《金钟》"Jin Zhong ~ Golden Bell", 154.7ml, *Zhi Ma Duan Ni 芝麻段泥, by Craftsman Chen Yu 陈羽。
《金钟》"Jin Zhong ~ Golden Bell"
Very soothing, designs have to be soothing, as they accompany us on our tea sessions. It is not just a receptacle to steep tea. We Chinese transitioned through phases, not just in actual material from Tang using 碾茶 to whole leaf steeping, we moved on from 茶道 to 茶艺。 艺 being 艺术, which is Art, encompassing beauty, philosophies, mindsets, wholesome morality that nourishes and educates the mind, practice, aesthetics and form. These are the pages by Zhang Dao Yi 张道一 and Han Qi Lou 韩其楼, whom you may have read about in the dissertation on Rare clays: 乌泥 Wu Ni, and also more broadly on Wang Chao Peng' introduction here:
We are sure you can point your Google or iPhone lenses to translate real-time, the above rich and supremely educational and enlightening text about YiXing Fully-Handmade ZiSha.
You also have seen here.
Even in designs like this Ya Ming Si Fang 亚明四方: a design that calls into us, the first impression which is: very 刚, masculine~hard, design, with straight lines and flat surfaces. However, upon actual handling and appreciation of the piece, you see straight lines that are actually slightly curved. These slight curves are already cut into the clay slabs, as the Artist wields the knife and lays it through the flattened clay slab on his or her bench. 
Here in Grand Master Shao Shu Sheng's cutting of the actual clay slab to be formed up into the "隋唐钱柜 ~ Sui Tang Qian Gui" grand work that won the Gold Award at the 2020 Panama International Exposition; at the 08:55mark, you see the slight curves at ALL FOUR edges:
https://www.youtube.com/watch?v=___NwKlDXCQ&t=537s
Here is the Ya Ming Si Fang (by Senior Consummate Master Lu Xue Feng),
Also, two other of Senior Consummate Master Lu Xue Feng's 路学峰,
Another great illustration of curves in lines, is this Zheng Yi Si Fang by Craftsman Fang Shi, where you witness lines that are not entirely straight, as you browse the detailed photos:
https://www.realzisha.com/products/%E6%AD%A3%E4%B9%89%E5%9B%9B%E6%96%B9-zheng-yi-si-fang-164-8ml-tai-xi-duan-ni-%E5%8F%B0%E8%A5%BF%E6%AE%B5%E6%B3%A5-gao-wen-high-fired-by-craftsman-fang-shi-%E6%96%B9%E4%BB%95-clay-sculpting-of-bird-in-spring-by-craftsman-fang-shi-as-well
In YiXing ZiSha Art that embodies our Chinese mindset, humility is important. Not to be hard on people. Humility flows over to our design elements: to not be showboating, not piercing to eyes, and to stand the test of time.
Beyond ingrained philosophies:
Gentle curves are worked into lines. The whole form cannot be composed of purely hard straight lines. There must be slight bends and curves, so as to ease into the minds of the perceiver: that "the piece before me, is soothing, and therefore long lasting". The person looking at it may not realise what is the reason behind the pleasant-ness to the eyes, transmission to the occipital cerebral cortex and the feelings that arise in our amygdala, but age old evolution AND wisdom have realized fully and understood this phenomenon, which we exercise in our Crafting.
Curves in lines, balance with hardness.
The other aspect of our Chinese philosophy is to 藏锋 Cáng Fēng.
藏 is to hide, and 锋利 is sharp.
We need to soften the edges and the edginess.
This Jin Zhong is a beautiful practice in our ZiSha Art, with the rounded footprint, and a curved side wall, to balance the horizontal top surface and the horizontal 束带 Shù Dài waistline belt embellishment. The spout and the handle' seeming straightness, are also built and crafted with softness.
