PurPle紫砂泥-Sand arT Part II: Archeological Discoveries 考古發現

茶人: Huang Chien Liang (黃健亮)

urple-Sand clay teapots have a pared to 1982, when Zhan Xunhua Hongqi Pottery Factory were remov- P history of more than five hun- (詹勛華) compiled the Graphic Ar- ing some clay from the mountainside, dred years. In Chinese, they are chive of Yixing Pottery (宜興陶器圖 they discovered an ancient kiln site known as Zisha Hu (紫砂壺), with the 譜), the material available today is on Lishu Village’s Yangjiao (“Sheep’s characters Zisha (紫砂) literally mean- much more plentiful. The abundance Horn”) Mountain. This discovery was ing “purple sand.” Throughout this of information that we now benefit very significant for shedding light on history, there have been several main from is the result of ever-developing the origins of Yixing Purple-Sand clay waves in popularity of collecting Zisha science and technology, ease of infor- pottery. According to the records, this clay pots, including the late Ming mation sharing, and of course, decades ancient kiln was a small example of the Dynasty, the reign of the Qianlong of hard work by archaeologists and type known as a Dragon Kiln, measur- Emperor during the Qing Dynasty, historians. We who are fascinated by ing around ten meters long and just the late Qing and early Republic, and Purple-Sand clay must be sure to hon- over a meter wide. In a pile of scrapped the present day. The last thirty-odd or all this research. Below is a selection pottery next to the kiln, they discov- years from the 1980s until now have of some of the more eminent research ered a great number of rejected pieces seen a particular swell of interest in about Zisha clay pottery, collated and of Purple-Sand clay pottery from the these pots, which is still going strong. organized to provide a reference to the period. Most of the unearthed piec- The main reason for these waves, of existing body of research, so that the es were from various types of teapot, course, was the circumstances during various materials may support each and included spouts, teapot bodies, these periods of history; these were the other and be useful for future studies. handles and lids. The scholars at the “golden ages,” when was flour- time classified the pile of fragments ishing in terms of both culture and by layers, and noticed that some of economy, resulting in the so-called Discoveries the teapot spouts were decorated by “fine collections from times of peace shaping them into dragons, which was and prosperity.” For a long time, the main source consistent with the style of the Drag- The past few decades have seen for archaeological research regarding on and Tiger vases that were popular large volumes of archaeological re- Yixing Purple-Sand clay was a work in the south during the Song Dynas- search surface. The current body of re- published in 1984: A Report on Find- ty. They also discovered some small search has come a long way since 1937, ings from Ancient Kiln Sites at Yangji- Song Dynasty bricks in the same spot. when Zhang Hong (張虹) and Li Jing- ao Mountain, Yixing (宜興羊角山 From this, they deduced that the earli- kang (李景康) wrote their Illustrated 古窑址調查簡報), in the Collected est pieces were from the middle of the Study of Yangxian Sand Teapots (陽羨 Reports on Excavations from China’s Northern Song Dynasty, with produc- 砂壺圖考), when the existing research Ancient Kilns (中國古代窑址調查 tion flourishing during the Southern was scarce and inaccessible (Yangxian 發掘報告集). Some years earlier in Song; the latest pieces were produced is an old name for Yixing). Even com- 1976, while workers from the Yixing as recently as the early Ming Dynasty.

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1) Today, Shu Mountain (蜀山) is the most important archaeological site for pur- ple-sand clay pots (photo provided by the Archaeology team at the Nanjing Museum).

2) Spout with molded dragon head, discovered at Yangjiao Mountain in Yixing.

3) Various lids and fragments that were unearthed at the Shu Mountain site, all of which were broken shards.

However, there have been differing as Mr. Li also points out, “Throughout lic of China, and included Zisha clay, viewpoints on this in scholarly circles China, more than one thousand Song Junware and other types of everyday over the years, with some questioning Dynasty tombs have been excavated, pottery. In September 2008, the Nan- whether the pottery remnants from yet to date, none of these tombs have jing Museum held an exhibition show- Yangjiao Mountain provide sufficient yielded a single Purple-Sand clay casing fragments from the Yangjiao evidence to reach these conclusions. teapot!” and Shushan digs, entitled Whispers of For example, historian Mr. Song Bo- Despite this research, it seems that Purple Jade: A Collection of Purple-Sand yin (宋伯胤) from the Nanjing Mu- perhaps because the many dynasties’ Clay Artifacts. seum writes: “One cannot rely on the worth of relics hiding beneath China’s The Whispers of Purple Jade exhibit similarity between such a small num- soil are so plentiful and so ancient, also included artifacts excavated from ber of pottery shapes and some relics China’s archaeological experts haven’t an ancient well site at Jinsha Square excavated from Northern Song tombs; had much time for a newcomer such in Jintan City, Province. The or on the fact that certain shapes don’t as Purple-Sand clay, with its mere few ceramic fragments excavated from this appear after the Southern Song; or hundred years of history. It wasn’t un- well dated to as early as the reign of the that the bricks from the brick pile are til 2005, nearly thirty years after the Ming Emperor Zhengde, and as late relatively small, or that they resemble Yangjiao Mountain dig, that interest as the reign of the last Ming Emper- bricks from the Northern Song. It’s began to pick up. Late that year, with or, Chongzhen. Also unearthed at the simply not enough evidence.” Follow- the support of the Taipei Chengyang same site was a teapot with a hooped ing this reasoning, Mr. Song maintains Foundation, archaeological experts handle at the top and a number of that the only way to get real answers from the Nanjing Museum, the Wuyi pots with spouts for boiling water, all would be to conduct a comprehen- City Museum and the local museology of which were similar in shape and sive archaeological survey in the area department in Yixing joined forces to crafting technique to the late Ming surrounding Yangjiao Mountain, us- excavate an area of around 700 square pottery found at the Shushan site. The ing the proper scientific techniques. meters, located at two historical sites hoop-handled teapot bore a particu- Archaeological expert Li Guang on the southwest slopes of Shu Moun- larly strong resemblance to a similar ning (李廣寧) from Anhui Province tain (Shu Shan), near Dingshu Village pot, the Hoop-handled Persimmon also states that “The ancient kiln (丁蜀鎮) in Yixing. After two years Stem-Patterned Pot, found on Majia site at Yangjiao Mountain has never of work, the archaeologists discovered Mountain in Nanjing, Jiangsu, and undergone scientific archaeological ten areas with remnants of kilns from dating to the twelfth year of the reign excavation… it is unsuitable to be different periods. Altogether, they of the Ming Emperor Jiajing (1533). cited as archaeological evidence… unearthed more than three thousand The two pots are so similar in terms it’s very hard to confirm that the site pottery fragments from various soil of shape, clay and crafting and firing dates to any earlier than the reign of strata. The fragments dated from the techniques, as to provide evidence that the Ming Emperor Jiajing.” Moreover, late Ming Dynasty to the early Repub- they are from the same period.

