[They] commissioned purple clay teapots and personally inscribed calligraphy and paintings on them. This refined interest has been continuously inherited and practiced to this day. At one point, certain individuals even disregarded the inherent craftsmanship and aesthetic quality of the teapots themselves, instead judging them solely by the merit of their calligraphy, painting, and seal carving—a case of the guest overshadowing the host. From the development of inscribing commemorative dates and signatures on the bottom of teapots to decorating the body with calligraphy, painting, and engraving, the relationship between pottery and carving became like that of peony and green leaves complementing each other. By the late Qing dynasty, as the volume of engraved products gradually expanded, local Yixing calligraphers and painters such as Chen Gusheng, Chen Yanwei, Shen Ruitian, Lu Lanfang, Han Tai, and Shao Yunru devoted themselves to purple clay pottery engraving. From this point forward, a professional corps of purple clay pottery engravers gradually formed, with master-apprentice transmission continuing to the present day. The traditional style of purple clay pottery engraving is primarily based on the arts of calligraphy, painting, and seal carving. During engraving, various knife techniques from seal carving are widely employed, including the double-entry straight knife method, single-entry side knife method, as well as beam knife, slow knife, retention knife, light knife, cutting knife, and dancing knife techniques—all executed with skilled coordination of mind and hand, each technique achieving its own excellence. Particular emphasis is placed on various calligraphic styles, literary poetry, prose, and short phrases. In painting, special attention is given to expressive brushwork, ensuring that the engraved decoration harmonizes and coordinates with the artistic style and appearance of purple clay ware. Therefore, purple clay pottery engraving differs from the general "folk school" and does not belong to the old "court painting school"—it should be considered part of the "literati painting school." Since Liberation, purple clay pottery engraving has maintained close ties with contemporary calligraphers, painters, and seal carvers. In 1959, when designing and decorating purple clay flowerpots and other products for the Great Hall of the People, many art workers from the Jiangsu Provincial Chinese Painting Academy, Nanjing Arts Institute, Nanjing Normal University, Suzhou Arts and Crafts Research Institute, Suzhou Academy of Fine Arts, and Wumen Painting Academy directly participated in design and painting. Famous painters such as Ya Ming from the Jiangsu Provincial Artists Association and Tang Yun from the Shanghai Chinese Painting Academy also commissioned and inscribed purple clay teapots on multiple occasions. The veteran engraving artisan Ren Ganting, building upon excellent traditions, led both veteran and new artisans in creating numerous new designs that possess both national traditional characteristics and the spirit of the times, expressing the artisans' genuine feelings of love for the Communist Party and enthusiasm for socialist construction's new prospects. Another decorative method for purple clay pottery is glazed enamel. This involves applying glaze painting and full glazing on already bisque-fired products. Judging from the earliest historical products, it appears to be a development of the traditional clay paste relief method, later modified to use glaze materials. Painting flowers and birds, landscapes, figures, and other subjects involves first building up the pattern composition with glaze material on the bisque body, then outlining with colors—similar to the *fencai* (famille rose) technique on porcelain. There is also full glazing where colored glaze is applied over the entire bisque body, commonly referred to as "furnace transmutation glaze" (*lujun*). When was this method first created? Evidence can be found...