Craftsman Chen Yu together with Craftsmen Li Qiu Lin and Fan Xiao Zhi are back recently after their projects for four temples’ worth of works, as they have been following our uncle Cao An Xiang in his travels to the temples for the past one year. Gallant Chen Yu, crafts this beautiful 《金钟》Jin Zhong ~ Golden Bell. We hope the pictures do Chen Yu's work justice,
No effort has been spared, as Chen Yu learnt under Cao An Xiang as well, and he takes the expertise and savoir-faire gained to craft this Jin Zhong, in order to manifest an extremely CLEAN impression. This unmistakably eye-catching sleek and clean appearance is courtesy of the sharply raked and deliciously straight side wall, a carefully added and sculpted ring of ZiSha at the mid section, another sculpted ring on the top of the lid to bring balance to the whole design.
Cute ergonomics, as the feature circle line on the top surface of the lid, doubles as cooler raised surface onto which our thumb can counter press during the tilt and pour,
Illustration of the ergononomics of use, with another Jin Zhong piece,
Or of course, this way is good as well!
The lid knob is adoringly, the miniature version of the main body. Craftsman Chen worked in an amazing handle that corresponds to the sliding facade of the body wall, and also a pert and free flowing you will enjoy during pour! All these design elements add up to provide a very pleasing visual feast! A superb execution, thoroughly! WE are all very happy for Chen Yu!
Chen Yu also uses his savoir-faire to fashion in the Qian Gai interface! Very difficult to get right, both at crafting and also within the merciless kiln.
The sharp, clean and fresh aura to be achieved at the end of crafting AND firing, make this model a pretty hard nut to crack. It is a blessing indeed for all of us at YiXIng to see the result of Chen Yu’s deft skill and gruelling work, come to fruition! Pour hot water, close the lid, tightly fitting and satisfyingly so with the narrow allowances, watch the hot water flow down the side walls; presenting the Jin Zhong for the fortunate owner!
Craftsman Chen Yu delights us this time, crafting with the delectable Zhi Ma Duan Ni 芝麻段泥! Zhi Ma Duan "Sesame Seed Duan Ni" is a lovely type of Duan Ni, incorporating much iron as its constituent, amidst the highly porous nature that is Duan Ni!
Zhi Ma 芝麻 Duan Ni 段泥 is thus affectionately named, because of the speckling of iron constituents in generous quantities resemble Sesame Seeds 芝麻!
Shrinkage of Fully-Handmade ZiSha:
As with all Art pieces from RealZiSha here presented to all of you dearest Friends, guardians of Fully-Handmade ZiSha Art, they are premium pieces availed at the most astounding lowest prices. We want you each of you friends to get the best. You deserve it.
Craftsman Chen Yu thanks you dearest friends for your grandest support to the honest and dedicated Craftsmen left to fend the Fully-Handmade ZiSha Art.
Enjoy hardworking Craftsman Chen Yu's diligence, superb, classic handwork with this piece!!!and let his work accompany you on your tea journey!
BRING ONE HOME, USE IT and you will know all about Fully-Handmade ZiSha, the feel of real and quality YiXing ZiSha, the nurturing of Patina, how the true Patina feels and looks like, the aura and feel manifested by a Fully-Handmade Pot which others simply can't bring forth. Savour Craftsman Chen Yu's skills. You will know everything then :-D
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Not resorting to moulds and half-handmaking. These dedicated Fully-Handmaking Craftsmen sacrifice their whole lives to commit to this Art and Craft. They will tell you, they will never negotiate. Fully-Handmaking ZiSha works is worth their sacrifice of their entire lifetime, they want to preserve our Chinese traditional art and craft. They want to preserve and enhance the unique character of Yixing ZiSha: the double-sized pores uniquely gifting ZiSha its character.
