜兴紫砂泥料名称How to read a Yixing clay nameA clay name may describe an ore, a workshop mixture or the colour of a fired pot. Learn to distinguish these meanings before comparing names such as zini, zhuni and duanni.sources cited
- 臺灣工夫茶與茶藝茶器Taiwanese gongfu tea and tea-art teawareA Taiwanese tea-art table brings together brewing, sharing and smelling tea. Begin with the pitcher and aroma cup, then explore the movement, workshops and sometimes conflicting accounts of when these practices took shape.sources cited
- 建盏之外的黑釉与青白茶碗：吉州、龙泉、汝窑、越窑与定窑Black and celadon bowls beyond Jian: Jizhou, Longquan, Ru, Yue and DingBlack, white and celadon bowls offer different ways to see tea and ceramic decoration. Start with their visible differences, then explore the kilns, techniques and historical uses behind them.sources cited
- 紫砂与陶土真的会改变茶汤味道吗？实验与物理机制解析Does clay change the taste? What experiments and physics showTwo pots can make the same tea taste different. Begin with water volume, temperature and pouring, then examine what laboratory studies can tell us about the material—and what they have not isolated.sources cited
- 茶具食品接触检测与国家标准详解Food-contact tests and standards on teaware, explainedA report is useful only when you know what was tested. Learn to identify the sample, test conditions and results before comparing product-quality standards with food-contact requirements.sources cited
- 宜兴之外的四大陶壶传统：潮州手拉壶、建水紫陶、钦州坭兴陶与台湾陶壶Four other clay teapot traditions: Chaozhou, Jianshui, Qinzhou and TaiwanNot every unglazed teapot is made like a Yixing pot. Compare how Chaozhou, Jianshui, Qinzhou and Taiwanese workshops prepare, form and finish their vessels before exploring the materials in detail.sources cited
- 盖碗、品茗杯与公道杯：茶席上的瓷器组合Gaiwan, cups and pitcher: the porcelain side of the tea tableA gaiwan can be a personal drinking bowl or a shared brewing vessel. Begin with those two uses, then see how cups and a pouring pitcher fit around it and how the arrangement changed over time.sources cited
- 建盏与宋代点茶茶席Jian bowls and the Song whisked-tea tableA dark bowl makes pale tea foam easy to see. That contrast helps explain Jian bowls' place in Song tea culture; their streaks and spots lead us into kiln practice and modern scientific investigation.sources cited
- 紫砂与朱泥壶的开壶、使用与日常养护Opening and caring for an unglazed teapotCare begins with the condition and intended use of the pot. This guide separates routine care of modern brewing vessels from the treatment of historic, repaired or fragile ceramics, then examines cleaning and patina claims.sources cited
- 如何读懂紫砂壶器型名称Reading Yixing shape namesStart with a teapot's outline: round or angular, smooth or ribbed, geometric or modeled on nature. Shape names help describe these features, but leave room for different proportions and makers' interpretations.sources cited
- 壶底与杯底的款识：印款、刻款与堂号怎么看Names on the base: seals and marks on teawareA mark is something to read before it is something to attribute. Learn to distinguish a name, studio seal and dedication, then compare their placement and documented use without treating an inscription as proof of authorship.sources cited
- 宜兴紫砂壶：历史文献与出土实物能说明什么Yixing teapots: what history can and cannot tell youThe history of Yixing pots rests on objects and written accounts that do not always agree. Learn what an excavated pot, a later story and a museum attribution can each tell us before following the makers' chronology.sources cited
- 读懂修补：锔钉、漆与器物的后来经历Reading repairs: staples, lacquer and a vessel’s later lifeLook under the lid before deciding how much of a pot’s history you can see. Two photographs of one repaired teapot reveal more than the assembled outline: the underside exposes work that the outside largely conceals. Start there, then learn to distinguish metal bridges, lacquer repairs, glaze crackle and deliberate decoration.sources cited
Clays 8#
- 段泥Buff clayDuanni is the name for Yixing clays that fire to buff, yellow or pale tones.draft
- 枫溪红泥Chaozhou red clayChaozhou red clay is used for small wheel-thrown teapots associated with gongfu tea. Although finished pots may be called zhuni, this local material tradition should not be equated with Yixing zhuni. Different ores and prepared bodies are described in the sources.draft
- 建水紫陶泥Jianshui zitao clayJianshui zitao is an unglazed ceramic tradition from Yunnan. Its fine prepared clay allows carved decoration to be filled with contrasting clay, followed by polishing after firing. The word “purple” in its name does not make it the same material as Yixing zisha.draft
- 本山绿泥Benshan green clayBenshan lüni is the green clay of Yixing, named for the colour of the raw ore, not of the fired pot, which is pale to deep yellow.draft
- 钦州坭兴陶泥Qinzhou nixing clayQinzhou nixing bodies combine clays traditionally described as coming from opposite banks of the Qin River in Guangxi. Fired surfaces are polished to reveal their colour. The east-clay/west-clay distinction explains a preparation tradition; it does not establish one recipe for every pot.draft
- 朱泥Vermilion clayZhuni is a red-firing Yixing clay.draft
- 紫泥Purple clayZini, purple clay, is the main raw material of Yixing zisha and the group most lab work describes. The Yingge Ceramics Museum calls it plastic, strong and low in drying and firing shrinkage.sources cited
- 紫砂Purple sand clayZisha is the umbrella name for the iron-rich clays of Yixing in Jiangsu and for the unglazed ware made from them.sources cited
Shapes 33#
