Among the various clay materials of Zisha, vermilion clay has always been special, with ruddy hair color and delicate texture. It is a clay material that many pot lovers like very much. And cinnabar sand is shallow and difficult to make, so a good cinnamon pot is especially rare.
Stone yellow mud, out of Zhaozhuang Mountain, is a stone bone that has not touched the wind and sun. The pottery turned into cinnabar. ——Ming. Zhou Gaoqi's "Yangxian Teapot Fu"
This is the record of Zhaozhuang Zhuni in the literature. Zhaozhuang Zhuni has been excavated and used since the Ming Dynasty. Because of its long history and high quality, it is quite famous at home and abroad. Among these many Zhuni, especially Its wrinkled skin and vermillion mud are the most precious. Today, this Xiaowendan teapot is made of Zhaozhuang's top-quality wrinkled skin and vermilion clay.
Zhaozhuang wrinkled-skinned vermicelli, because of the difficulty of excavation and the difficulty of finding ore sources, coupled with the special old taste after firing, it is also called a rare player-level mud along with the small coal kiln vermilion. The small coal kiln Zhu Ni plays with its tenderness and beauty, and Zhaozhuang Zhu Ni plays with his rough and old taste. From the hard ore under the Huangshi Mine to the real cinnabar mud, it takes 5-6 times in the middle. Repeated kiln firing will shape its texture to achieve the optimal state. The long mineralization time also endows this pot with extremely heavy sand and oil properties. The illusion that precious mud materials are often difficult to tame, and the high rate of defective products has become a feature of wrinkled vermilion mud that people love and hate. The finished product can see many vertical folds, such as the ravines imprinted on it. Wrinkles have only occasionally appeared on a few old Ming and Qing vermillion clay pots.
The most intuitive feeling of Wendan is that it is round, natural and comfortable.
All hand-made pots, 100ml of craftsmanship, delicate and round, plump and elegant, roundness does not mean that there is no "body", but just right, tight and slow, and easy to retract.
This Wendan pot is smaller and more delicate than the usual capacity.
Its lines are smooth, the points, lines and surfaces are coordinated, and the joint between the lid and the body of the pot has a high degree of fit.
The lid and the body of the pot are combined into a spherical body, which is delicate and straight, making the whole pot full and naive.
The handle of the pot is upside-down, which is close to the body of the pot, and the arc-shaped transition is natural and bright. The spout is short and slightly thick, and the water column is gathered and powerful.
Plus a reduced version of the body, so that it will not be too thick, light to hold.
A small pot suitable for 1-3 people's daily drinking, exquisite and small, the clay has a strong mud texture and good tea-making properties, which is conducive to Tixiang; the Wendan pot has a round waist, which reserves a suitable stretching space for the tea leaves, which is conducive to the release of tea quality. It can be said that it is both practical and beautiful, which can be collected and played.
在紫砂的各種泥料中，朱泥一直是比較特別的，發色紅潤，質感細膩，是很多壺友都非常喜歡的泥料。而朱泥砂性淺，製作難度又大，所以一把好的朱泥壺尤為難得。
石黃泥，出趙莊山，即未觸風日之石骨也。陶之乃變朱砂色。——明.周高起《陽羨茗壺賦》
這是文獻里關於趙莊朱泥的記載，趙莊的朱泥自明代時就被開掘利用，因其歷史悠久，品質上乘，在海內外頗有名望，而在這眾多朱泥之中，尤以其皺皮朱泥最為珍貴。今天這把小文旦茶壺就是採用趙莊極品皺皮朱泥所制。
趙莊皺皮朱泥，因著開掘的難度大和礦源難找，再加上燒成後所展現的特別老味，它與小煤窯朱泥一起，被並稱為珍品玩家級泥料，如果說小煤窯朱泥玩的是它的嬌嫩艷麗，趙莊朱泥玩的就是他的粗樸老味，從黃士礦下的堅硬礦石，到真正的朱砂泥料，中間要經過5-6次的反復窯燒將其質感定型，以達到最優狀態，成礦時間長也賦予了這把壺極重的砂性與油性，即使是新壺上手也給人一種還未泡養便出包漿的錯覺，珍貴的泥料，往往難以馴服，次品率高也成為皺皮朱泥讓人又愛又恨的特色，成品可以看到很多竪條狀褶皺，如印刻在上面的溝壑，這種皺紋只在少數明清老朱泥壺上偶然出現過，古意十足，是趙莊皺皮朱泥獨有的風貌。
文旦給人最直觀的感覺就是圓潤，自然舒適。
全手工制壺，100ml的工夫小品，精巧圓潤，豐腴優雅，圓潤並不是說沒有了「體態」，而是恰到好處，有緊有緩，收放自如。
這把文旦壺，比之常見的容量，更小巧精緻。
其線條流暢，點線面配合協調，壺蓋與壺身銜接處吻合度高。
壺蓋與壺身結合為圓球體，秀氣挺拔，使整把壺體態飽滿，憨態可掬。
壺把呈倒把，與壺身緊貼，弧形過渡自然明快。壺嘴短而略粗，水柱聚攏且有力。
外加縮小版的身形，使之不會過於厚重，持握輕巧。
適合1-3人的日常飲用的小壺，精緻小巧，朱泥的泥質感強，發茶性佳，利於提香；文旦壺腰身圓潤，為茶葉保留適宜的舒展空間，利於茶質釋放，二者相合，可謂實用與美觀兼具，可收藏，可把玩。