76 Yixing Teaware

Of the Zisha implements that have The earliest use forZisha pots was a similarly designed steam spout lead- been uncovered from the era of the likely for boiling water or tea. Gradu- ing out from the side of the pot. From Zhengde and Jiajing Emperors in the ally, they migrated away from the stove this, we can surmise that these Zisha Ming Dynasty, a particularly fine exam- and began to be used for brewing tea “pierced heart” pots were a common ple is the Drum-Shaped Four-handled instead, and so they became more re- household item in that period, though Purple-Sand Clay Pot found in 1991 fined. Most of the hoop-handled pots they are seldom seen nowadays. at in Wuxi, Jiangsu. and jugs described above bear the signs You’ll remember that earlier in this This pot is heavy and thick-set (similar of direct contact with flames, which article we discussed the Hoop-handled to the Gang style of bowl) with a pur- also attests to these circumstances. In Persimmon Stem-Patterned Pot found plish-brown color, and is made from a 2005 in Jiangsu Province, the site of a at Wujing’s tomb from the Ming Jia- fairly coarse, gritty clay. The body of Ming Dynasty guard post was excavat- jing period, in the city of Nanjing. the pot is crafted in a similar fashion to ed on the south side of Datong Street Wujing (吳經) was a trusted eunuch that of the hoop-handled pot found in in the city of Xuzhou. A type of Pur- of the Zhengde Emperor, whose tem- the Wujing tomb—it is formed from ple-Sand clay “pierced heart” teapot ple name was Ming Wuzong (明武宗) a top and bottom part, with a clearly was found at this site, which was used and whose personal name was Zhu visible join mark on the inside. It was for boiling water during the period Haozhao (朱厚照). Although Wu Jing fired without the use of a saggar (a pro- from the reign of the Wanli Emperor held as much power as a grand chan- tective clay case used when firing), so to that of the Chongzhen Emperor. cellor, he was also spoilt, arrogant and it displays quite a few blemishes caused This type of pot resembles a sidehandle cruel. According to the Ming Dynasty by flames or debris. Experts speculate teapot in shape, but with the addition Yanshan Tangbie Records (弇山堂別 that it would have been used to boil of a sort of hollow spout in the center, 集) by Wang Shizhen (王世貞), after water or tea. Along with this pot, the coming up from the base of the pot the Jiajing Emperor succeeded to the archaeologists also uncovered many and protruding out the top, passing throne, Wu Jing was sent before the pieces of blue-and-white porcelainware through the lid. This very scientific -de local authorities and was sentenced and jugs of the sort that were produced sign increased the heatable surface area to be banished to a military outpost for everyday use. The Wujing tomb is a of the pot, thus allowing the water to in Xiaoling. Despite his fall from very important site for understanding boil faster. At the Shushan dig, a simi- grace later in life, after his death the the history and development of Chi- lar pot was also found in the late Ming burial items found in his tomb were nese ceramics. to mid-Qing soil stratum. This pot had certainly nothing to be ashamed of.

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4) Hoop-handled Persimmon Stem-Pat- 8 terned Pot from the Ming Jiajing period, 7 discovered at Wujing’s tomb.

5) Jug from the ancient well site in Jintan, Jiangxi.

6) Four-handled Purple-Sand Clay Pot, found at Nanchan Temple in Wuxi, Ji- 9 angsu. 7) Hoop-handled teapot from the ancient well site in Jintan, Jiangxi (restored).

8) “Pierced-heart” pot found at the Ming Dynasty guard post in Xuzhou.

9) “Pierced-heart” pot found at the Shushan excavation site.

77/ Purple-Sand Art: Archaeological Discoveries Numerous artifacts were uncovered the tenth reigning year of the Wanli firing temperature may have been a in Wujing’s tomb, including clay pots, Emperor. An inscription found in the little too low. Discovered along with porcelain plates, and more than 200 burial chamber tells that the owner of the two pots were four Purple-Sand ceremonial weapons and pottery buri- the tomb was an imperial eunuch by clay teacups of decreasing size, all a al figurines. And, of course, there was the name of Zhao Fen, with the style reddish-brown color and only 1.1 to the famous Hoop-handled Persimmon name Lan Gu and also called Xizhang. 1.5 millimeters thick. Each teacup has Stem-Patterned Pot. He was born in 1508, entered the pal- a character imprinted into it using a They say that good things come in ace at the age of seven, and served four square stamp. The four characters are, pairs—in 2002, a pair of Purple-Sand emperors in his lifetime: the Wuzong, in order of biggest to smallest teacup: clay pots were unearthed that dated to Shizong, Muzong and Shenzong Em- 礼, 乐, 射, 御, or li, yue, she, yu. They the same era as the Wu Jing hoop-han- perors. mean “rites, music, archery and chari- dled pot! Coincidentally, they were also The pair of Zisha pots, found in a oteering”—these represent four of the found at the tomb of a eunuch. Ac- niche in the wall on the west side of Six Arts that were important to educa- cording to materials published by the Zhao Xizhang’s tomb are almost iden- tion and Confucian philosophy in an- Beijing Department of Cultural Relics tical, with a straight mouth at the top, cient China. Because of their decreas- and a report entitled The Ming Dynasty sloped shoulder, straight sides and a ing size, the four cups form a set that Eunuch Tombs at Beijing University of flat base with a small lip at the bottom. can be nested inside each other, with Industry and Commerce published by The lids are slightly rounded, with a the lips all at the same height. These the Beijing Cultural Relic Research knob on top. They have short, curved are the oldest Zisha implements that Institute, during construction work at spouts, which are taller than the top have been discovered to date, and the the university, three tombs were dis- of the pot, and tubular “ear-shaped” historical implications of this discovery covered that turned out to belong to handles. These pots were made by are worthy of further exploration. Ming Dynasty imperial eunuchs. Ac- fashioning the base, body, spout and In September 2004, fourteen ar- cording to the report, “A great many ar- handle separately, then joining them chaeological groups from through- tifacts were discovered, including Pur- all together. The body of the pot is out China came together to hold an ple-Sand clay teapots and teacups, and formed from a rectangular sheet of clay academic forum at Nanjing Muse- jade belts.” One of the tombs belonged shaped into a round tube. One can um. They were also holding a large to a eunuch named Zhao Xizhang observe small specks of mica through- exhibition that was unprecedented (趙西漳), who was buried in 1582, out the pots, which suggests that the for the time, and very educational.

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10) Shi Da Bin’s Three-Footed Lid Pot, discovered at the tomb of Lu Weizhen, 13 from the Ming Wanli period.

11) The lid of the pot can be turned upside-down and used as a teacup.

12) Two fragmented teapot bases stamped with the name “Shi Da Bin (時大彬) .”

13) Nested Zisha teacup set from Zhao Xizhang’s tomb, from the Ming Wanli period. Each cup fits in the one next to it for portability, suggesting that this set was carried. (Photograph provided by the Beijing Cultural Relic Research Institute.)

