Zisha pottery art, like calligraphy and painting, reflects different individual styles. The overall composition of a work—its points, lines, and surface modeling (i.e., contour and form)—as well as its production methods are all characteristics that embody style. Therefore, relying solely on seal marks is insufficient as an absolutely reliable standard for authentication. Some books even record that there are more than four to six hundred "Mansheng teapots," which is hardly credible for verification (the author will explore this topic separately and will not elaborate here). Among the "Mansheng teapots" that have survived to this day, many are forged imitations, and quite a few have even distorted shapes—all fabricated by profit-seekers. Among Mansheng's close friends who loved zisha art and participated in its practice were Guo Pinjia and Jiang Tingxiang. In addition, Qu Yingshao, Deng Fusheng, Zhu Shimei, and Qiao Chongxi were also scholars who appreciated zisha art. Among them, Qu Yingshao (1780-1849) (styled Zizhi) and Zhu Shimei were particularly prominent. Zizhi's teapots often featured carved bamboo and inscribed verses, combining the teapot with scholarly elegance and refined taste, creating another distinctive style. Zhu Shimei preferred to encase zisha teapots in tin and engrave calligraphy and paintings on the surface. More commonly, he would remove the original spout, handle, and lid knob, then reassemble the vessel with jade, stone, and other materials. This approach was ostentatious and cumbersome, actually losing the true essence of zisha art. Many such inherited pieces exist, which I will not detail here one by one. Zisha art provided scholars of calligraphy, painting, and epigraphy with an alternative creative realm. The collaboration between Chen Mansheng and Yang Pengnian can be considered exemplary. The era in which they lived can be said to mark a new stage in the integration of literati culture with zisha ceramic art. The saying "the teapot becomes valuable through the calligraphy, and the calligraphy is transmitted through the teapot" refers specifically to the inherited works from the collaboration between Mansheng and Yang Pengnian. The flourishing and decline of the integration between calligraphy-painting circles and zisha art rose and fell with the fortunes of the zisha industry itself. And the fortunes of the zisha industry were closely related to social stability and turmoil. In times of peace it flourished; in times of chaos it declined. After the Jiaqing and Daoguang periods, warfare was frequent. It was not until the mid-Tongzhi period extending into the Guangxu era—a span of several decades—that society became somewhat stable and productivity improved. However, during this period there were relatively few truly outstanding zisha masters. In this phase of the history of literati-zisha integration, those who continued to write brilliant chapters were Mei Tiaoding and the potter Qian Shi (whose life is difficult to verify) through their collaboration. Mei Tiaoding, styled Diweng (from Cixi, Zhejiang, born in the Daoguang period and died in the late Guangxu years)—all his inherited works display diverse styles and elegant forms. Most worthy of appreciation is the refined calligraphy on the teapots and the crisp, decisive knife work. From an aesthetic perspective, while the production technique was not sufficiently refined, the structural design was original and broke free from conventional taste. The inscribed verses, calligraphy, and teapot body merged seamlessly—a worthy successor story to the "Mansheng teapots." This history of collaborative creation in zisha art extended into the late Qing dynasty, among which the master craftsman was Huang Yulin.