造型分析部分

# Lesson Four: Form Analysis Section, December 21, 1981 ## What to Pay Attention to When Replicating a Product: **First**, when replicating a work, you must first observe—look carefully to see whether this piece is harmonious with human proportions and aesthetically pleasing. Clearly identify the school and style of the work, and analyze its strengths, merits, and shortcomings. Analysis of a work should be conducted from multiple perspectives, such as momentum, form, proportion, coordination, and other aspects. When replicating, strive to discard the crude and retain the refined, so as to achieve improvement. Analysis of a work should draw on collective wisdom. One must dare to express one's own views and be good at listening to others' opinions. At the same time, pay attention to overcoming one's own biases (bias is a bad habit; those with biases cannot possibly draw on the strengths of many). Continuously improve your aesthetic ability and artistic cultivation. **Second**, after analyzing the product, you must consider the technical processes and methods to be employed, as well as the tools needed. Think things through as thoroughly as possible to avoid rework. **Third**, when making the clay body, strive to complete it in one continuous effort—that is to say, arrangements should be reasonable; don't be careless or haphazard. **Fourth**, once a clay body has been started, regardless of whether it turns out well or poorly, you must see it through to completion. Through practice, conduct analysis and research, and be sure to record your insights, summarizing what succeeded and what failed, so as to facilitate future improvement. This is what *On Practice* refers to as: practice—understanding—practice. ## Analysis of the Shoulder Line Clues of the Ke Form [Signature: Huang Yulin] # Avoiding Hao, Descending to Jiang ## Five ## Four **"Elegant Form Shoulder Line"**: Created by Wang Yinchun. Advantages: The form is crisp and well-defined, clearly articulated, with excellent decorative treatment of the shoulder line. Deficiencies: 1. The spout and handle droop downward. Especially the handle, which only has a shoulder chapter, appears weak. The spout also feels slightly protruding (extending slightly too long). 2. The opening is slightly thin and too wide. 3. The most unreasonable aspect is the lid: the flange is too small, and adding a ridge line on the lid plate—after the teapot lid is placed on top—further increases the width of the opening. The result is that extra effort produces an unattractive effect. If the lid rim line were eliminated, or if instead of making a pressed lid, a recessed lid were made instead, the effect would be much better. The spout should be shortened a bit, and the spout back raised somewhat to give it more spirit. The handle should be elevated, keeping the base of the large head stationary while the upper portion rises following the contour line of the body. This approach would produce a much better effect.