If you mean the thing at the bottom of the pot. Then I think it's just "sand off" from too much use on a hard surface.
It's really prominent on CZ pots where the owner practices the vibration technique.
Yixing
It's really prominent on CZ pots where the owner practices the vibration technique.
I still like this one. It has a hairline crack (visible on the fifth picture) and the lid is glued / chipped... but I'm glad that I've kept it. 
looks like a great piece of teaware for discussion over a cup of tea, especially it’s 🐿 related 
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Chadrinkincat
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theredbaron
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When we are just at squirrel pots, that is mine, bought it about 30 years ago, forgot that i had it, and rediscovered it about 4 years ago
I think this is worth sharing: Yixing The Queen of Teapots. It's an interesting documentary about Yixing teapots... with examples of different processing methods 
- For applied decorations
- For a teapot by master Xu Xuitang
- For big jars
- For high relief appliqué
- For moulded teapot
- For oblong & naturalistic teapots
- For square teapot
The main documentary is in French and English and the bonus videos (processing methods) have no voice-over. However, I don't know if you can still buy this (I've borrowed this from another collector). Maybe you could get this from a library. The publisher's website: https://www.lb83productions.fr/yixing/
Processing methods:With the first DVD , let’s go for a fabulous journey to the land of the finest teas, follow the path of the East India Company, and lead an investigation between China and Europe to discover again the long forgotten history of the most famous Yixing teapots highly renowned in the 17th and 18th centuries, presented on royal and imperial tables.
Feel the charms of uncommon encounters : collectors, pot makers, craftsmasters, museum curators.
Visit the most prestigious museums ; their doors open for you, including the Royal collection of Augustus the Strong, housed at Dresden in Germany. Walk through tea plantations and assist in a traditional harvest, witness the making of the finest teas of China.
And let yourself marvel at the firing of ceramics through the last Dragon kiln.
- For applied decorations
- For a teapot by master Xu Xuitang
- For big jars
- For high relief appliqué
- For moulded teapot
- For oblong & naturalistic teapots
- For square teapot
The main documentary is in French and English and the bonus videos (processing methods) have no voice-over. However, I don't know if you can still buy this (I've borrowed this from another collector). Maybe you could get this from a library. The publisher's website: https://www.lb83productions.fr/yixing/
- Attachments
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- Bildschirmfoto von Stereo.png (594.87 KiB) Viewed 5863 times
https://www.youtube.com/channel/UCCC5HT ... nlkvxeng5Q
This guy is interesting, from Indonesia. Some nice items and shown from all sides. But – a lot do look a little suspicious in terms of authenticity. Still, fun to browse.
This guy is interesting, from Indonesia. Some nice items and shown from all sides. But – a lot do look a little suspicious in terms of authenticity. Still, fun to browse.
Another thing on my mind recently is what I used to distinguish as “Wuni” and “Whuhuini” in the past. These two differently used terms had been given to me by more experienced collectors and Yixing experts.
Whuhuini explained as ash covered reduction firing, Wuni as a considerably less defined “also-dark-grey-reduction-fired-but-different” category. I did not question this at the time, but in hindsight it does not make any sense.
_For one: why would they go through the trouble to cover some in ash and others not?
_It does not sound like something Yixing potters would do, randomness and imperfection were not sought after. They took great care as to that pieces did not have random firing effects happen.
_there are seemingly no written sources on either one of those methods, as far as I am aware.
From my observations and from handling dozens of these grey pieces I have come to the conclusion that it is much simpler than that: Reduction fired, full stop.
The difference in colour simply explained by the different underlying clay at the base. Duanni for example usually results in a yellowish grey that sometimes can appear dark olive green or brownish grey. Other clays like Zisha ends up more dark blueish grey.
Further evidenced by the fact that the supposedly Zisha reduction still shows the silvery mica spots, while the green ones do not.
All this to say, apologies if I furthered this confusing and possibly not correct terminology of Wuni and Wuhuini by referencing it in the past. Personally I will only be using reduction fired from now on.
Whuhuini explained as ash covered reduction firing, Wuni as a considerably less defined “also-dark-grey-reduction-fired-but-different” category. I did not question this at the time, but in hindsight it does not make any sense.
_For one: why would they go through the trouble to cover some in ash and others not?
_It does not sound like something Yixing potters would do, randomness and imperfection were not sought after. They took great care as to that pieces did not have random firing effects happen.
_there are seemingly no written sources on either one of those methods, as far as I am aware.
From my observations and from handling dozens of these grey pieces I have come to the conclusion that it is much simpler than that: Reduction fired, full stop.
The difference in colour simply explained by the different underlying clay at the base. Duanni for example usually results in a yellowish grey that sometimes can appear dark olive green or brownish grey. Other clays like Zisha ends up more dark blueish grey.
Further evidenced by the fact that the supposedly Zisha reduction still shows the silvery mica spots, while the green ones do not.
All this to say, apologies if I furthered this confusing and possibly not correct terminology of Wuni and Wuhuini by referencing it in the past. Personally I will only be using reduction fired from now on.