78 Yixing Teaware

It was called “The Beauty of Clay: A part of the lid is not deep, its vertical shaped base. Does this, then, suggest joint exhibit of Purple-Sand clay pots sides mean that it can hold a suitable that there is some connection between from all around China, collected by amount of tea. Due to the addition these pots? Or does it simply reflect a the Chengyang and Nanjing Museum of feet, the lid doesn’t have a knob on trend in teapot-crafting techniques in collections.” The exhibition brought top, and since it can be used as a cup, it the late Ming? This is certainly worthy together 29 Zisha pots from the Ming doesn’t have any holes to let the steam of further exploration. and Qing Dynasties, found across escape. Now, one might think this Da Bin pots have always been the seven provinces—, Zhejiang, would be a problem, but this Da Bin main focus of study for Zisha schol- Sichuan, Shaanxi, and He- pot is designed for enjoying tea for one ars. In addition to the pots in the Clay bei—and attracted a lot of attention in in quiet solitude—so, once the lid has Teapot Academic Forum exhibition, Purple-Sand clay scholarly circles. It been removed to use as one’s teacup, there’s also another Da Bin pot that’s was an unprecedented research op- what need is there for steam holes? It’s often overlooked: the Da Bin Melon- portunity to have so many exemplary very clever! Ming writer Feng Kebin Shaped Purple-Sand Clay Pot with Ming and Qing pots all gathered to- (馮可賓) put it thus in his Notes on Tea Chrysanthemum Decoration, housed gether in one place, with accurate dates (茶箋): “Small teapots are the most in the Liuzhou Museum collection. and archaeological records. Of special valuable; to each person, a teapot. Let This pot is purplish-brown in color, interest were the seven Da Bin named each pour and drink for himself; in made from coarse sand, and the bel- Zisha pots—from coarse to refined, this way, the greatest delight will be ly of the pot is formed into rounded they all had a great amount of research found. Why? Because with a small pot, chrysanthemum-petal shapes. The base value. the fragrance will not dissipate, and and lid are both shaped like chrysan- A fine example is the Shi Da Bin the flavor will not be diminished.” themum flowers, with a chrysanthe- Three-Footed Lid Pot discovered at the From this we can see that this Shi mum bud-shaped knob topping the lid tomb of Lu Weizhen (盧維禎), dating Da Bin pot is not only beautifully like a jewel. On one of the sections, the to the 38th year of the Ming Wanli Em- made, but also forms an innovative Da Bin name is engraved in the clay. peror’s reign (1610). This pot is widely and practical response to the needs of The National Cultural Artifact Classi- recognized as a genuine article from individual tea drinkers. In the center fication Group, directed by Mr. Geng the workshop of teapot artisan Shi Da of the rounded lid there is a very small Baochang (耿寶昌), has classified this Bin (時大彬). The pot dates to only bump, invisible to the eye but detect- pot as a First-Class Artifact. Very early 28 years later than the twin pots from able by touch. It’s in the place where a in the history of Chinese pottery, we Zhao Xizhang’s tomb. The owner of the knob would usually be, and is a trace saw Jin Wen (筋紋) pots shaped like tomb, Lu Weizhen (1543–1610), was left by the potters wheel used to make lotus flowers begin to appear, thanks the vice minister of both the Ministry the round lid. Because of the physi- to the influence of , and of Revenue and the Ministry of Works cal “memory” of the clay, this small from historical documents we know during the Wanli Emperor’s reign. This trace has remained after firing. On the that Yixing Purple-Sand clay pots in Da Bin pot was discovered filled with spout, one can see a slightly protruding this shape were also around from the roasted Wuyi green tea leaves, suggest- line down the center, and by looking beginnings of Yixingware in the mid- ing that the tomb’s occupant was a tea into the spout, this line is also visible to late Ming Dynasty. According to the drinker during his lifetime. The pot is at its base, which suggests that the first volume of the late MingYangxian reddish-brown in color, and made of whole spout was molded in two halves, Teapot Series (阳羡茗壶系) by Zhou quite finely blended sand. It’s covered and then the left and right sides were Gaoqi (周高起), “Master Dong Han all over with tiny, glimmering specks joined together. This mold line is neat (董翰), also known as Hou Xi (後溪), of naturally occurring mica, and from and subtle, taking a flaw and turning has begun to make flower-shaped pots, close up you can see a blending of ma- it into a feature, and giving the spout which require a lot of skill to craft.” roon and yellow shades. It was fired a character of its own. It really displays Not long afterwards, masters such as to just the right degree, and one can the fine craftsmanship and aesthetic of Shi Da Bin and Xu Youquan (徐友 tell that the pot was encased in a sag- Da Bin. The base is made differently 泉) also made flower-shaped pots. As gar throughout firing—apart from than usual; it has a rounded clay lip recorded in Yangxian Pottery (陽羨 the occasional small black fleck from that echoes the curve of the lid. 陶說) by Zhang Yanchang (張燕昌): the sand, the surface of the pot is very When I was attending the 2004 “Government officials and nobles are clean, and there are no imperfections Clay Teapot Academic Forum, I saw very fond of drinking tea. I tried a lit- caused by flames. two fragmented teapot bases displayed tle Shi Da Bin pot, shaped like a water The pot’s most distinguishing char- by Mr. Zhang Pusheng from the Nan- caltrop flower with eight sections, with acteristic is its lid, which is clearly based jing Museum that were of a very sim- the maker’s name on the side. One on the shape of a bronze three-footed ilar quality and also had the Shi Da can easily lift and replace the lid, thus cauldron called a ding (鼎). The beau- Bin name stamped into the base. In sealing the whole pot.” Personally, I tifully made lid is bowl-shaped with terms of shape and craftsmanship, they find the chrysanthemum-embellished three little “feet” in the shape of half- were very similar to the three-footed shape of the Da Bin Melon-Shaped clouds, allowing it to stand up when lid pot. In addition, there’s a Shi Da Purple-Sand Clay Pot to be quite un- removed and set upside-down. When Bin straight-necked round teapot that usual, and it certainly merits further inverted in this way, the lid serves as has been passed down as a family heir- research, especially the influence it had a teacup; although the bowl-shaped loom, which also has a very similarly on future pots.

79/ Purple-Sand Art: Archaeological Discoveries As well as the Da Bin pots, the Teapot Series, Zhou Gaoqi mentions pot discovered in Liang Weiben’s tomb Clay Teapot Academic Forum exhi- the master craftsman Chen Yong is indeed a genuine Chen Yongqing bition offered many other fascinating qing: “He makes many finely crafted piece. artifacts. One example is the gor- shapes, like lotus seeds, round water From this research, it becomes clear geous Chen Yongqing “Round Pot,” kettles, alms bowls and round balls. that by the late Ming Dynasty, the unearthed at the tomb of Liang Weiben They are perfectly round, without craft of Purple-Sand clay teaware had (梁維本) in Hebei Province’s Zheng- using a compass, and are very beauti- already reached maturity, and master ding County, and dating to 1650, the fully decorated. The maker’s signature craftsmen like Shi Da Bin and Chen seventh reign year of the Qing Dynasty is in the style of Zhong Taifu’s script; Yongqing had attained a level of skill Emperor Shunzhi. The body of the pot the master foregos the clumsiness of and artisanship that was equal to that is made from very finely worked purple ink, and instead carves his mark with of today’s artisans. So, when consider- clay, and the overall color of the pot is a knife.” (Zhong Taifu, also known as ing the development of Zisha pots from a blend of purplish-brown and yellow. Zhong Yao, is a calligrapher from the the standpoint of crafting techniques, It is perfectly fired with no blemishes, Three Kingdoms period credited with it’s true that one can see an overall in- and the surface has a slightly granular developing the “standard” style of Chi- crease in skill level throughout history; effect, with fine yellow-brown speck- nese script, known as Kaishu, which however, it’s also worth noticing that les, almost like the skin of a pomegran- is still used today). We also have this every now and then, throughout his- ate. This pot was made using a wide record in the Essay on Yangxian Tea- tory, a truly masterful craftsman has array of tools, and is so finely crafted pots (陽羨茗壺賦) by Wu Meiding created a design so outstanding and that it is indistinguishable from mod- (吳梅鼎): “Everyone says that Yong ahead of its time that it breaks this pat- ern-day Yixing pots; it, no doubt, rep- qing’s decorations are richer and finer tern altogether, and forges an entirely resents the pinnacle of craftsmanship than any other.” The Chen Yongqing new path in the long journey of Yixing in the late Ming and early Qing. On “Round Pot” fits these descriptions Purple-Sand. From purely utilitarian the base, four characters are engraved very well: It is perfectly round, finely works to functional art, Yixingware has that read “Made by Chen Yongqing crafted and of excellent quality, with achieved the pleasant blend of art and (陳用卿制).” The neat, evenly shaped exquisite decorations; the characters in craft, form and function, more than characters are laid out pleasingly in the craftsman’s signature really do re- any other ceramic tradition. The craft two rows; the knife-strokes are clear- semble the calligraphy of Zhong Yao, of Yixing truly does combine and har- ly defined and have a vigorous quali- and are carved with a knife. Judging monize the Heavenly with the Earthly ty. In another volume of the Yangxian from this, we can infer that the round realms!

Above: Da Bin Melon-shaped Purple-sand Clay Pot with Chrysanthemum Decoration, from the Liuzhou Museum collection (photograph by Mr. Zhi Hu, 執壺). Below: Chen Yongqing “Round Pot” from the tomb of Liang Weiben, from the Qing Shunzhi period.

