The craft of Yixing pottery continued from the Song Dynasty through the Zhengde, Jiajing, and Wanli reigns of the Ming Dynasty (approximately 12th to 17th centuries). As the customs of tea tasting and tea discussion flourished during this period, the style of Yixing pottery underwent tremendous changes, transforming from large tea storage vessels into small teapots suitable as scholar's desk ornaments. This evolution was driven by the literati's pursuit of the gongfu tea brewing method, which, based on practical functional needs, brought about significant reforms and developments in craftsmanship. This also promoted an unprecedented flourishing of Yixing pottery techniques. Regarding the production methods of Gong Chun, as well as Dong De, Zhao Liang, Yuan Chang, Shi Peng, and others, these are only documented in historical texts with no surviving physical objects, so we shall not discuss them here. Focusing instead on the "Three Great Masters" of the Jiajing to Wanli period (Shi Dabin, Shi Pengshi, and Li Zhongfang, Xu Youquan), particularly Shi Dabin—he truly deserves to be called a renowned master in the history of Yixing pottery craft. His teapot-making techniques completely abandoned the early method of carving wood molds, instead fully adopting the methods of clay slab construction, wheel throwing, and clay slab joining. This was nothing short of a leap forward in Yixing pottery technique. The Shi Dabin teapots treasured in museums in Nanjing and Shanghai display different forms and styles, which can be appreciated from the following aspects: First, the Yixing clay selected by Shi Dabin was refined and pure, with fine processing that eliminated the coarse quality resembling jar materials from earlier pottery. He placed great emphasis on blending the colors of clay materials and pursued the lustrous surface effect after firing. Therefore, he mixed relatively coarse, uniform particles into the fine powder, the so-called "mixing with sandy grog soil," which created an elegant, firm, and wonderfully subtle effect. Second, he improved the firing process by placing finished pieces in saggars before loading them into the kiln, ensuring proper firing temperature and pure coloration while avoiding glaze drips from other pottery. The statement in *Yangxian Ming Tao Lu* that "all styles are complete, all clay colors are complete" is not an exaggeration. In summary, in terms of vessel form and modeling artistry, as well as technical proficiency, he formed his own unique style. This period was both a prosperous era for Yixing pottery and a mature stage in its craftsmanship. Shi Dabin made outstanding achievements in Yixing pottery technique, which were also the crystallization of the collective labor and wisdom of his father Shi Peng and other famous masters, his contemporaries Li Maolin and Shi Penghang, as well as his disciples Li Zhongfang, Xu Youquan, Ou Zhengchun, Shao Wenjin, Shao Wenyin, Jiang Boji, Chen Yongze, Min Lusheng, Chen Guangfu, Chen Zhongmei, Shen Junyong, and others. This team of renowned Yixing pottery artists, each excelling in their specialties and competing in innovation, reflected the distinctive characteristics of various schools and converged into the rich and varied local style unique to Yixing pottery and its outstanding national form, thus gaining fame far and wide. From the Tianqi and Chongzhen reigns of the Ming Dynasty through the early Qing Dynasty, famous Yixing pottery craftsmen included Xiang Shengsi, Hui Mengchen, Chen Ziqi, and others.