## The Art of Calligraphy on Teapots Zhang Shu once wrote a poem about Shi Dabin: "Carving bamboo and casting the cross-shaped mark, the tower method naturally follows the *Huangting* [scripture]." Historical records also note: > Chen Ziqi's calligraphy possessed the style of the Jin and Tang dynasties. > > Shen Ziche's inscribed works were extremely ancient, elegant, and simple. > > Chen Yongqing's inscriptions imitated the style of Zhong Taiqian's (Zhong Yao) calligraphic works. > > Chen Mingyuan... in form, style, and inscription, all were exquisite and marvelous. (*Taoxi Kehua*) The renowned craftsmen of that time almost without exception paid attention to calligraphy. Even if they themselves were not skilled, once a teapot was completed, they would invariably invite accomplished calligraphers to inscribe it on their behalf. People like Chen Zhan (Gongzhi) and Wang Daxin were actually called "Zhongshu Jun of pottery" (Zhongshu Jun being another name for the writing brush, meaning pottery artisans who specialized in brush work), specifically serving to inscribe works for the potters. Due to the expanding social influence of Yixing purple clay teapots at that time, they attracted admirers from society as well as connoisseurs skilled in calligraphy, painting, and epigraphy, who commissioned teapots and personally wielded the brush. Wu Mei's *Yangxian Ming Tao Lu* records: "Zidang obtained a Tianji teapot by Mingyuan, made of fine sand in purple-brown color, inscribed with Tang dynasty poetry in the hand of Master Cao Lianrang." *Shahu Tukao* states: "Grand Historian Shen Zipei's collection includes a hexagonal set, shaped like a palace lantern, in deep purple color. Chen Meigong (Ji Ru) inscribed four-character poems in four sections, written in clerical script on the six panels of the teapot, and also inscribed the signature on behalf of Daibo Cai (Jiang Shiying). A treasured piece indeed." Zheng Banqiao once commissioned a teapot and personally wrote and carved a poem on it: "Sharp spout, large belly, ears set high, barely escaping hunger yet already proud. Small capacity cannot contain great things, two or three inches of water stir up waves." (*Shahu Tukao*) The above examples prove that many literati of the time were not only enthusiastic about purple clay, but also directly participated in creative activities. This trend flourished for a time. By the Jiaqing and Daoguang periods of the Qing dynasty, the calligrapher, painter, and epigrapher Chen Mansheng designed patterns that were crafted by Yang Pengnian according to his specifications. The calligraphy, painting, and inscriptions were mostly composed and carved by Mansheng and his associates Jiang Tingxiang, Guo Pinjia, Gao Xunlu, Zha Meishi, and others. These became known as Mansheng teapots. Later, Qu Zizhi, Zhu Shimei, Mei Tiaoyi, and others also loved purple clay deeply, all with transmitted works as evidence. The renowned calligrapher, painter, and epigrapher Wu Changshuo and Ren Bonian, among others, also...