The Evolution of Seals on Yixing Teapots
The evolution of seals on Yixing teapots has broadly moved from an early emphasis on incised inscriptions to a later emphasis on seal impressions. Over time, as eras, craft techniques, and aesthetics changed, the content, form, placement, and function of these marks continued to develop and diversify.
I. Ming Dynasty: Incised Inscriptions Dominant, Seals Beginning to Appear (Formative and Transitional Period)
Incised inscriptions were dominant. The Ming dynasty was the formative period for Yixing teapot marks. Incised inscriptions, carved with a knife, were the main form of expression at the time. Shi Dabin is the representative figure. In the early stage, he had someone else write the calligraphy in ink and then carved it with a bamboo knife; later, he developed the ability to form characters directly with the knife. These incised marks were usually in regular script and were carved directly into the base or body of the pot. Their style was simple and unadorned, and their main purpose was to identify the maker.
Seals first appeared. In the late Ming and early Qing, seal marks began to emerge—for example, a round seal-script seal appeared on the base of a teapot by Xu Jinhou. At this stage, however, incised inscriptions and seals were still used together, as seen in works by Chen Mingyuan. Seals were mostly placed on the base or inside the lid, marking the transition from incised inscriptions to seals.
II. Qing Dynasty: Seals Became Mainstream, Incising and Sealing Used Together (Mature and Popular Period)
Seals became mainstream. In the middle and late Qing, seal marks gradually replaced incised inscriptions as the mainstream. Seals were easy to reuse and suited the needs of batch production. With the involvement of literati such as Chen Mansheng, seals were also used as a decorative device. The fonts, with more seal script, shapes, square, round, and irregular seals, and layouts became richer. A pairing model emerged: a large seal on the base and a small seal inside the lid.
Incising and sealing used together. In the early Qing—for example, with Chen Mingyuan, and in some literati pots such as Mansheng pots, the style of using both incised inscriptions and seals was retained. Overall, however, the trend was toward “replacing incising with sealing.”
III. Republic of China Period: Shop Seals Flourished, Dual-Seal Model (Commercial Period)
Shop seals became widespread. During the Republic of China period, commercialization of Yixing teapots intensified. Shop seals appeared in large numbers, such as those of Tiehua Xuan and the “Jinding” (Golden Tripod) trademark of Wu Desheng. They were often paired with small personal seals of the artisan, affixed inside the lid or under the handle, forming a “shop + artisan” dual-seal model. This reflected the industry environment of the time.
Style continued. Overall, the tradition of seal marks as the main form continued from the Qing dynasty, while the fonts and shapes of seals became even more diverse.
IV. Modern and Contemporary Period: Individualization and Anti-Counterfeiting (Innovative Period)
Individualization and anti-counterfeiting. While inheriting tradition, contemporary Yixing teapots have strengthened the individual character and anti-counterfeiting function of seals. Seals of famous artists, such as Gu Jingzhou’s “Jingzhou” seal, became a hallmark of personal style. Some artisans used “combination seals,” such as affixing both “Yulin” and “Yiqun” inside the lid as an anti-counterfeiting measure. At the same time, the placement of seals became more carefully considered, and innovations such as the “inner-wall seal” appeared to meet modern authentication and collecting needs.
Overall, the evolution of seals on Yixing teapots moved from a simple practical identifier to a comprehensive art integrating calligraphy, seal carving, and painting. It not only records the development of Yixing craftsmanship but also reflects the aesthetics and industry changes of different eras.