80 Yixing Teaware Early to Late Qing Discoveries 清初至清末的考古發現

The biggest event in the field ofZi - tens of thousands of pottery fragments Emperor. The evidence suggests that sha in recent years was the excavation excavated at the Shushan kiln site, it the site is probably the remnants of a of the old kiln site at Shushan. It was may be possible to identify some piec- Qing Dynasty tea house. the largest excavation of Purple-Sand es of works by the great masters—but This group of pots are mostly quite clay in history, and the soil strata un- it would certainly require a generous practical in shape: round, with straight covered in the dig spanned more than dose of serendipity! spouts. The bodies of the pots most- 300 years, from the late Ming Dynas- Even so, the piles of fragments un- ly have sand mixed into the clay, and ty until 1966. It has provided an im- earthed at Shushan have a wealth of display a variety of colors, including portant foundation for determining information to divulge, and are wor- reddish-brown, vermilion red, dark the time period of Yixing clay ware for thy of further investigation. A couple brown, and even black or the pale yel- scholars both present and future. of interesting examples are the Dam- low of osmanthus flowers. Several of The unique nature of the finds at aged Sprinkled-sand Pot found in the pots carry inscriptions in standard Shushan deserve a special mention; the early to mid-Qing stratum at the Kaishu (楷書) script, reading “Yu Xia most of the artifacts unearthed there Shushan excavation site, which is iden- (玉峽)” or “Jade Gorge,” and “Yu Xia were fragments of pots rejected by the tical to a surviving pot that has been Quan (玉峽泉),” “Jade Gorge Spring.” kiln workers over the years and cast passed down as a family heirloom, the Because most of the pots have lost their aside into piles of “seconds” beside Large Sprinkled-Sand Double Hoop- lids, only one remains with a square each dragon kiln. These layers of failed handled Pot. In addition, another stamped onto the bottom in re- pots give us an insight into the habits damaged cylindrical pot was discov- lief, with characters of the Zhuanshu of the ancient potters—they were care- ered, whose shape and crafting tech- (篆書) seal script style. The seal reads ful and fastidious workers; since the niques are strikingly similar to those “Yuan Zhang (元章),” “Original Seal.” pots had quite a high market value, the of the Cylindrical Purple-Sand Clay There’s another spherical short-han- craftspeople upheld high standards of Pot from the Chengyang Foundation dled pot that also shows traces of the quality during firing. In Zhou Gaoqi’s collection that was imported to Swe- square maker’s seal, but the charac- late Ming Yangxian Teapot Series, the den prior to 1785. The inlaid metal ters are hard to distinguish. There are author writes: “For the finished piece ornamentation that can be seen on this also two four-sided pots that bear the to become elegant, it must be fired for double hoop-handled pot was added words “Made by Jing Xi (荊溪所制).” a long time. Five or six pieces of pottery after it arrived in Sweden; from the in- It’s worth noting that a number of Zi- are put in the kiln and sealed up tightly. scription on the metal handle, we learn sha pots bearing this same inscription At the beginning, the pots may crack that the metal ornamentation was add- on the lids were found on the wreck of and damage the glaze; if the pot is fired ed in 1785 in Stockholm, by a silver- the Tek Sing, which sank in the twelfth too long, it will become too ‘old’ and smith named Peter Johan Ljungstedt. month of the first year of the Daoguang will lose its aesthetic; if it’s under-fired, From the end of 1997 to the ear- Emperor’s reign. Although the seal on it will be too ‘young,’ and the sand will ly spring of 1998, the Tangcheng Ar- the two sets of pots was not imprinted remain coarse and unrefined.” Because chaeological Group carried out two using exactly the same wooden stamp, the potters were so careful, the rate excavations in the old part of Xuzhou the style of the Zhuanshu characters is of failure in firing the pots was quite city, on the south side of Da Dongmen similar enough to verify the authentic- low. If a pot was rejected, it would be Street. During the excavation, they ity of the two pots. thrown into a convenient pile beside cleared out six ancient wells from the The Yangzhou Archaeological team the kiln, to avoid the possibility of the Qing Dynasty soil strata, unearthing a also made a noteworthy discovery on pot being copied. Here’s an example significant number of blue-and-white a construction site at the Yangzhou of Li Dou (李鬥) talking about mas- porcelain cups and plates, along with Traditional Chinese Medicine Hospi- ter potter Shi Da Bin, excerpted from several dozen Zisha pots, soup spoons tal. It was a lidded Purple-Sand clay the Yangzhou Pleasure Boat Journals and other implements. Of these, bowl that bears a round and a square (揚州畫舫錄): “While the pot was in around ten of the Purple-Sand clay seal beneath the lid, reading “Jing Xi the flames, he would wait attentively pots were discovered more or less in- (荊溪)” and “Made by Zhang Junde to take it out. If it turned out fine and tact. According to Li Jiuhai (李久海), (張君德制).” It is finely crafted, with elegant, he would crow with pride; the director of the Yangzhou Institute an elegant round shape. Coincidental- but if he was not satisfied with it, he of Cultural Relics and Archaeology, an ly, an identical lidded Zisha bowl with would smash it at once. Sometimes he analysis of the blue-and-white porce- the same seal was displayed at the San would only keep one pot for every ten lain indicates that the artifacts found Francisco Asian Art Museum in late he broke. Every pot that was deemed there span a long period during the 1977. It came from the collection of unsatisfactory was smashed.” Accord- Qing Dynasty, from the reign of the Laurence Sickman and appeared in an ing to this account, then, among the Kangxi Emperor to that of the Jiaqing exhibition entitled “I-Hsing Ware,”

81/ Purple-Sand Art: Archaeological Discoveries Shushan excavation pieces and “Large Sprinkled-Sand Double Hoop-handled Pot” from the site. curated by Ms. Terse Tse Bartholomew There are a few survivingZisha pots lieve it’s very likely that these charac- (謝瑞華). There are a few scattered re- and tea-leaf canisters that are decorat- ters were simply an identifying mark cords of Zhang Junde, which indicate ed with colorful scenic paintings. This commonly used by the artisans who that he was a Qing Dynasty potter style of decoration can be seen on pots painted the pots, as this mark is very who worked with Purple-Sand clay from the Qianlong and Jiaqing peri- commonly seen on surviving painted during the reigns of the Yongzheng ods of the Qing Dynasty, such as the Zisha pots. So there probably wasn’t an and Qianlong Emperors. Among the Wang Lun Pot with Scenic Paintings actual person named Wang Lun. red clay or zhuni (朱泥) pots, there’s that was discovered in a tomb from the Among the items unearthed in a pot bearing the mark “Junde,” with a Qianlong period. Another example is the same tomb were two Purple-Sand wide belly and a curved spout, that is the Jingmei Qingxiang Pot with Scenic clay water pots (used for calligraphy). commonly known as the “Junde Pot.” Paintings, discovered in Shanxi Prov- One of them was the Purple-Sand The Illustrated Study of Yangxian Sand ince in a tomb dating to the fifth reign Clay Many Fruits Pot. Similar “Many Teapots (陽羨砂壺圖考), written by year of the Jiaqing Emperor. The Wang Fruits” pots can be seen in various Zhang Hong (張虹) and Li Jingkang Lun pot was discovered in 1959, in a collections, such as the Chinese Uni- (李景康) after the establishment of tomb from the reign of the Qianlong versity of ’s Art Muse- the Republic of China, contains the Emperor, in Banshan, Hangzhou. The um and the Suzhou Museum. Most following passage: “There is a teapot body of the pot is red-brown in color of them are signed “Ming Yuan (鳴 with very fine craftsmanship, which and is shaped into four petal-like seg- 遠).” From this, we can tell that these is inscribed with just two characters ments, with a short, flat-topped spout. water pots featuring fruit and nuts, in standard Kaishu script: ‘Jun De.’ The sides are decorated with paintings, such as walnuts, peanuts and water The Bishan Teapot Museum collection and the knob on top of the lid takes chestnuts, had already appeared in also contains a small red clay Junde the form of two painted peaches. The the late Qianlong period. Another pot. It has a double layer of glaze, and maker’s stamp appears on the under- interesting piece from the Hangzhou is stamped on the bottom with four side of both pot and lid, and features tomb is the Purple-Sand Clay River characters meaning ‘Made during the the name Wang Lun (王倫) in Caoshu Snail Water Pot. Another pot of this years of Yongzheng (雍正年制),’ also (草書) cursive script. There is also an same shape is housed at the Musée in Kaishu script.” Could this mean, oval-shaped stamp featuring some in- National des Arts Asiatiques Guimet then, that this Junde is in fact Zhang decipherable characters in the Zhuan- in France, and bears the inscription Junde, and that the vessel came to be shu seal script. Although the Zhejiang “Made in the ninth year of Kangxi’s used for gongfu tea due to the fame of Museum has identified theCaoshu reign, at the Maoyuan guesthouse,” as the artisan who made it? This has yet to characters on the bottom of the pot well as a small, teapot maker’s stamp be verified with more research. and lid as reading “Wang Lun,” I be- with only the character “Yuan (遠).”