- 茶船Tea boatA shallow basin that holds the teapot (and sometimes the cups) in gongfu tea and catches the hot water poured over them. The National Palace Museum shows a Qing blue-and-white basin (茶池) and says it is also called a tea boat; in Taiwan the small pot, four cups and a tea boat made up the everyday set later nicknamed 'old men's tea'.sources cited
- 茶盤Tea trayThe tray that carries the whole gongfu set. In Taiwan, rectangular trays of metal, wood or bamboo, some with drainage, were popular in the 1970s and 1980s and spread to mainland China in the 1990s; by the 2010s many Taiwanese practitioners had replaced them with a shallow pot stand (壺承).sources cited
- 掇球DuoqiuA rounded Yixing teapot whose body, domed lid and knob suggest stacked spheres. Differences in neck height and the proportions of these parts distinguish individual versions.sources cited
- 仿古FangguA rounded Yixing teapot with a broad, drum-like body and a defined neck. The lid and knob echo the body's flattened curves.sources cited
- 盖碗GaiwanA lidded bowl used to drink or brew tea, often accompanied by a saucer. Tilting the lid creates a gap for sipping or pouring while holding back larger leaves.sources cited
- 合欢壶HehuanA Yixing teapot whose body is made of an upper and a lower half joined into one, which gives it its name ('joined in joy'). It is listed among the Mansheng eighteen forms.sources cited
- 建盏Jian tea bowlA dark-glazed bowl from the Jian ceramic tradition, associated with whisked tea. Its broad opening and glaze surface invite closer comparison of individual surviving examples.sources cited
- 井栏壶Well-railing potA Yixing teapot whose cylindrical body recalls a well curb. Compare the height of the body, the shoulder and the fitted lid to distinguish its variants.sources cited
- 莲子壶Lotus-seed potA teapot named after the lotus seed. Zhou Gaoqi (1640s) lists lotus-seed pots among Chen Yongqing's forms; the Flagstaff House Museum of Tea Ware holds a late 19th-century flat lotus-seed pot with an overhead handle and an ox-snout lid.sources cited
- 菱花壶Lobed potA lobed Yixing teapot with ribs running through the body and matching lid. Following those divisions helps explain both its appearance and the care needed to fit its parts.sources cited
- 梨形壶Pear-shaped potA pear-shaped teapot is fullest low on its body, then narrows towards the mouth. Seen from the side, the changing curve of the shoulder gives the form its name.sources cited
- 孟臣罐Mengchen potA name for the small teapot of gongfu tea rather than one fixed shape. The Hong Kong Museum of Tea Ware notes that the bases of such pots mostly carry the name of Hui Mengchen (others carry Hui Yigong or Siting), so gongfu pots came to be called Mengchen pots; most are pear-shaped. A Chaozhou draft standard calls the brewing pot 朱泥壶（孟臣壶）and gives 90–150 mL, ideally 110 mL.sources cited
- 品茗杯Tasting cupThe small cup of gongfu tea. A Chaozhou draft standard gives 25–35 mL and a traditional set of three cups; Zhou Gaoqi (1640s) already preferred white porcelain cups for tasting tea.sources cited
- 公道杯Fair pitcherA pouring vessel that receives brewed tea before it is divided among cups. Handleless, rear-handled and side-handled versions offer different ways to hold and pour it.sources cited
- 僧帽壶Monk's-cap potA family of pots whose raised rim and lid recall a monk’s cap. Rounded and faceted versions occur; the example pictured is one interpretation of the form.sources cited
- 石瓢ShipiaoA Yixing teapot with a body that widens toward the base, usually supported by three small feet. Its angular handle and short spout make the outline easy to recognize.sources cited
- 手拉壶Chaozhou hand-thrown potA Chaozhou teapot thrown on the wheel by hand from local red clay, rather than built from slabs as in Yixing. The Fengxi craft was added to China's national intangible heritage list in 2014; the record describes nearly sixty steps, simple lines and a smooth, rich surface, and names pear, shuiping, flat-lantern and flat-drum pots as common shapes.sources cited
- 水平壶ShuipingA small teapot with a flat-round, lantern-like body and a straight, sword-like spout, popular in Guangdong, Fujian and Southeast Asia for gongfu tea. It is made in Yixing and is one of the common shapes of Fengxi (Chaozhou) hand-thrown pots.sources cited
- 束口盏Shukou bowlA Jian tea bowl form with a band drawn in just below the rim, one of the four classic jianzhan mouth forms. One Southern Song bowl described by a collector is conical (斗笠, 'bamboo hat') in profile, 6.7 cm high and 12.2 cm across on a 3.7 cm ring foot with a shallow cut base.sources cited
- 提梁壶Overhead-handle potA tiliang teapot has a handle that rises from the body and spans the lid. The handle may form a rigid arch or swing on its attachments.sources cited
- 西施壶XishiA small rounded Yixing teapot, recognizable by its full belly, short spout and loop handle. Its modern name and historical attribution are separate questions.sources cited
- 洋桶壶YangtongA classic zisha teapot form created in the late Qing or early Republic. One version has a lid without a knob, shaped like an ox nose (牛盖).sources cited
- 藏六壶ZangliuA six-faceted Yixing teapot shaped like a resting turtle, with the spout as its raised head and the handle as its tail. The name comes from the turtle that 'hides its six' (head, tail and four legs).sources cited
- 德钟壶DezhongA cylindrical Yixing teapot with an upright body, a distinct neck and a broad lid. The body, lid and knob repeat rounded geometric forms. Its history includes an attribution to Shao Daheng, which should be distinguished from the dating and attribution of individual surviving pots.sources cited
