## Origins and Development ### Ma Gong Guo The few works collected in this book are not yet sufficient to exhaust their complete essence. Judging from their aesthetic character, Daxiang's transmitted works should be considered another major turning point in the advancement of Yixing pottery culture. He transformed the ornate and weak tendencies of the palace-influenced late Qing period, once again strengthening the dignified temperament of simple elegance inherent in the sandy clay art. He emphasized both formal completeness and practical functionality, while demonstrating profound technical skill, becoming another generation's master craftsman alongside Chen Mingyuan. This author began studying this art, taking it as a lifelong pursuit and diligently working on technical models in this path, carefully examining the subtleties, comprehending its true essence, and thus establishing a solid foundation. The Guangxu edition of *Yixing Jingxi County Gazetteer* contains the following passage: > "...There was a county magistrate who desired to obtain [Daxiang's work]. He selected clay colors and summoned people to the office, tempting them with substantial profit and keeping them for over ten days. Daxiang deliberately made inferior pieces in response. The magistrate became angry and had him beaten with a rod, but he still would not submit." This reveals that Daxiang was a strong artist who could not be subdued by force, corrupted by wealth and honor, or swayed by poverty and lowliness—one who cherished his artistic soul and possessed noble character. Daxiang's temperament was also quite leisurely and detached. In his creative work, he paid attention to capturing inspiration, just as Gao Zhong evaluated in an article dedicated to him: > "Sometimes he would tour and observe all day, or lie quietly for extended periods. When an idea came to him, he would joyfully complete a vessel. Otherwise, he would create nothing all day, or if forced to do so, he could not." A person devoted to artistic endeavor who lacks this spirit is like a writer lacking the determination that "unless the words astonish, I will not rest." Daxiang was a great master who entered the realm of art. Shao Youlan, contemporary with the renowned Daxiang, was slightly younger in age, also born in the late Qianlong period and passing away in the early Tongzhi period, enjoying considerable longevity. In this author's youth, I heard Fu describe him in detail, so I became quite familiar with his name. The seals he used included an oval seal with border pattern reading "Yang Yu Shao Youlan Made," as well as a square seal with border "Youlan Secret Production," and a small seal in regular script with the two characters "Youlan." Inscriptions were generally signed "Er Zhu." The Palace Museum and pot collectors all have his works in their collections. However, in terms of technical skill, he was considerably inferior to Daxiang. The three individuals discussed above—Qian Rong, Daxiang, and Youlan—were all contemporaries of Chen Mansheng. The technical level of their transmitted works was higher than that of Yang Pengnian and Shao Ertai. Those who later became versed in the appreciation of sandy clay art all praised them without exception. Jiang Deti, courtesy name Wanquan, lived through the three reigns of Daoguang, Xianfeng, and Tongzhi in the Qing dynasty. According to the Guangxu edition of *Yixing County Gazetteer*: > Deti "was skilled in the pottery trade, had no teacher or lineage, yet his art was extremely refined. All manner of teapots, flower vessels, cups and plates, and various desk ornament implements were exquisitely crafted in every respect, making him the foremost of his time." Observing the actual quality of his transmitted works, the *County Gazetteer* seems to have exaggerated somewhat.