82 Yixing Teaware

Another of these pots resides at the of the Qing Qianlong Emperor. Lan should perhaps leave some room for Hong Kong Teaware Museum, again Guowei (birth date unknown) sat the consideration as to the pot’s identity. marked with the name “Ming Yuan,” Imperial Examination in the sixtieth As for the other of the Two Chens, while yet another one is housed at the year of the Kangxi Emperor’s reign and Chen Mansheng, one of his pots was Nanjing Museum, this time stamped went on to hold a military position collected by the Shanghai Museum in with the characters “Shi Min (石民).” in the light cavalry. Also unearthed Jinshan County in 1977. This is the Pei Shimin was a potter working in at his tomb were several other pieces, Purple-Sand Clay Bamboo Joint Pot, Shanghai in the 1920s and 1930s, who including a porcelain tea tray decorat- which bears the mark “Wan Quan produced many copies of Chen Ming ed with ink paintings of scenery and (萬泉),” “Ten Thousand Springs” and yuan’s pieces with exquisite care and people, four small white-glazed blue- is signed with Mansheng’s name. This craftsmanship, and was widely reputed and-white porcelain teacups decorat- pot is significantly different from oth- as “the second Chen Mingyuan.” Evi- ed with flowers and marked with the er surviving Mansheng pots, and there dently, when Master Pei made his Pur- name “Ruochen Zhencang (若琛珍 are many opinions, both positive and ple-Sand Clay River Snail Pot, he had 藏)” or “Precious Collection,” and a negative, about this pot, all of which a solid foundation on which to model hexagonal tea leaf tin—inside the tin contain a kernel of wisdom—so we his work. were tea leaves and a slip of paper with won’t go further into that here. Anoth- As for the Jingmei Qingxiang Pot the brand name, “Su Xin (素心),” er noteworthy teapot was discovered with Scenic Paintings that we men- written in ink. Together with the red in January of 1986, in Hexia Village, tioned earlier, this was discovered in clay teapot, these items form a full set in the Chuzhou District of Huai’an December of 1975, in Shanxi’s Xiang- of implements for a gongfu tea session, city, Jiangsu. This was the Peng Nian fen County. Scholars believe that the which suggests that the occupant of the Three-Footed Cauldron Pot, discov- tomb it was found in belonged to Liu tomb was a gongfu tea enthusiast. The ered in the tomb of Wang Guangxi Wenhu (劉文虎), who, during his life- pot was discovered completely intact, (王光熙). The identity of Wang time, served as the prefectural magis- but unfortunately, due to the inatten- Guangxi is unknown, but from all trate and was buried in the fifth reign tion of the villagers who discovered the other artifacts uncovered in his year of the Jiaqing Emperor. It shows it, the spout was broken off and lost tomb—a Da Bin brand Zisha pot, no traces of use and was likely a new during the excavation process, which is some white-glazed floral teacups from pot made especially for the burial. The a pity indeed. the kilns at Dehua, cloisonné water Jingmei Qingxiang name is often seen Because this pot is the only one pots for calligraphy, and thirty-one on red clay gongfu teapots, and the of Chen Mingyuan’s Zisha pots to be different seal stamps, including some discovery of this pot gives credence to discovered in a tomb with a definitive made from valuable bloodstone and the theory that several known mak- date, researchers are quite certain of larderite and decorated with carved li- er’s marks found on these red clay its age. Because of the inscription on ons—we can tell that Mr. Wang was a pots date to the late 18th century. As the pot that refers to the “Forty-Third scholar and a lover of tea. well as Jingmei Qingxiang (競媚清 Year Midsummer,” scholars have de- This Three-Footed Cauldron Pot 香), these include Jingxi Meiyu (荊溪 termined that it was made in 1726, is a classic example of a Mansheng 美玉), Siyan Shexi (肆筵設席), Gao the fourth year of the Yongzheng Em- piece. A fourteen-character inscrip- peng Manzuo (高朋滿坐) and Yuzan peror’s reign (this was the forty-third tion is carved into the shoulder of the Huangliu (玉瓚黃流). These names year of the sixty-year Chinese calendar pot in a free, vigorous script, reading: tend toward the poetic, and roughly cycle). I had the fortune to examine “With the light of the Tai Ding con- mean: “Charming Fragrance,” “Jing this pot up close during the 2004 Clay stellation, one may live to be as old as Creek Fine Jade,” “Four Bamboo Mats Teapot Academic Forum exhibition at Zhangcang; this three-footed pot was Set for a Tea Ceremony,” “Surrounded the Nanjing Museum. I observed that made by Mansheng.” Tai Ding (台鼎) by Honorable Friends” and “Liquor it was crafted with great skill and care, was the old name of a constellation From a Jade Libation Cup.” even and precise, using very fine clay named after a Ding (three-footed caul- In the history of Zisha-ware in the with a silky-smooth texture. When dron), and is thus a metaphor for the Qing Dynasty, two potters stand out picked up, it felt solid and steady in three-footed teapot, and Zhangcang as the most renowned in the field: one’s hand. It was remarkably differ- was a historical figure known for liv- the Two Chens, namely Chen Ming ent from ordinary finely made red clay ing a long life; so in other words, the yuan (陳鳴遠) and Chen Mansheng pots; it truly is a masterpiece worthy gist of the poem is that making one’s (陳曼生). Many teapots by the Two of the famed Ming Yuan name. On tea in a good Purple-Sand pot can aid Chens survive today, though small the other hand, the shape of the pot one to live a long life! The bottom of misfortunes befell some of the excavat- and style of the maker’s mark are in- the pot bears two seals, Peng Nian ed pots. Firstly, let’s take a look at the deed quite a typical example of what (彭年) and Xiang Heng (香蘅); both Chen Mingyuan pots. One example, one usually sees with red clay gong- sets of Zhuanshu seal script charac- the Mingyuan Forty-third Year Mid- fu teapots, and Chen Mingyuan ters are stamped in relief. Xiang Heng Summer Ancient-style Pot, was un- was, after all, praised in the annals of is Mansheng’s eldest son Baoshan earthed at the tomb of Lan Guowei (藍 Purple-Sand clay as a master craftsman (寶善), also known as Xiao Man 國威) at Chiling township in Zhang- whose pieces were sought at home and (小曼), “Little Man.” According pu County, Fujian Province. The tomb abroad. Until more examples of Chen to research by Mr. Huang Zhenhui dates to 1756, the twenty-third year Mingyuan’s work are discovered, we (黃振輝), the location where this pot