- 供春壶Gongchun potA naturalistic Yixing teapot form with an uneven, bark-like surface associated with the name Gongchun. The tree-burl appearance distinguishes it from smooth geometric pots. Stories about its early origin and the attribution of surviving examples are separate questions.sources cited
- 汉瓦壶HanwaA short, wide-mouthed cylindrical Yixing zisha teapot (圆器) inspired by circular Qin and Han dynasty earthenware roof-tile ends (瓦当). Its broad flat lid rests atop a straight or slightly flared drum wall and is surmounted by a wide arched bridge knob (桥钮), making it one of the easiest teapot forms into which to load whole or compressed tea leaves and to empty spent leaves.sources cited
- 巨轮珠壶JulunzhuA compact, thick-rimmed globular or slightly oblate gongfu teapot with a short, straight cannon-barrel spout ('fat tube spout'), a thick round loop handle, and a flat or slightly domed inset lid topped with a flattened bead knob. Made in Yixing zhuni/zini, Chaozhou Fengxi red clay, and post-war Nantou kilns, and exported to Japan during the late Qing and Meiji–Taishō periods where Senchadō practitioners prized its bold, unpretentious geometry.sources cited
- 龙蛋壶LongdanA classic round teapot shape (圆器) whose tall, upright ovoid body tapers upward like a standing egg, paired with a short, wide-rooted conical spout ('fat-head spout'), an inverted or upright ear-loop handle, and a flush-fitting cap lid (截盖) topped with a small 珠 (pearl) or bridge knob.sources cited
- 美人肩壶MeirenjianA classic Ming–Qing round Yixing teapot (圆器) named for its graceful, high, sloping shoulder line that flows without a break from the neck down into a full upper belly before tapering to a slender foot—likened in Chinese aesthetics to the Gently drooping shoulders of a classical court lady (削肩丰腹，宛若古代仕女柔美之肩).sources cited
- 若琛杯Ruochen cupA tiny, thin-walled, shallow white or blue-and-white porcelain tasting cup with an everted rim, holding about 25 to 35 mL, traditionally arranged in a trio on the Chaoshan and Minnan gongfu tea table. Named after the four-character underglaze-blue commendation mark '若深珍藏' (or '若琛珍藏') painted on the base of Qing dynasty Jingdezhen cups, it is celebrated in Chaoshan tea lore as one of the 'Four Treasures of Gongfu Tea' for being 'small, shallow, white, and thin' (小、浅、白、薄).sources cited
- 审茶杯Tea-cupping setThe standardized two-piece white-porcelain cupping set used in professional sensory evaluation of tea (茶叶审评), consisting of a cylindrical lidded brewing cup with a serrated pouring notch on its rim (审茶杯, typically 150 mL for loose-leaf teas or 110 mL for oolong tea) and a matching white-porcelain tasting bowl (审茶碗) into which the liquor is strained horizontally after a timed infusion.sources cited
- 汤瓶Song water ewerA tall, long-spouted ewer (made in gold, silver, bronze, or porcelain) used during the late Tang and Song dynasties to boil water and pour a forceful, hair-thin stream into the tea bowl during whisked-tea preparation (点茶). Emperor Huizong's 大觀茶論 (c. 1107) devotes a section to the tangping, specifying that its spout must be wide at the root and taper to a sharp tip so that the water cuts cleanly without dribbling when the pour stops.sources cited
- 盏托Tea-bowl standA stand steadies a handleless tea bowl and gives the drinker a place to hold it. The foot of the bowl can rest in a recess or within a raised ring. Ceramic examples predate the Tang dynasty.sources cited
Wares 17#
- 潮州陶瓷（枫溪）Chaozhou wareCeramics of Chaozhou in eastern Guangdong, centred on Fengxi, which the heritage record calls a ceramic centre from the Song onward.draft
- 德化瓷Dehua porcelainWhite porcelain from Dehua county in central Fujian, which the heritage record says rose in the Tang–Song and flourished in the Ming–Qing, when it was a major export.draft
- 建窑 / 建盏Jian wareDark-glazed stoneware tea bowls from the Jian kilns of Jianyang in northern Fujian.sources cited
- 建水紫陶Jianshui purple potteryUnglazed, polished pottery from Wanyao village in Jianshui county, southern Yunnan. The heritage record dates purple-clay production there to the Daoguang reign of the Qing, with older pottery shown by a Yuan dragon kiln.draft
- 景德镇瓷Jingdezhen porcelainPorcelain from Jingdezhen in northeastern Jiangxi, made since the Five Dynasties, with imperial kilns at Zhushan under the Ming and Qing.draft
- 吉州窑Jizhou wareCeramics from Yonghe town in Ji'an county, Jiangxi, named after Jizhou, the old name of Ji'an.draft
- 龙泉青瓷Longquan celadonLongquan celadon is a green-glazed ceramic tradition from southwestern Zhejiang. Its bowls and other vessels are known for richly layered glazes. Archaeology distinguishes earlier regional pottery from a distinctive Longquan industry emerging during the Northern Song; its beginnings remain a research question. Shen & Zhou 2022, pp. 103–104draft
- 钦州坭兴陶Qinzhou Nixing potteryPottery from Qinzhou in southern Guangxi, made from a blend of clays from the two banks of the Qin River and fired at about 1200 °C. The heritage record dates it to the Tang and says it flourished in the Xianfeng reign of the Qing.draft
- 汝窑Ru wareSong-dynasty stoneware with a soft blue-green glaze from the Ru kilns of Henan, ranked first of the five famous Song kilns by the heritage record.draft
- 宜兴紫砂Yixing wareAround Dingshu in Yixing, Jiangsu, potters make teapots and other vessels from local zisha clays. Many pieces leave the fired clay visible. Others carry a glaze over the same kind of body.sources cited
