The exhibition is sponsored by China Museum Association and China Collection Magazine. Up to now, more than 1,3 craftsmen from Jiangsu, Zhejiang and Shanghai have participated. Among the nine judges, five are from the Forbidden City in Beijing. From the perspective of museum science, they attach importance to creativity and the use of various new technologies and materials. The award-winning work "The Pot of National Essence" was specially made for Zhu Jiajin, a Beijing Opera fan. The shape of the pot is an unfolded fan, the front of which is inlaid with rosewood inlaid with Peking Opera facial porcelain, and the back is inlaid with rosewood engraved with Zhu Jiajin's calligraphy works. It is the first time in the 6-year history of teapot that precious rosewood and porcelain pieces are inlaid in the pot. Experts believe that these works will enrich the cultural relics in the Forbidden City in the future.
Zheng Xinmiao, director of the Palace Museum, thinks that only innovation is the source to promote this artistic progress when reviewing the history of China teapot. The winning work "Combination Pot (Fuchun Shan Jutu)" (see right) skillfully divides a round pot into two semi-circular pots, one of which depicts the map of the remaining mountains in mainland China, and the other depicts Taiwan Province's useless teacher volume, and the two semi-circular pots are combined to form a round pot. Bamboo rattan and white jade are used as the lifting beam of the pot, and jasper is embedded in the lid of the pot, which fully shows the tea ceremony spirit of "making friends with a pot" in China traditional culture.
Huang Donghua, the artistic founder of Hongyunzhai, who hosted this competition, revealed that the teapot's making style broke through the previous square and round styles, expanded to Taiji, fan-shaped and tower-shaped shapes, and added auxiliary materials such as bamboo silk, mahogany and porcelain tiles, all of which were highly sought after by the market. Take the purple sand enamel 18 arhat series pots as an example. It has been two years since they came out in 29. Although the speed of "coming out of the pot" is slower than the expected three years, nine models have been produced today, but Tibetan friends who collect arhat series pots are all over the country. It is the first time that enamel color has been used in official kiln porcelain in past dynasties and appeared on teapot. According to the statistics of experts in the Forbidden City, hundreds of years have passed since the first purple porcelain enameled pot came out during the reign of Kangxi, and the stock of purple porcelain enameled pots will not exceed 1 pieces (official kiln pots). Counting the 8th anniversary pot of the Forbidden City, the carved flower pot imitating Yongzheng, the carved flower-and-bird pot carved with purple sand and the series of 18 arhat pots, there are no more than 1, pots.