83/ Purple-Sand Art: Archaeological Discoveries was excavated is the same as the sta- Gong Xinzhao (龔心釗); it is accom- In Taiwan, too, some Purple-Sand tion in Liyang where Mansheng was panied by a burl wood box, which Mr. clay pots have been discovered. In appointed to oversee river conservan- Gong has carefully labeled by hand on 1999, the National Museum of Nat- cy works; plus, the seals on the pot are the outside. The lining of the box also ural Sciences undertook an excava- in Mansheng’s handwriting; from this bears many stamped collector’s seals tion of some ruins at Bantou village Mr. Huang infers that this pot dates and a note written on a piece of paper; (板頭村) in the Hsinkang township in to the 25th year of the Jiaqing Emper- together they form a very precious set Taiwan’s Chiayi County. This area used or’s reign, at the latest. The Peng Nian of artifacts. The pot is small and del- to be called Bengang (笨港), and was indicated on the pot is Yang Pengnian icate in shape, and its surface is dec- one of the earliest areas established by (楊彭年), who was one of the main orated with a subtle blend of yellow-, the Han Chinese, and one of Taiwan’s teapot craftsmen at Mansheng’s work- red- and brown-colored clays, as splen- most important and bustling ports shop. He was also considered one of did as the sunrise. The body of the pot during the Qing Dynasty. The ruins at the masters of his generation and many is inscribed with these words: “Do the excavation site were the remnants Peng Nian Zisha teaware pieces survive not look down upon rough clothing, of the Qing Dynasty local adminis- today. According to Qian Yong’s (錢 for beneath it there is wisdom; which trative offices of Zhuluo County and 泳) Lu Yuan Collection, as well as being pours out with a lively sound. Signed, Bengang County. Because the nearby famed for the skill of his family-run Mansheng.” The particular garment Beigang Creek was prone to serious workshop in his own era, Peng Nian’s referred to in the inscription is a shuhe flooding, parts of the town were often works were imitated far and wide for (裋褐), a type of short jacket made of submerged or damaged over the years generations to follow. In my opinion, coarse material, which is a metaphor by the changing waters, resulting in the Peng Nian signature on this Peng for the pot; so the sentiment advises a great number of Qing Dynasty ar- Nian Milk Cauldron Pot does indeed us not to judge people (nor teapots!) tifacts being buried underground in appear to be seal of Yang for their appearance, as wisdom may the area. Scholars have determined Pengnian, and can verify the pot’s be found in both tea and the words of that “Although we cannot rule out the identity. To borrow the words of Zhou others. The underside of the handle is possibility that some of the pieces may Gaoqi, it’s “sufficient to settle conflict- stamped with the Peng Nian seal. The trace back to as early as the Yongzheng ing opinions.” bottom of the pot bears a long Xiang Emperor’s era, the newer pieces cer- Also worth mentioning here is a Heng seal, which is identical to the tainly date to no later than the reign of pot that was included in The Elegance one on the Peng Nian Three-Footed the Jiaqing Emperor.” of Purple, which was recently published Pot that was found in Wang Guangxi’s Among the items excavated in Taiwan: the Xiang Heng brand Man- tomb, so these two pots serve to con- were twelve Purple-Sand clay frag- sheng “Hundred Patchwork Robes” firm each other’s authenticity and to ments, which are believed to come Pot. This pot was originally from the accurately date the find and all the from four separate teapots. Among collection of Qing Dynasty diplomat pieces therein. these is a bamboo joint pot which,

14

15 16

14. “Osmanthus Flower Sand” straight-spouted round pot found at the Yangzhou site.

15. “Yu Xia Quan” (玉峽泉), “Jade Gorge Spring” brand straight-spouted round pot from the Yangzhou site.

16. Around ten Zisha pots were found at the ancient Qing Dynasty well site at Yang- zhou (photo provided by the Yangzhou Archaeology team).

84 Yixing Teaware after being restored using surviving “A pavilion in the moonlight ______pots as a reference, bears a striking person; Meng Chen (亭月□□人， resemblance to another bamboo joint 孟臣).” This mark is commonly seen pot that was excavated from the wreck on pots that have been excavated or of the Geldermalsen. The first pot is passed down through the generations 乾 almost perfectly round in shape; the in southern Fujian. Other pottery lid has been lost, but we can speculate pieces were found with the inscriptions based on similar pots that the knob “Made during the years of Qianlong on top may have been shaped like the (乾隆年制)” and “Made by Pan Zi___ 潘 mythical three-legged golden toad, or (潘子□制).” I believe that the Zisha 隆 like a curved piece of bamboo that is pots unearthed at the Bantou village 子 similar to the handle and spout. The ruins likely date to before the period of second pot is shaped into an elongated, the Qianlong Emperor. 茶 slightly rectangular shape, with curved 制 sides and rounded corners. Another of 年 the broken pieces looks to come from a pomelo-shaped pot, and has part of a line of poetry inscribed on the bot- tom with the maker’s mark (with some blanks where the characters are missing): 制

17 18 萬泉

19

17) Four-sided pot bearing the seal “Made by Jing Xi” (荊溪所制), found at Yangzhou.

18) “Wan Quan (萬泉) ,” “Ten Thousand Springs” brand bamboo joint pot, signed by Mansheng (From the Shanghai Museum Collection).

19) Pengnian Xiangheng (彭年香蘅) Mansheng “Hundred Patchwork Robes” pot from the original col- lection of Gong Xinzhao.

85/ Purple-Sand Art: Archaeological Discoveries Recent Discoveries from Underwater Excavations 水底采掘發現

Underwater excavation techniques dition. By studying the pottery con- Sjöstrand named the ship “The Wanli.” have allowed archaeologists to expand tained in shipwrecks, researchers can There were very few Purple-Sand clay their reach from land to sea; to uncov- not only determine things like cargo pots found aboard—the only pieces er traces of human civilization from stacking methods, the vessel’s route recovered were three teapot lids and deep beneath the oceans. Over the and the nature of the merchandise, two broken pottery fragments, all from centuries, these underwater museums but also make inferences about other round pots. One of the lids features a have silently guarded their records of cultural and economic circumstances, “pearl” style knob, set like a gem in the human exploits from all sorts of places such as the skill level of the artisans middle of a twelve-pointed star shape, and time periods: sea transportation, wherever the pottery was produced which is decorated with a ring of spiral trade missions, cultural exchange, even and the tastes of the overseas market patterns stamped into the clay. These wars and plundering. where it was headed. pieces are the earliest known Pur- According to the estimates of ar- In recent years, academic circles ple-Sand clay pots to ever be discov- chaeologists from around the world, have achieved some fruitful results ered on an underwater excavation site. there are currently more than 16,000 in the field of maritime archaeology, known shipwrecks with cultural with findings proving significant to and historical significance scattered the study and dating of cultural arti- The Donggu Bay Wreck throughout the world’s oceans, with facts. Findings from archaeological the majority located in Europe. In the excavations in the In 2004, a team composed of ex- Asian region, the majority of ship- have garnered particular attention and perts from the National Museum of wrecks can be found in the oceans of are generally met with great anticipa- China’s Marine Archaeology depart- Southeast Asia; according to the re- tion. As for the pottery discovered in ment and from thirty other provinc- search of U.S. historian Dr. Roxanna the seas of Southeast Asia in the last es of China including Beijing, Fujian M. Brown, between 1974 and the pres- few years, there is no shortage of Pur- and Guangdong salvaged a wreck in ent, more than 120 shipwrecks have ple-Sand clay implements; however, Donggu Bay (冬古灣), on Dongshan been discovered in the seas of Southeast since we only have the space of one ar- Island (東山島), which faces the Tai- Asia. This area is commonly known as ticle, I shall outline some of the finds wan Strait off the coast of Zhangzhou the South China Sea, and has had close from several noteworthy shipwrecks in city in southern Fujian. The wreck political and trade ties to China since the passages that follow. was an ancient warship from the fleet ancient times. It has also acted as the of military leader Koxinga (鄭成功) main thoroughfare for travel between The Wanli( 萬曆號) who fought for the Ming resistance the East and the West, and as a stra- against the incoming Qing Dynasty. tegic hub for international trade and From 2004 to 2005, a company by Dongshan Island was one of Koxinga’s shipping. Of course, the myriad relics the name of Nanhai Marine Archae- main military bases. Among the arti- buried in shipwrecks beneath this mar- ology Sdn. Bhd., founded by Swedish facts recovered from the wreck was a itime section of the Silk Road have be- underwater archaeology expert Sten round, flat-lidded red clay teapot. On come precious resources for those who Sjöstrand, undertook an important the bottom is a round seal in Zhuan- study the history of trade, culture, art excavation in partnership with the shu seal script that reads “zhuang and crafts. They form a fascinating mi- Malaysian government. The project yuan jidi (狀元及第),” which literally crocosm of the economic development was located six nautical miles offshore means “first place in the imperial ex- of seafaring societies. from the Tanjong Jara Resort, in the amination.” According to archaeolo- Unsurprisingly, the relics discov- province of Terenganu on Malaysia’s gists, this ship dates to around 1676, ered in these waters have included west coast. They salvaged the wreck the fifteenth reign year of the Emperor a large amount of pottery. This is, of of what is believed to be a Portuguese Kangxi. course, partly due to China’s famed cargo ship dating to the reign of the skill in producing beautiful ceramics, Ming Emperor Tianqi (around 1625). with international demand resulting in The ship most likely sank due to an The Oosterland a flourishing pottery trade over many accident en route from Guangzhou to generations. However, the other reason the Malaysian state of Melaka (Malac- In 1991, a team assembled by the is that the physical properties of pot- ca). The majority of the recovered arti- University of Cape Town, South Afri- tery allow it to weather the conditions facts were ceramics destined for over- ca, began to dredge the wreck of the of the sea floor for long periods of time seas sale and dating to the reign of the Oosterland in Cape Town’s Table Bay. and still largely retain its original con- Ming Emperor Wanli; because of this, The Oosterland belonged to the Dutch

