During Zheng De's reign in Ming Dynasty, Wu Yishan, a scholar, reviewed his exams at Jinsha Temple in Yixing. He brought an extremely bookish named Gong Chun. At that time, monks in Jinsha Temple used purple clay as a teapot to boil water. In their spare time in spring, they thought this craft was fun, so they secretly learned it when the monks were not paying attention.

He washed the soil deposited at the bottom of the jar with the hand of the old monk, made a jar modeled on the gall of the big ginkgo tree next to Jinsha Temple, and carved a pattern on the gall. This pot which imitates the natural shape of bile suddenly became famous. In order to commemorate its creator, later generations also called it the spring pot.

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The classic of Hu Chun originated from its ancient legend and flourished because of its touching story. Many famous artists in history imitated and copied it, and Huang Yulin in the late Qing Dynasty was one of them. Huang Yulin is a guest of Wu Dacheng. The experience of making pots in Wumen allowed him to observe the spring pots in Wu Dacheng's collection at close range. Therefore, it goes without saying that the shape of the spring pot made by Yulin is so exquisite. As far as the transmitters in the world are concerned, there are almost no traces of Huang Yulin's previous physical modeling for spring.

After Huang Yulin in the late Qing Dynasty, many people imitated and made pots for offering spring. Pei Shimin has been obsessed with the pot for spring since he gave Wu Dacheng a pot cover. Finally, he simply made one himself. This Ganoderma lucidum cover dedicated to spring is now hidden in ceramics museum, Yixing, China. Pei Shimin's works are more delicate and correct than Yulin's For Spring. He handled the texture folds of the pot body more finely, with a ganoderma lucidum cover, which was decent and generous, revealing a new life in simplicity.