The Dragon Egg is an ancient style of Teapot. As Wu Meiding of the Qing Dynasty wrote in his “Ode to Yangxian Tea Utensils,” “The round ones are like balls; slightly elongated ones are called Dragon Eggs.” It is said that Ming Dynasty master Dabin created this style, and we can still see imitations made by Qing artisans today.

(Figure) Dragon Egg Teapot

The shape of the Dragon Egg Teapot is inspired by an egg. According to the ancient poem “The Birth of Pixiu,” Pixiu, one of the nine sons of the dragon, hatched from a dragon egg. In Chinese folklore, Pixiu is believed to ward off evil spirits and bring good luck to the household. In Eastern culture, the dragon is a supreme symbol of auspiciousness. Naming this pot after a “Dragon Egg” conveys a sense of good fortune and blessing. Its plump and adorable form, combined with its auspicious symbolism, imbues the Dragon Egg Teapot with a charming and endearing quality.

(Figure) Wenden Teapot

The Dragon Egg teapot can vary in height and width, with shorter and rounder versions known as Wendens. There are two theories about the origin of the name “Wenden.” One theory suggests it is named after the fruit Wenden pomelo due to the similarity in shape. Another theory posits that “Wenden” was the name of a potter. The Chengyang Art and Culture Foundation in Taipei has a zini (red clay) teapot in its collection, which bears an incised signature reading “Half of the poetry lies west of the small bridge,” signed “Wenden.” The calligraphy appears to have been carved while the clay was still damp, using an iron or bamboo tool. This suggests the teapot dates back to the mid-Qing period. Another example is a zini Wenden teapot recovered from the wreck of the Taixing merchant ship, which sank in 1822. This teapot also bears an incised signature reading “The scenery is different from the four seasons, Wenden.” Other Qing Dynasty zini Teapots bear signatures such as “Wenjiu” and “Wenyuan,” which serve as evidence that “Wenden” may have been the name of a potter. Over time, “Wenden” became a specific term for this style of teapot.

(Figure) Wenden Teapot

Modern variations of the Wenden, Xi Shi, and Guifei styles abound, with each potter interpreting them in their own way, leading to a variety of heights, widths, and shapes, which can make distinguishing between them somewhat challenging.

In the Qing Dynasty, scholar Wu Meiding praised the Wenden teapot, saying, “In terms of modeling and form, they are refined and unique; their charm rivals that of a beauty's shoulder, their elegance surpasses that of Xi Shi.” Indeed, in the eyes of literati, the Wenden teapot's charm and style can be compared to the graceful shoulders of a beauty, soft yet without a trace of bone; it is also reminiscent of the captivating curves of Xi Shi, graceful and naturally formed.

Generally speaking, the Dragon Egg style retains elements of Ming Dynasty aesthetics, favoring naturalness, firmness, and simplicity, with bold and harmonious lines. When viewed as a whole, the body, spout, and knob all incorporate triangular elements within their rounded forms. The handle is large and drooping, matching the flow of the body. Particularly noteworthy is the triangular cone-shaped spout, which starts thick at the base and tapers dramatically towards the mouth, resulting in a clean and simple design. By the mid-Qing period, the Wenden style had become more understated and elegant, with a greater emphasis on refinement. The body became shorter and fuller, the spout no longer resembled a triangular funnel but instead became a round, enclosed shape. The knob took on a flattened bead-like appearance, and the handle became more refined, giving rise to the inverted handle style.

(Figure) Xi Shi Teapot

When crafting these Wenden teapots, it is essential to achieve smooth transitions and natural, rounded connections. If the craftsmanship is lacking, the result can appear bloated and weak, despite its fullness. Therefore, Wenden teapots that are both full-bodied and well-proportioned are quite rare. Due to their resemblance to breasts, these teapots were commonly referred to as “Xi Shi's Breast.” Historical records do not show this name being used during the mid-Qing period, so it is unclear whether this term originated in the late Qing Dynasty or the Republican era. Modern potters find this name unrefined, so they have renamed it the “Xi Shi Teapot” or “Inverted Handle Xi Shi.”