- 定窑瓷Ding wareDing ware is best known for ivory-white porcelain from Quyang in Hebei. Bowls may carry incised or moulded decoration, and some have an unglazed rim with a metal band. Its coloured glazes and historical tea associations require attention to the date and evidence for each object.draft
- 邢窑白瓷Xing wareXing ware is white porcelain made in northern China, especially around Neiqiu and Lincheng in Hebei. In tea history it is often compared with southern Yue celadon. Lu Yu compared its whiteness to silver and snow; this literary preference is distinct from a modern technical classification.draft
- 耀州窑青瓷Yaozhou wareYaozhou ware includes northern Chinese celadons associated with Huangbao in Tongchuan, Shaanxi. Carved and moulded decoration becomes darker where the green glaze pools in recesses. Bowls, stands and ewers belong to its repertoire; a vessel shape alone does not establish that it was used for tea.draft
- 越窑青瓷Yue wareHigh-fired celadon stoneware and porcellanous ware from northern Zhejiang (centred on Yuyao, Cixi, and Shangyu around Shanglinhu), ranked first among all Tang dynasty tea bowls by Lu Yu's 茶經 (Classic of Tea, c. 760–780).draft
- 磁州窑系Cizhou wareStart where the pale surface stops above a bowl’s foot and a darker body appears below it. That boundary is an entry into Cizhou ware: distinguish the clay body, its surface coating and its glaze before using colour or decoration to identify a kiln.sources cited
- 青白瓷Qingbai wareLook at the edge of a pale bowl: the glossy wall meets a narrow, bare rim, while the foot reveals the body beneath. Qingbai, “bluish white”, is easier to understand through these boundaries than through a colour name alone.sources cited
- 长沙窑Changsha wareLook at the edge of a dark motif: does it lie flat, or rise from the vessel? On a documented Changsha ewer, brown glaze spreads over raised ornament. Separating the clay decoration from its coloured covering is a useful first step toward reading this ware.sources cited
Makers 25#
- 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
- 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
- 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
- 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
- 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
- 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
- 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
- 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
- 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
- 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
- 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
- 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
- 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
- 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
Marks 176#
- 昌記昌記 · mark readingsLook at the lower part of the handle: a narrow oval impression carries 昌記. On this pot, the lid and base supply three further mark locations to compare.sources cited
- 梁記梁記 · mark readingsFollow the metal overhead handle down to its ceramic mounting. Just below the fixing is the small 梁記 impression. It is on the mounting, not on an ordinary loop handle.sources cited
- 正貢局正貢局 / 合成 · mark readingsLift the lid and compare its two surfaces. On the three-footed pot, 正貢局 is incised outside the flange, while 合成 is impressed inside the lid beside the vent.sources cited
- 高陽貢局高陽貢局 · mark readingsTurn the lid so that its vertical flange faces you. The four incised characters 高陽貢局 belong there; the separate base inscription is the shorter 孟臣.sources cited
- 袁義和袁義和 · mark readingsLook on the lower part of the handle for the narrow oval mark. The catalogue transcribes it 袁義和; the lid has 水平, and the base carries a dragon device.sources cited
- 福記福記 · mark readingsCompare the lower handles of these two pots: both carry 福記. Turn to their bases and each has the longer 荊溪惠孟臣製 impression. The pairing repeats on two distinct vessels.sources cited
- 魏梓敬龍溪魏梓敬珍藏 · mark readingsTurn the pot over and look at the words ending in 珍藏. This base inscription records a collector’s name rather than a claim to have made the vessel.sources cited
- 李得源李得源 · mark readingsLook under the round body, not along the long side handle. The three characters 李得源 are incised vertically on this pot’s exterior base.sources cited
- 徐祖純徐祖純 · mark readingsLook for the small square impression beneath the straight-spouted pot. Its three characters read 徐祖純, Xu Zuchun.sources cited
- 一功一功 · mark readingsStart with the single horizontal stroke above 功. The two-character inscription is 一功, not the different name 逸公.sources cited
- 惜陰室王陽羨惜陰室王 / 寅春 · mark readingsOn the flattened pot, compare the rectangular impression underneath with the smaller mark on the lower handle. The base reads 陽羨惜陰室王; the handle reads 寅春.sources cited
- 靜遠齋繼長製靜遠齋繼長製 · mark readingsStart with the six characters beneath this square-bodied pot: 靜遠齋繼長製. The catalogue places the studio mark on the base; the enlarged impression is shown separately from the vessel.sources cited
- 玉香齋玉香齋 · mark readingsLook for a vertical line of three incised characters, 玉香齋, on the base of this small pear-shaped pot. The catalogue supplies the location; its enlargement shows the lettering separately.sources cited
- 曼晞陶藝 / 顧景洲曼晞陶藝 / 顧景洲 · mark readingsCompare the two impressions beside this bamboo-drum pot: the caption assigns 曼晞陶艺 to the base and 顾景洲 to the lid. Keep those locations attached to this particular example.sources cited
