Zhuni, a type of purple clay, has always been controversial. Various rumors have caused unease among enthusiasts. The most common situation is when an enthusiast uses one zhuni Teapot as a reference and questions all other zhuni Teapots that have different textures. All types of purple clay, including zhuni, start out as raw ore, and the many steps from ore to clay and then to a teapot can result in different final products with even slight differences.

All purple clay materials are like this, so don't assume that because it's called zhuni, it should only be one form. Purple clay, by nature, takes on various forms.

The success rate for making zhuni teapots is relatively lower compared to other clay materials. There's a saying about zhuni that goes, “No wrinkles, no zhuni,” which, while having some truth (but only for part of it), isn't entirely accurate. Because zhuni has a low particle content and a high drying and firing shrinkage rate, it is prone to many unexpected issues such as wrinkles, deformation, and cracking.

However, many zhuni teapots do not have wrinkles. From historical pieces, those with wrinkles represent only a portion. The low success rate of zhuni is due to multiple factors. The clay properties of matured zhuni clay are heavy, and its water permeability and evaporation performance are poorer than other purple clay materials. When shaping, the moisture level of the clay, the uniformity of the clay sheets, and the method of production must be carefully controlled. Any misstep can easily reveal flaws after firing.

Zhuni from places like Zhaozhuang has a high shrinkage and deformation rate, and thus is usually used for smaller products. The statement “no wrinkles, no zhuni” is not entirely correct. For example, some Huanglongshan zhuni has properties between purple-red clay and zhuni, with a higher particle content, less shrinkage during drying and firing, and is less likely to wrinkle, allowing for larger works. From some larger zhuni teapots from the Ming and Qing dynasties, similar materials can be found.

The difficulty in making zhuni teapots lies in the fact that the clay body is delicate and prone to cracking during shaping, and bonding is difficult to control; it has a large shrinkage ratio, low success rate, and large pieces are extremely hard to fire. Some zhuni contains very high iron content, and if the firing temperature is slightly too high, iron spots will appear. Therefore, regardless of the maker, a zhuni teapot cannot be held to the same standards as a teapot made from other clays. Generally, there will be certain flaws, such as an ungraceful appearance or poor fit between the lid and the pot, or a twisted spout or handle, and defects are quite common.

From ore to soil, clay, mold, and finally a teapot, each step is crafted by hand, leading to the diversity of clay and pot shapes, and contributing to the fame of purple clay. The charm of handcrafting lies in this diversity. If purple clay were really as some people believe, having only one form, what would set it apart from “glass”? Just as there are no two identical leaves in the world, there are also no two identical purple clay teapots.

Source: Encyclopedia of Purple Clay Teapots. Information is valuable when shared. If there are copyright issues, please contact us for removal.