If you want a pot without additives, I recommend to either have it tested with X-ray spectroscopy, or get something made before the 1980s. Even reputable studios use chemical additives...
@alejandro2high
"any teapot from Yinchen or Yann is going to be built many times better than any antique or F1 pot"
I respectfully disagree with this statement. I have not seen many pots on those sites that can match the elegance of the lines of a well made antique. Those pots might have better lid fit - any modern pot will - but that is a superficial aspect of craftsmanship. Things like lid fit are unimportant - a somewhat loose lid is not an issue, neither for functionality nor for aesthetics. Saying that a modern pot is better than an antique because the lid fit is better would be like saying that a digital photo I just took is much better than a Raphael because it is more realistic. That would be missing the point. I can appreciate the technology that makes the digital photo possible, but the Raphael, unlike my photo, is the product of a lifelong cultivation of an artist's aesthetic sensibility.
To clarify, I am not saying that antique pots are better
because of those imperfections. I am saying that an antique with beautiful lines is better than a modern piece that is unimaginative and boring, even if the antique has a worse lid fit. Are all antiques better than all modern pots? No, there are good modern pots. But lid fit and such aspects are quite irrelevant: you can get a slip cast pot with perfect lid fit, maybe the lid fits even better than in a pot by contemporary high ranking Yixing craftsman. If we are talking about high-level pots, in my view the question that matter is - how does the pot reflect the artisan's lifelong search for beauty?
To provide a somewhat broader perspective on this discussion, Yinchen studio and Yann gallery have made modern pots easier to find, but their impact is mostly localized to the western market. Those modern Yixing pots have always been widely available in China and much of East Asia. The appreciation of antiques and the discussion over the merits of modern and antique teapots is going on in mainland China, in Taiwan, in Malaysia, in Singapore... the range of modern pots available in the west is more limited, but so is the range of antiques. Positions on these issues in the west seem to be so easily swayed by what is available on the market... first people were into the EoT pots with "aged zini clay", then some vendors started offering green label F1 pots and there was more talk about the superiority of old pots, now that with Yann and Yinchen there is more access to a broader range of modern pots there are more people arguing for modern pots. A serious evaluation of the relative merits of antiques and modern pots requires a familiarity with a broader range of antiques and modern pots than are available on the western market. Chen Mingyuan, Shao Xumao, Yang Pengnian, Shao Youlan, Wang Dongshi, Shao Jinan, Cheng Shouzhen, Fan Dasheng, Wang Yinchun... studying the works of these artists and many others is necessary to develop an informed opinion on this issue. Comparing the best modern pots currently available in the west to the best antiques currently available in the west is only informative about the state of the western market, but it does not afford broader conclusions about the historical trajectory of Yixing craftsmanship.