- 雲根 / 吳雲根製雲根 / 吳雲根製 · mark readingsFollow the upright handle down to the square-bodied pot, then distinguish its two named marks. The book places 云根 inside the lid and the fuller 吴云根制 on the base.sources cited
- 蜀山合作社宜興蜀山陶業生產合作社出品 / 石民 · mark readingsA long organizational label and a short personal name occupy different parts of this peach-decorated pot. The book assigns 宜兴蜀山陶业生产合作社出品 to the base and 石民 to the inside of the lid.sources cited
- 錦堂錦堂 / 錦堂發記 · mark readingsLift the lid and look at its vertical flange: 錦堂 is incised there. Turn the pot over and the longer name 錦堂發記 appears on the base. Two catalogue pots preserve this pairing.sources cited
- 敕記敕記 / 權寅 · mark readingsLook inside the lid beside the vent, then at the lower handle. The oval lid impression reads 敕記; the handle carries 權寅. They belong to one pot, not two separate examples.sources cited
- 君德君德 · mark readingsFollow the handle to its lower attachment. On two catalogue pots, 君德 is incised just below it on the body. On a third, the same two characters appear on the exterior base.sources cited
- 邵和興上洋邵和興監製 · mark readingsLook around the lid’s vertical flange, where a long incised inscription reads 上洋邵和興監製. The base carries a different name, 君德製, beneath a verse.sources cited
- 如記如記 · mark readingsLook low on the handle for a narrow oval impression reading 如記. The base bears the much longer 香在蘭居味似茶 / 孟臣製. The catalogue identifies this particular pot as Chaozhou ware.sources cited
- 陽羨吳製陽羨吳製 · mark readingsRead the lid and bottom together: the catalogue places 芝萊 inside the lid and 陽羨吳製 on the bottom of this chuanlu pot. They are two marks on one object.sources cited
- 行有恒堂行有恒堂 · mark readingsLook underneath this peach-form cup for 行有恒堂: the catalogue places the small seal within the foot. The bat relief and poem on its sides are separate decoration.sources cited
- 以薦嘉客以薦嘉客 · mark readingsFollow the words around the outside of the bowl, then look for them again on its lid. On this lobed covered bowl, 以薦嘉客 is repeated on both components.sources cited
- 冶陶 / 裴石銘冶陶 / 裴石銘 · mark readingsSeparate the two small impressions below the photograph: the catalogue assigns 冶陶 to the lid and 裴石铭 to the base of this flattened persimmon-shaped pot.sources cited
- 邵俊根製邵俊根製 · mark readingsLook at the square impression on the underside of this flat-lidded pot. Its four characters read 邵俊根製, “made by Shao Jungen”.sources cited
- 思亭思亭 · mark readingsFollow the handle down to where it meets the body. Immediately below that join, two incised characters read 思亭.sources cited
- 陳次偉陳次偉 · mark readingsLook among the grape vines beside the cup’s handle. A square seal there reads 陳次偉, Chen Ciwei.sources cited
- 芝亭芝亭 · mark readingsThe outside of this pot carries a long inscription; its small 芝亭 seal belongs inside the lid, according to the catalogue. Begin by keeping those two surfaces separate.sources cited
- 陽羨茗壺陽羨茗壺 · mark readingsLook closely at the third character: this mark reads 陽羨茗壺, with 茗, the word for tea. It differs from the separately documented 陽羨名壺 mark with 名.sources cited
- 茶熟香溫茶熟香溫 · mark readingsThis angular pot carries writing on its broad sides and a separate four-character stamp on its base. The catalogue transcribes the stamp 茶熟香温: tea ready, fragrance warm.sources cited
- 志進志進 · mark readingsThe gold-painted bamboo form catches the eye first. The two-character 志进 mark is less conspicuous: the catalogue records it inside the lid.sources cited
- 愷 / 愷長愷 / 愷長 · mark readingsRead the lid and base separately: the catalogue assigns 恺 to the lid and 恺长 to the base of this bamboo-drum pot.sources cited
- 石楳仿製 / 石楳石楳仿製 / 石楳 · mark readingsOn this well-railing-shaped water container, 石楳 closes the body inscription; the catalogue places 石楳仿製 on the bottom.sources cited
- 雲記雲記 · mark readingsStart with the lid of the large persimmon-shaped pot. The catalogue assigns the reading 云记 to a mark on that component.sources cited
- 景南 / 姑蘇留佩製景南 / 姑蘇留佩製 · mark readingsLift the lid of the spring-round pot and find the gourd-shaped impression beside the vent. The catalogue transcribes it as 景南.sources cited
- 用卿用卿 · mark readingsTwo characters close a poem incised on the belly of a tall Yixing teapot: 用卿.sources cited
- 鴻記 / 萬豐順記鴻記 / 萬豐順記 · mark readingsOn the larger of two pots catalogued as 扁鼓壶, the lid bears 鸿记 and the base bears 万丰顺记.sources cited
- 二官心存君國二官心存君國 · mark readingsThe smaller pot catalogued as 扁鼓壶 has a six-character base impression, 二官心存君国.sources cited
- 洪福 / 蔣楨祥造洪福 / 蔣楨祥造 · mark readingsThe catalogue places 洪福 on the lid of the 固盘壶 and 蒋桢祥造 on its base.sources cited
- 李 / 立祥李 / 立祥 · mark readingsBoth impressions on this half-moon pot belong to its lid. The round one reads 李.sources cited
- 陳子畦陳子畦 · mark readingsLook below the handle of the pumpkin-shaped teapot. The catalogue places the three-character seal 陳子畦 there.sources cited
- 大珠小珠落玉盤大珠小珠落玉盤 · mark readingsOn the underside of this pot, the catalogue transcribes the seven-character line 大珠小珠落玉盤.sources cited
- 今夜月明人盡望今夜月明人盡望 · mark readingsOn the underside of this pot, the catalogue transcribes the seven-character line 今夜月明人盡望.sources cited
- 松風石上坐吟詩松風石上坐吟詩 · mark readingsOn the underside of this pot, the catalogue transcribes the seven-character line 松風石上坐吟詩.sources cited
- 天光雲影共徘徊天光雲影共徘徊 · mark readingsOn the underside of this pot, the catalogue transcribes the seven-character line 天光雲影共徘徊.sources cited
- 君美君美 · mark readingsA clay figure of a mythical beast bears the two characters 君美 on its chest, between its front paws.sources cited
