He was once successively employed by Wu Daji (courtesy name Jiongzhai) of Wu County and Gu Chacun to create teapots (see *Yixing County Gazetteer: Biography of Huang Yulin*). Wu Daji was dismissed and sent back to his native place in the 20th year of the Guangxu reign (1894) during the Sino-Japanese War due to discord in military command. Huang Yulin's employment by Wu Daji occurred after this time. Besides excelling in calligraphy and painting, Wu Daji was also skilled in connoisseurship and enjoyed collecting ancient vessels, jade, and other cultural relics. He was particularly accomplished in seal script and epigraphy, and personally carved seals for Huang Yulin. During his employment, Huang Yulin had the opportunity to observe Wu Daji's collection of ancient bronze vessels and pottery. Through careful study and imitation, he absorbed the strengths of various traditions and applied them to zisha (purple clay) forms. In his later years, every teapot he made was meticulously conceived, making him another great master after Shao Daheng. However, among the surviving zisha teapots by Huang Yulin, most bear seal impressions in seal script reading "Jiongzhai" on the bottom, along with the name seal that Wu Daji personally carved for Huang Yulin. Yet inscriptions by Wu Daji on the body of teapots have never been seen. Occasionally, when inscriptions and engravings appear on the teapot body, they are mostly signed "calligraphy and engraving by Dongxi Sheng." In recent years, zisha craft products have been beloved by people around the world. Many international archaeologists have sought out zisha treasures preserved in foreign museums and private collections, compiling illustrated catalogs for publication and exchanging them with China. In the Nelson-Atkins Museum of Art in Kansas City (the Nelson-Atkins Museum of Art in Kansas City—editor's note), there is a square teapot with a painting of tea picking by the artist Lu Lianfu on one side, and on the other side, Wu Jiongzhai's own calligraphy of a tea-picking poem by Huang Tingjian. The bottom bears an inscription from one of the ten bronze vessels in Jiongzhai's collection as a base seal. This teapot can be called another masterpiece of collaboration between zisha craft and literati calligraphers and painters (as for the matter of Huang Yulin and Wu Daji creating a Gongchun-style teapot, this is well worth research and discussion, which will be detailed in a separate article later). The Zisha Craft Factory has a teapot made by Huang Yulin, with inscriptions by the late Qing master Wu Changshuo dedicated to a friend on both the front and back. It is also said that Gu Chacun of Suzhou once employed Huang Yulin, but to this day, no surviving works from a collaboration between Gu Chacun and Huang Yulin have been discovered. This claim is only recorded in *Yixing County Gazetteer: Biography of Huang Yulin*. Although Wu Daji, Gu Chacun, and Huang Yulin were all renowned masters of their generation with a history of association, their influence still fell far short of that of Chen Mansheng and Yang Pengnian. The union of craft and the calligraphy and painting arts began with Shi Dabin and Chen Jiru in the late Ming dynasty. Through the first three reigns of the early Qing, from Chen Mingyuan's associations with Zhejiang literati to the collaboration between Chen Mansheng and Yang Pengnian, it reached its flourishing stage. Thereafter, it gradually declined. By the late Qing and early Republican period, although many social luminaries such as Wu Changshuo, Ren Bonian, Wu Gongshou, Lu Hui, Cai Yuanpei, Yu Youren, and Ma Gongyu inscribed and painted on zisha vessels, this was limited to decorating finished products. Even the selection of vessel forms was mostly done by merchants dealing in zisha wares in Shanghai.