86 Yixing Teaware

East India Company and sank in 1697, of Tea Ware; those pots are likely famil- quite a few pots where the lion has lost the 36th year of the Emperor Kangxi’s iar to Purple-Sand clay enthusiasts in its ball. So, the addition of this small reign. The artifacts uncovered include Taiwan and mainland China. Among knob on the handle helps the pourer six entire Purple-Sand clay teapots them is a six-sided pot, whose lid is or- to hold the pot steady. This design fea- destined for the overseas market and namented with a lion holding a ball, a ture has been noted on silver and gold several dozen fragments. This group of shape that was also noticed among the pots dating back as early as the Tang teapots has two distinguishing charac- damaged pots found at the Shushan Dynasty. teristics. The first is that the six intact excavation in Yixing discussed earlier Another of the finds was a pear- teapots all bear seals identical in style in this article. So it seems that this shaped red clay pot, which is the only to those found on pots intended for style of pot was popular both in China gongfu teapot discovered on the Gel- the local Chinese market; however, and abroad during the Qianlong era. dermalsen. However, the lid is a little some of the pots are decorated with The lion-shaped knobs on these small and is suspected not to be this auspicious patterns molded onto the pots were usually formed by using a pot’s original lid, which implies that surface, which was obviously intended wooden mold to create the basic shape, there were other pots of this shape on to cater especially to Western markets. then adding carved details afterwards. board. The maker’s mark on the bot- On the finer examples, the artists have tom is carved rather than stamped, and really captured the details of the little reads “Yu Xiang Zhai (玉香齋),” or The Geldermalsen lion’s musculature and shaggy coat, “House of Fragrant Jade.” There is no right down to the delicately patterned other record of this mark, but there is In 1985 United Sub Sea Services, ball that jingles when shaken. There’s a another known pear-shaped pot which headed by British-born Australian charming innocence about them, and bears a similar mark in the same carved resident Michael Hatcher, discovered they were very popular on the market, handwriting, namely “Yu Zhen Zhai and dredged the wreck of this Dutch with a great number being transported (玉珍齋)” or “House of Precious East India Company ship, which sank to Europe. The spout of the six-sided Jade,” so it appears likely that these in January 1752 (the twelfth month pot from the Geldermalsen is a “tri- two pots are related. of the Qianlong Emperor’s sixteenth ple-bend spout (三灣流)” formed reign year). The artifacts uncovered from four adjoined pieces. The surface from the Geldermalsen included more of the handle is also four-sided, and The Tek Sing( 泰興號) than 150,000 pieces of blue-and-white features a small knob on the upper porcelain, 125 gold ingots weighing edge. The reason for the knob is that In 1999, Hatcher discovered an- 750 grams apiece and about ten Yix- this shape of pot is very heavy—the lid, other wreck, this time in the waters ing Purple-Sand clay teapots. Some of in particular, uses more clay than usual off the northern coast of : The these teapots went to the collection of and is prone to toppling off when the Tek Sing, which sank in the twelfth Hong Kong’s Flagstaff House Museum tea is poured, which is why one sees month of the Daoguang Emperor’s

20 明 月 松 間 照

87/ Purple-Sand Art: Archaeological Discoveries first year in power (January 1822 on were originally one sphere with a line from reds and purples to dark brown, the Gregorian calendar). Discovered cut around to remove the lid. Finally, black and pale yellow-green). Overall, on the ship were tens of thousands of the least common is the “inlaid” style the crafting techniques are completely ceramics and gongfu teaware pieces, qian’gai lid (嵌蓋), where the lid is in- consistent with those of the red clay among which were two to three hun- set to be completely level with the top teapots found in Qing Dynasty tombs dred Purple-Sand clay teapots, mostly of the opening. The knobs on top tend across southern Fujian in the last twen- red clay or zhuni (朱泥) gongfu tea- to be shaped like a miniature version of ty years. They are all from Yixing and pots, obviously intended to be sold to the pot itself, the top echoing the bot- are typical examples of classic gongfu the Chinese community in Southeast tom; this is a traditional design concept teapots. Most of the teapot bases are Asia. There are as many as ten differ- of Yixing pots. The teapot bases are inscribed with lines of poetry, us- ent shapes of pot, spanning all the mainly of the “circular foot (quanzu, ing a bamboo or metal knife, and are main types of gongfu teapot. In terms 圈足)” and “false circular foot (jia stamped with a seal bearing the raised of shape, they all belong to the basic quanzu, 假圈足)” styles, with just one characters “Made by Meng Chen category of round pots; the spouts are pomelo-shaped pot that has a concave (孟臣制) in Xingshu (行書)” in run- mainly of the “single-bend (一灣流)” base, or yina di (一捺底). From the in- ning script. Some of the pots bear a seal and straight variety, which are the most side, one can see that these pots were consisting of seal-script characters with efficient for pouring tea. Only a few of fashioned according to the tradition- no border, imprinted using a wooden them, such as the Si Ting (思亭) pot, al “cylindrical body” or “da shentong stamp, such as the one pictured here, feature the traditional “double-bend (打身筒)” technique, where the clay is which reads “Moonlight shines among (二灣流)” shape of spout. The handles first formed into a tube. Although the the pine trees; made by Meng Chen are mostly thick at the top and thinner pots have been worked using pottery (明月松間照; 孟臣制).” This same near the bottom, round both inside tools, there are no obvious tool marks; mark has also been found on pots un- and out, with a visible joint where they there is a single steam hole in the knob earthed in Minnan, southern Fujian. meet the body of the pot. The majori- of each lid, which forms an internal Unique among the pots found on ty of the lids are of the “placed lid” or trumpet shape, narrow on the outside the Tek Sing was an unusually large yagai (壓蓋) shape, where the lid has a and wide toward the center of the pot. Zisha pot measuring 18.5 centime- slight outer lip of the same diameter as The pots are largely made from red ters high and 32 centimeters wide; it the lip of the opening, so that the lip zhuni (朱泥) clay, with the occasion- was probably a personal possession of sits directly on top of the teapot mouth al zini (紫泥) purple clay pot (these one of the passengers or crew mem- when placed there. Second most com- colors of clay all belong to the gener- bers. Despite the ocean deposits that mon is the “cut-off lid,” or jiegai (截 al category of “Zisha,” Purple-Sand have built up on the surface, one can 蓋), which has a curve that smoothly clay—as mentioned earlier in this ar- still observe that this pot is made follows the curve of the rest of the pot, ticle, despite its name, Zisha clay can from fine purple clay, and the overall so that it looks like the teapot and lid display several different colors, ranging shape has a natural sense of elegance.