- 陳蔭千製陳蔭千製 · mark readingsTwo bamboo-shaped teapots bear the same four characters on their bases: 陳蔭千製, “made by Chen Yinqian.”sources cited
- 潘潘 · mark readingsLift the lid and look just below its overhanging edge. A single 潘 appears on the narrow wall that slips into the mouth.sources cited
- 潤甫 / 陽羨宜遠堂潤甫監製潤甫 / 陽羨宜遠堂潤甫監製 · mark readingsThe square well pot carries 润甫 on its lid. Find the same two characters again in the longer mark on the base.sources cited
- 明月一天涼似水明月一天涼似水 · mark readingsTwo teapots carry the same seven-character line on their undersides. The names beside it differ.sources cited
- 秋水秋水 · mark readingsLook for 秋水 on the pot itself. Nos. 152 and 155 carry the two characters vertically on their exterior bases; no. 156 uses the same words as a form name but has a different base inscription.sources cited
- 振榮 / 曹振榮振榮 / 曹振榮 · mark readingsThe lion-ball pot has two square impressions. The catalogue transcribes 振荣 on the lid and 曹振荣 on the base.sources cited
- 明月三人太白杯明月三人太白杯 · mark readingsLook within the foot of these two pots. Each bears a seven-character verse beside the shorter wording 孟臣製.sources cited
- 愛國壺愛國壺 · mark readingsThis pot takes its catalogue title, 爱国壶, from the same three characters that appear on its base.sources cited
- 如林如林 · mark readingsThe catalogue places the two-character reading 如林 on the base of the pot it calls 咏梅壶.sources cited
- 歐正春製歐正春製 · mark readingsOn a Yixing sculpture of a mandarin duck, a square mark under the body reads 歐正春製, “made by Ou Zhengchun.”sources cited
- 陳仲美製陳仲美製 · mark readingsA square mark beneath an Yixing rhinoceros figure reads 陳仲美製, “made by Chen Zhongmei.”sources cited
- 徐恒茂徐恒茂 · mark readingsOn the bases of two teapots, a verse ends with a column of three characters, 徐恒茂.sources cited
- 聖和 / 大清乾隆年製聖和 / 大清乾隆年製 · mark readingsOne pear-shaped pot carries a small mark below the handle and a larger square mark on its base.sources cited
- 景銘 / 宜興紫砂茶壺景銘 / 宜興紫砂茶壺 · mark readingsOn the straight-sided pot, the lid reads 景铭 and the base reads 宜兴紫砂茶壶.sources cited
- 臣記 / 獅球名壺臣記 / 獅球名壺 · mark readingsOn the large lion-ball pot, the catalogue pairs 臣记 on the lid with 狮球名壶 on the base.sources cited
- 祖琳 / 錫山俞傳祖琳 / 錫山俞傳 · mark readingsThe He Mei pot has a two-character lid mark, 祖琳, and a four-character base mark, 锡山俞传.sources cited
- 陽羨蔣商泰製陽羨蔣商泰製 · mark readingsThe base of this lotus-seed pot bears a single circular mark. The catalogue transcribes it as 阳羡蒋商泰制.sources cited
- 俞 / 雲渭俞 / 雲渭 · mark readingsLook for two separate impressions on the base of each wine cup. The round one reads 俞 and the square one 雲渭.sources cited
- 時英時英 · mark readingsA vessel modelled as a pine trunk served as a brush washer. Its base carries a two-character signature, 時英.sources cited
- 榮卿榮卿 · mark readingsLift the lid of the round teapot in catalogue no. 26. The two recessed characters inside read 榮卿, Rongqing.sources cited
- 花月主人花月主人 · mark readingsA pear-shaped teapot carries three groups of characters on its base. Start with the long vertical line, 花月主人.sources cited
- 寶琴 / 祥林監製寶琴 / 祥林監製 · mark readingsThe catalogue pairs 宝琴 on the lid of the flattened persimmon pot with 祥林监制 on its base.sources cited
- 人生行樂月明中人生行樂月明中 · mark readingsThe catalogue calls this a pot with the wording 人生行樂. Turn to the picture of its base and the line continues for three more characters.sources cited
- 留珮留珮 · mark readingsTurn the lid over and find the air hole. Two characters, 留珮, are incised beside it.sources cited
- 清香珍玩清香珍玩 · mark readingsA small square on the underside of this pear-shaped pot contains the four characters 清香珍玩.sources cited
- 生義 / 萬貢珍印生義 / 萬貢珍印 · mark readingsOn the bamboo drum pot, look for two characters on the lid and four on the base. The catalogue transcribes them as 生义 and 万贡珍印.sources cited
- 迪恩 / 范章恩記迪恩 / 范章恩記 · mark readingsThe bell-shaped pot carries 迪恩 on the lid and 范章恩记 on the base. Both readings contain 恩.sources cited
- 遂初堂遂初堂 · mark readingsTurn over the pear-shaped vase to find 遂初堂, a studio name cut into the base. Two separate name seals sit low on the outer wall.sources cited
- 陳鼎和造陳鼎和造 · mark readingsA small Yixing vessel bears the Heart Sutra on its outer wall and a round four-character stamp on its base. The base reads 陳鼎和造.sources cited
- 延年延年 · mark readingsA flying goose separates two characters on the base of this teapot. Together they read 延年, a wish for long life.sources cited
- 玉瓚黃流玉瓚黃流 · mark readingsA small red-clay pot carries two readings. Turn it over for 玉瓚黃流, then look beneath the handle for 珠.sources cited
- 肆筵設席肆筵設席 · mark readingsThe square impression on the base reads 肆筵設席. Beneath the handle is a much smaller mark that the catalogue transcribes as 玉.sources cited
- 福亨真記 / 福亨福亨真記 / 福亨 · mark readingsOne pot carries two versions of the same wording. On the Hanfu teapot the base reads 福亨真记 and the lid reads 福亨.sources cited
- 玉川珍玉川珍 · mark readingsThree characters run down the base of no. 118. Look for the cut strokes of 玉川珍, then for the separate impression at the handle.sources cited
- 荊溪美玉荊溪美玉 · mark readingsAn overturned pot shows the square seal 荊溪美玉 at the centre of its base.sources cited
- 寶根寶根 · mark readingsOn one teapot the catalogue places 宝根 on the lid. On another it places the same two characters on the base.sources cited
- 翠竹軒翠竹軒 / 信卿 · mark readingsTwo columns on the base of a square teapot give a studio name and a signature. Begin at the top of the right column.sources cited
- 嘉慶年製嘉慶年製 · mark readingsTurn over this small round teapot and look inside its shallow foot ring. The catalogue transcribes four characters there as 嘉庆年制.sources cited