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Dearest Friends, we are savouring this top Ceramic material for tea, ZiSha, and these are all the Craftsmen’s and Artists’ hard worked, Fully-Handmade pieces, with lots of preparations, intense crafting, heart aches at the kiln, all fully respecting this totally natural, and high shrinkage unpredictable clay, sensitive to even a 0.5degree in ambient temperature, and even weather (temperature, moisture, the four seasons) outside of the kiln. The 铁熔点 ~ natural black iron melted spots that irregularly and spontaneously appear anywhere and everywhere ~ we call Tie Rong Dian :-D, the “跳砂” Tiao Sha denote the observed “popped-off-spots” effect when the cute surface granulate popped off from the surface during the high shrinkage of more pasty clay around it, the “爆子” “Bao Zi” also dot the surface as those that did not pop off, hover out just enough to cling onto the surface, and the simple surface irregularities, are all due to this ceramic clay, although having the highest shrinkage, are still mercilessly and necessarily fired at 1150degC to 1250degC. These are all part of the natural ZiSha artefacts and what many modern day or Western pottery lovers affectionately call “wabi-sabi”. Our Chinese Craftsmen and Artists do not aim for wabi-sabi for the sake of wabi-sabi. Do forgive them for these natural irregularities. These Tie Rong Dian, Tiao Sha and Bao Zi, are the natural phenomena that dot the surface of our beloved top tea ceramic! YiXing ZiSha, the best ZiSha source in the whole world, and with the double-sized pores innately inherent and imbuing the best taste for any type of tea. Savour Fully-Handmade ZiSha teapot Craft and Art!
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Here with us in our happy family of true ZiSha connoisseurs and friends, you witness 90-120 photos taken of EACH Fully-Handmade ZiSha work here.
Compare this to elsewhere: factory bosses of jigger-machined non-zisha pots contribute downstream to their retailers: 5-10 stock photos for each non-zisha pot model, used to sell a stock of 10, 20, 30 jigger-machined non-zisha pots per model. I.e. 5-10 photos to sell hundreds of one model.
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We at RealZiSha, take 90-120 photos, fresh, of EACH, ONE, Fully-Handmade ZiSha work. Together with our sacrificial and hardworking Craftsmen and Artists committed to honest true Fully-Handmade ZiSha Art and Craft, we at RealZiSha go the aeons' distance.
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Again, another tremendous labor of love by our trusted and committed collaborative Craftsman Chen Yu. It is a team effort and we thank you dearest Friends for your grandest support to the honest and the dedicated Craftsmen here left to fend the Fully-Handmade ZiSha Art.
The lines and detailing speak of Craftsman Chen Yu's EXTREME CARE AND TIME taken to craft each part, each pot. Hold one, hold up one, swing the work around. Carefully examine his Fully-Handmade work. Look at it from afar, from near, and it will grow on you, with fine detailing with MUCH THOUGHT on each part, with MUCH TIME spent on every part, section. Because this is what Fully-Handmade ZiSha Art should be, and HOW FULLY-HANDMADE ZISHA ART is so different from and light years ahead of the ubiquitous jigger-machined pots and half-handmade pots masquerading under the sales tagline of "fully-handmade zisha" pots. These latter JM/HHM pots are made in what we call 流水线 a.k.a. 'Factory-Line operation' whereby the main pot body after being jigger-machined or coming off from the mould, is passed to the next worker who fits on the spout, and subsequently this second worker will pass the pot on to another worker who will in turn fit on the handle. Continuing so, the pressed lid is likewise passed to another worker who fit on the lid knob. EACH WORKER has NO IDEA what the other one is doing, and they are always working on fixed time lines stated by the boss. For example, the worker being "passed the baton" a pot with the spout just fixed onto the body by his colleague, will only focus on fixing on the handle, with nil to little regard to WHETHER THE HANDLE fixed on will be cohesive with the spout. Each worker has NO idea of HOW THE FINAL POT WILL LOOK LIKE. Beyond poor craftsmanship and clay, the result of such processes are ugly pots with poor cohesiveness which experienced Artists, Craftsmen and collectors will tell from a metre away. Experienced people in us, do not need to pick up a pot to check whether it is fully-handmade or made of zisha, we can tell from a metre away just by looking at the pot.