21

23

22 20. Purple-sand clay fragments found on the Wanli (photo provided by the Cheng- yang Foundation).

21. Remnant of a six-sided lion pot from the Shushan excavation (photo provided by the Nanjing Museum archaeology team).

22. Six-sided pot topped with a lion holding a ball, found on the Geldermalsen (From the Hong Kong Flagstaff House Museum of Tea Ware Collection).

23) Zisha pots from the Oosterland designed for the overseas market.

88 Yixing Teaware

Although the relevant records do not The Desaru specify the brand name of this pot, from what we know of similar surviv- In May of 2001, in southeastern and straight-spouted flat-belly shapes ing pots, we can infer that this one very Johor, Peninsular Malaysia, some fish- mentioned earlier—and hold a large likely has the maker’s name stamped ermen out in their boat unwittingly amount of liquid. on the bottom, and we even have a came across the wreck of the Desaru, The Zisha pots found on the Desa- good idea of whose name it is: one of around two nautical miles out from ru bear around thirty different maker’s the potters from the Shao (邵) clan, of the resort village of Desaru, after marks. Aside from a few that have the whom there were several in Yixing, in- which the ship was later named. The traditional Meng Chen mark, there cluding Shao Hengyu (邵亨裕), Shao wreck was dredged under the direc- are also the following: “Made by You Daheng (邵大亨), Shao Xumao (邵 tion of Sten Sjöstrand, the same ar- Yumi (有餘秘制)”; “Made by You 旭茂) and Shao Youlan (邵友蘭), all chaeologist who excavated the Wanli, Lanjian (友蘭監製)”; “Zhouchun masters working from the Ming to with the permission of the Malaysian Huitang (周春輝堂)”; “You Yi (友 Qing period. Most known pots of this government. The ship’s cargo includ- 義)”; “Wen Yuan (文元)”; “Tang Po design are large ones with a capacity ed more than 50,000 blue-and-white (湯婆)”; “Made by Shao Yuanqi (邵 of two to three liters, and generally china spoons along with many other 元麒制)”; “Made by Yi Yijian (宜邑 bear the name “Jing Xi” (“Jing Creek”) pottery items for daily use, many of 蔣制)”; “chashu xiangwen (茶熟香 along with the potter’s name, most which were from Yixing: jars, pots and 溫),” meaning “the gentle fragrance commonly “Jing Xi, Shao Yuanxiang several hundred Purple-Sand clay tea- of mature tea”; “shou (壽),” meaning (荊溪 邵元祥),” “Jing Xi, Shao Yumi pots. The majority were pear-shaped “Longevity”; and “buke sheng duiji (荊溪 邵旭茂)” and “Jing Xi, Shao pots and straight-spouted flat-belly xin (不可生妒忌心),” meaning “One Xinglong (荊溪 邵形龍).” Though pots, and there was also a Zisha tea leaf must not have a jealous heart.” There they vary in quality, these teapots are jar; all of them look to be intended for are also several maker’s marks in the largely similar in shape; they are most- everyday use. The level of craftsman- form of decorative auspicious patterns ly sidehandle pots, though there is an ship is not particularly high; these ap- or pictures—this was a common style occasional hoop-handled pot, too. The pear to be mid-range pots, yet there in the Jiangnan region. In summa- main characteristics of these pots are is something interesting about them: ry, we can surmise that this group of their wide, thin handles, rounded on they are made using Qing Shui clay pots are a synthesis of Jiangnan-style the outside and flat on the inside; as (清水泥) and “red-brown” Hongzong Purple-Sand clay teapots and gongfu well as their spouts, which are especial- clay (紅棕泥), commonly used for Zi- teapots from Fujian and Guangdong: ly big and wide in the middle, like a sha pots in the Jiangnan region south they combine elements of teapot styles crab’s claw. Of the thousands of shapes of the Yangtze River, yet they are still from both regions. of Yixing pots, this is one of the rarest fashioned according to classic gong- Of particular note is the fact that styles ever found. fu teapot shapes—the pear-shaped the teapots found aboard the Desaru

89/ Purple-Sand Art: Archaeological Discoveries were stored in several dozen Yixing clay artist to decorate the surface with flow- greater detail. There are many other jars of varying sizes; the space between ers, birds, scenery, people and animals. Purple-Sand clay pots of beauty and the teapots was packed with rice husks Once the clay is stuck onto the surface significance housed in museums and and other similar grains to protect the of the unfinished pot, it is worked public and private collections in Chi- pots. The industry around manufac- with the thumbs, using five main tech- na and abroad that are also worthy turing everyday Yixing pottery items niques: pushing, rolling, “walking,” of study; alas, it is not possible to list has been well-developed since ancient pressing and tearing (拓, 搓, 行, 撳, them all here. Nonetheless, I hope that times; there are over 3000 different 撕). On the appliqué dragon urns dis- the information I have been able to in- variations of pots, jars and urns, which covered on the Desaru, we see auspi- clude will be of some benefit to readers were produced in large numbers. It’s cious decorations, such as lions play- interested in Zisha ware. not really surprising that the crew of ing with balls, bats and trees, including As we conclude this article, special the Desaru would use Yixing pottery pine, bamboo and plum blossom. The thanks are due to the Taipei Cheng- urns to pack Yixing Purple-Sand tea- same subject matter and decoration yang Arts and Culture Foundation pots; however, this teapot packing can also be seen on the Qing Dynasty (臺北成陽藝術文化基金會), whose method has apparently not been seen appliqué dragon urns that people like help contributed to the discovery and on any other shipwrecks. Among the to collect today. These Yixing dragon research of some of the archaeological many different pottery jars, there is a urns are an embodiment of cultural finds mentioned in this article. The batch of Yixing pottery “dragon urns values during the Ming and Qing dy- Chengyang Foundation’s close col- (龍缸)” with raised decorations on the nasties; all sorts of auspicious motifs laboration with many museums and surface. Dragon urns are also known as appeared again and again in art from cultural history organizations in recent “four-dan dragons (龍四石),” which all over China, with artists doing their years has contributed significantly to refers to their capacity—a dan (石) utmost to include symbols of good expanding the depth and breadth of re- was a measure of grain equal to ten dou fortune and happiness. There’s a saying search in the field of Purple-Sand clay. (鬥). Pottery jars were classified ac- that encapsulates this ethos: “Art must In the future, there are plans for this cording to their capacity, for example have meaning, and meaning lies in the type of collaboration to extend beyond a “seven-dan jar” or an “eight-dan jar.” auspicious.” China to the rest of the world; I’m sure The appliqué style of decoration on The materials presented in this that this will come as happy news to these urns is literally called “sticking three-part article on the archaeolo- fellow enthusiasts of Purple-Sand clay on flowers, (tie hua, 貼花),” or “pil- gy of Purple-Sand clay are, of course, art around the world. ing on flowers, dui( hua, 堆花).” This limited to these pages and to my own method uses multi-colored clay pro- experience; there are many areas where duced in Yixing as “ink,” allowing the it would be possible to go into much

龍四石

Left Page:. Some of the maker’s marks from pots found on the Desaru (photo provided by the Chengyang Foundation).

Above: Most of the pots found on the Tek Sing were zhuni red clay gongfu tea- pots (From the Chengyang Foundation Collection).

Left: A Zisha clay tea leaf jar brought up from the Desaru (From the Cheng- yang Foundation Collection).

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