- 蘇萬茂蘇萬茂 · mark readingsLook underneath this late Qing metal tea caddy. The Palace Museum catalogue transcribes the three-character base mark as 苏万茂.sources cited
- 玉珍寶玩玉珍寶玩 · mark readingsOn this low, rounded pot the four characters 玉珍寶玩 fit within a round base seal.sources cited
- 福福 / 乾隆年製 · mark readingsTurn over the lid of pot 105 and a small round impression appears beside the vent. The catalogue transcribes 福, a wish for good fortune.sources cited
- 吳雲山製吳雲山製 · mark readingsThree teapots carry the name Wu Yunshan on the base. Two have the lid mark 廉琴, while the third has 顺根.sources cited
- 逸閒逸閒 · mark readingsA flattened round teapot bears the two-character mark 逸閒 on its base.sources cited
- 寶寶 · mark readingsTwo pear-shaped red-clay teapots carry 寶, meaning “treasure”, on the outside of the base.sources cited
- 許晉侯製許晉侯製 · mark readingsA round seal on the base of a narcissus-shaped teapot reads 許晉侯製.sources cited
- 何廷初何廷初 · mark readingsA round seal reading 何廷初 appears on the base of an overhead-handled pot from the Pei collection.sources cited
- 荊易壺式荊易壺式 · mark readingsA four-character impression on the exterior base of pot 109 reads 荊易壺式.sources cited
- 陽羨名壺陽羨名壺 · mark readingsTwo pots carry 阳羡名壶 on their bases, each with a different lid mark.sources cited
- 亨衡亨衡 · mark readingsThe catalogue records 亨衡 on the bases of two pots and also on the lid of the second.sources cited
- 世德堂世德堂、寶豐 · mark readingsOn a teapot modelled as a cloth-wrapped parcel, the base and the inside of the lid bear different marks.sources cited
- 陽羨邵友蘭製陽羨邵友蘭製 · mark readingsA warming pot in Beijing carries a circular name seal on its base and a separate signature after the poem on its body.sources cited
- 邵亮生制邵亮生制 · mark readingsA small round teapot in Beijing bears the four-character name mark 邵亮生制 on its base.sources cited
- 孝陸 / 沈孝陸孝陸 / 沈孝陸 · mark readingsTwo pots bear 孝陸 on the lid and 沈孝陸 on the base.sources cited
- 春記春記 · mark readingsOn one pot, 春記 appears on the lid. On another it appears on both the lid and the handle.sources cited
- 荊溪陳製荊溪陳製 · mark readingsA flattened round teapot bears 荆溪陈制 within its foot ring.sources cited
- 蓮心Tea names on caddy lidsFour tea caddies carry tea names on the tops of their lids, where a reader could see them before opening the vessels.sources cited
- 香茗自娛香茗自娛 · mark readingsThe base of a flattened round teapot carries a phrase about taking pleasure in fragrant tea.sources cited
- 熙臣熙臣 · mark readingsThe catalogue records 熙臣 on the lids of two pots and on the handle of the lotus pot.sources cited
- 芝萊 / 芝記芝萊 / 芝記 · mark readingsTwo pots have lids marked 芝萊. On one, a second inscription on the base reads 芝記.sources cited
- 祖德 / 范祖德祖德 / 范祖德 · mark readingsTwo pots carry 祖德 on the lid. One also bears the fuller reading 范祖德 on the base.sources cited
- 吉壺吉壺 · mark readings吉壺 means “auspicious vessel.” On a brick-shaped teapot, these two raised characters sit inside a double-gourd outline.sources cited
- 壺公冶父壺公冶父 · mark readings壺公冶父 is a four-character seal on a black teapot shaped like a broad hat. The catalogue associates this name with Qu Yingshao (瞿應紹).sources cited
- 荊溪華鳳翔製荊溪華鳳翔製 · mark readings荊溪華鳳翔製 names a place, Jingxi, and a person, Hua Fengxiang. The six-character seal appears on a square teapot.sources cited
- 荊溪荊溪 / 張君德製 · mark readingsTwo seals occur together inside the lid of a covered bowl. The round one reads 荊溪, a place name. The square one reads 張君德製.sources cited
- 邵元祥制邵元祥制 · mark readingsTwo overhead-handled pots carry the name Shao Yuanxiang. Different inscriptions accompany the name on each pot.sources cited
- 貢局貢局 · mark readingsThe catalogue transcribes both base marks as “Tribute Office”. On one pot the characters stand in a single column. On the other they sit within a round emblem.sources cited
- 利用 / 利永利用 / 利永 · mark readingsTwo company names occur on Yixing pots. Look at the second character: 用 in 利用, 永 in 利永. A romanization without tone marks conceals the difference.sources cited
- 石窗山房石窗山房 · mark readingsOn a drum-shaped teapot, two seals play different roles. 石窗山房 names a studio. 東石 is the potter’s name as it appears on the handle.sources cited
- 彩霞監製彩霞監製 · mark readingsThe last two characters of 彩霞監製 describe supervision of production. The museum reproduces the four-character impression beside a small flat-shouldered pot.sources cited
- 靜安靜安 · mark readingsTwo teapots carry the same pair of seal readings. 靜安 is a shortened personal name. The catalogue supplies the surname 范 separately.sources cited
- 壺痴壺痴 · mark readingsThe mark 壺痴 appears on two teapots shaped like square seals wrapped in cloth. One has enamel decoration and the other shows the plain clay.sources cited
- 鐵畫軒製鐵畫軒製 · mark readingsThe shop name Tiehuaxuan appears on the base of a square pot. Another pot has the same lid reading, paired with Dai Yuping’s name on the base.sources cited
- 吳德盛 / 金鼎商標吳德盛 / 金鼎商標 · mark readingsCompare 岩如 lid marks with two shop marks, then the distinct 吳德盛製 base and 耀庭 lid pairing on C81.290.sources cited
- CHINA 宜興紫砂CHINA 宜興紫砂 · mark readingsOn the base of a squirrel-and-bamboo pot, CHINA occupies the upper line and 宜興紫砂 the line below. The lid bears a separate inscription.sources cited
- 豫豐豫豐 · mark readingsThe Sihai catalogue places Yufeng on the lid of a small overhead-handled pot. A gourd-shaped impression is shown beside the caption.sources cited