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The keywords are: Detailing and Cohesiveness.
A GOOD Fully-Handmade ZiSha Work combines great detailing and cohesiveness.
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The amount of effort put behind each of our Fully-Handmade ZiSha work welcoming you, the authentic YiXing ZiSha clay, the many years of dedication and hardship committed to the craft, the proper three rounds of firing, the presentation with dedicated 80-150 photos of each work, the effort spent behind procuring 5rmb notes in running stacks from our local banks, is 100,000x, more than the what is peddled on countless websites: with cheap common ceramic clays behind the unauthentic pots, the fast, less than a minute of jigger-machining, or just the few months’ ability of newly recruited unskilled workers to churn out half-handmade pots, the simple one to two rounds of firing at convenient and lower temperatures at just only one round of firing, cheap ceramic clays that do not shrink much so as to maximise success and profits, the presentation with a set of ten photos taken per model and repeated for more than tens to thousands of stock.
And yet, Craftsmen Chen Fa Chu, Chen Yu, Zhu Shu, Gao Xiang, Zhang Huan, Fang Shi, Yang Pin Ting, Gu Xiao Ming, Wang Xing, Wang Hui, etc, honest hardworking people are put in a really bad position, for they 1) have to compete on price with fake stuff from all around, but still 2) have to offer the honest real thing: Fully-Handmade ZiSha works. These honest Craftsmen have to lower their prices so much with their works, authentic works of extreme sacrifices, labour and experience.
Explained, https://www.realzisha.com/blogs/news/actual-zisha-landscape-at-yixing
, the Craftsman by selling his hard-worked ZiSha craft at $190-$240, $45-$65 goes to the cost of the craft, inclusive of the fees for the firing for the kiln operator (three times per pot), the packaging boxes, and between $32 to $52 for the clay (Zi Ni Di Cao Qing, Duan Ni and upwards) used per pot. Craftsman takes 3 days (fastest 2.5days) to craft a pot.
Depending on the difficulty of craft the design elements command, the difficulty of crafting with certain clay types, the rarity and hence cost of clay, the inclusion of engraving 刻绘 and/or clay sculpting e.g. Ni Hui 泥绘, Dui Hui 堆绘, Diao Su 雕塑 on the piece of work, our Craftsmen face immense cost increase, time spent, and the level of expertise and savoir-faire accumulated by sheer HARD WORK.
If he works 30 days a month without a single day of rest (no family time), he will craft 10-12 pots.
If he crafts for 25 days (five days of rest a month), his output will be 8-10 pots.
The success rate for Zi Ni (e.g. Di Cao Qing, Lao Zi Ni, Da Shui Tan etc) and Duan Ni (e.g. Jiang Po Ni, Qing Hui Duan, etc) is 70% on average. Some times the whole batch of 10 may fail. We have seen our Craftsmen suffer like this very often.
The success rate for Zhu Ni (e.g. Xiao Mei Yao Zhu Ni) pots is 60%, or 70% with most optimism and at the very, very best. Unfortunately.
All of us at RealZiSha of course, hope for one another, professional colleagues and all, that all the pots will survive firing at the kiln successfully.
[For ZiSha models/designs that are very challenging and more complicated to craft, the time taken to craft will be longer, and the failure rate will be higher as well. Zi Sha by its virtue, have the highest shrinkage rate of all ceramic clay. Zi Ni and Duan Ni thus have that 70% success rate, while Zhu Ni has even higher shrinkage rate and thus even lower success rate (the lowest of all ceramic clay.)]
Our Craftsmen are wholeheartedly committed to the cause of Fully-Handmade ZiSha Art and their strictness with their craft and dedication earn our respect. We give a big Thank You all of these Craftsmen, for they are saving what is our common precious tea culture: Tea + Fully-Handmade ZiSha Art and Craft. Your support is vital to their livelihood and the existence of this craft for all of the tea fraternity.
Thank you Friends!
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