- 高朋滿座高朋滿座 · mark readingsA pear-shaped red-clay teapot carries a greeting on its base. 高朋滿座 evokes a room filled with honoured guests. A second, smaller mark reads 香, meaning fragrance.sources cited
- 威海衛同慶順造威海衛同慶順造 · mark readingsOne rectangular factory mark contains Chinese and English. The Chinese names Tongqingshun in Weihaiwei. The English uses the historical spelling TUNG KING SHUN.sources cited
- 楊履乾楊履乾 · mark readingsThe Hong Kong catalogue transcribes this name as 楊履乾. It shows the seal beside the round pot on which it is recorded.sources cited
- 慈齋慈齋 · mark readingsOn a square overhead-handled pot, the Palace Museum reads the base seal as 慈斋. The lid carries a different name.sources cited
- 匋齋匋齋 · mark readingsThe Palace Museum photographs this small pot with its lid turned over. Two impressions are visible inside the lid.sources cited
- 阿曼陀室'Amantuoshi' studio seal阿曼陀室 is Chen Mansheng’s studio name. It can appear with a potter’s mark such as 彭年 and a separate inscription: read these as different contributions, not as interchangeable signatures.sources cited
- 宝成出品寶成出品 · evidence under reviewThe earlier workshop attribution and museum reference could not be substantiated from the cited library book. They have been withdrawn pending an identifiable object or a precise supporting passage. The characters below preserve the research question; they are not a verified historical impression.research draft
- 清和成记清和成記 · evidence under reviewThe earlier workshop attribution and museum reference could not be substantiated from the cited library book. They have been withdrawn pending an identifiable object or a precise supporting passage. The characters below preserve the research question; they are not a verified historical impression.research draft
- 源茂制源茂製 · evidence under reviewThe earlier workshop attribution and museum reference could not be substantiated from the cited library book. They have been withdrawn pending an identifiable object or a precise supporting passage. The characters below preserve the research question; they are not a verified historical impression.research draft
- 陳鳴遠'Chen Mingyuan' mark and seal鳴遠 and 陳鳴遠 are names found on objects associated with Chen Mingyuan. Incised writing and impressed seals can occur together; reading both does not by itself resolve an object’s date or attribution.sources cited
- 冰心道人'Bingxin Daoren' base seal冰心道人 is a sobriquet associated with Cheng Shouzhen. Documented descriptions distinguish this base seal from 壽珍 inside the lid and 真記 beneath the handle; keep those positions separate when recording a pot.sources cited
- 荊溪惠孟臣製'Jingxi Hui Mengchen' mark孟臣 and 荊溪惠孟臣製 appear on small teapots across a long period. The inscription can be read without assuming the vessel was personally made by Hui Mengchen; later uses belong to the history of the mark too.sources cited
- 供御'Gongyu' / 'Jinzhan' mark供御 means “for imperial use”; 進琖 refers to presenting bowls. These marks on Jian-ware bases concern court supply, but a marked kiln waster was not necessarily delivered to or used by the court.sources cited
- 若深珍藏'Ruoshen Zhencang' cup mark若深珍藏 is a porcelain-base inscription often discussed with small gongfu cups. Record the actual vessel or fragment before inferring its size and function: a marked base alone does not establish a cup’s capacity, kiln or exact date.sources cited
- 大彬'Dabin' incised mark大彬 and 時大彬製 are inscriptions associated with Shi Dabin. Compare the reading with an identified object and its find context: even early accounts distinguish making a pot from signing it.sources cited
- 彭年彭年 · seal readings彭年 is Yang Pengnian’s personal-name seal. On a collaborative teapot, it can accompany a studio seal and an inscription by someone else.sources cited
- 大亨大亨 · seal readings大亨 is the two-character name associated with Shao Daheng. Begin with the documented impression: an oval lid mark in Xu Xiutang’s book and a seal photographed with a museum teapot.sources cited
- 玉麟玉麟 · seal readings玉麟 is a shortened name mark associated with Huang Yulin. A documented pot bears both 玉麟 and the longer 黃玉麟作; these are two distinct seals, not alternative transcriptions of one impression.sources cited
- 大生大生 · seal readings大生 is the two-character name mark associated with Fan Dasheng. The museum examples connect this reading with flower- and melon-shaped pots, while keeping other marks on those vessels separate.sources cited
- 王寅春王寅春 · seal readings王寅春 and 寅春 are the full and shortened names associated with Wang Yinchun. The catalogue photographs both on one cylindrical teapot, allowing the readings to be compared directly.sources cited
- 裴石民 / 石民裴石民 · mark readings裴石民 and 石民 are name seals associated with Pei Shimin. A full name on the base and a shorter name inside the lid are documented on a Palace Museum example; placement must still be checked on each pot.sources cited
- 顧景舟顧景舟 · seal readings顧景舟, 景舟 and 舟 occur together on a catalogued teapot associated with Gu Jingzhou. Its separate Han Meilin mark and dated inscription make this a useful example of how several contributors can be recorded on one vessel.sources cited
- 友泉友泉 · mark readings友泉 is an incised name associated with Xu Youquan. The two characters are cut into the clay, rather than impressed with a seal; a museum example makes that distinction visible.sources cited
- 桂林桂林 · mark readings桂林 is a personal-name seal associated with Feng Guilin in these sources. On the museum teapot it accompanies a separate dated stamp; the name and the date should be recorded separately.sources cited