At the same time, through further exaggerated treatment of the form, Gu Jingzhou ensured that the entire body remained flat without collapsing, naturally stretching and extending. His works were elegant yet retained a sense of tension, gradually forming Gu Jingzhou's own aesthetic orientation. This also enabled his works to stand out among numerous Yixing pottery artisans, establishing his unique style. In this way, Gu Jingzhou, adhering to the principle of being rooted in life while transcending it, thoroughly integrated the essence of traditional Chinese culture, elevating Yixing pottery from traditional handicraft to the height of art. We can also observe his interpretation of the artistic transformation of Yixing pottery through Gu Jingzhou's collaboration with Han Meilin. "Han Meilin's connection with Yixing pottery began at the Yixing Ceramics Exhibition held in Beijing in 1979. There, he saw many exquisite Yixing pottery pieces, and while appreciating and handling them, he became intoxicated by the art of Yixing pottery, immediately developing a strong interest."[1] In March 1980, Han Meilin visited Gu Jingzhou in Dingshan, Yixing. The two had a very pleasant conversation and conducted an in-depth exploration of the topic of introducing modern ceramic design into Yixing teapot creation. Subsequently, Han Meilin made several trips to Dingshan, designing over a hundred teapot forms with strong modern sensibility and decorative style. Most of these design drafts were transformed into physical objects by the craftspeople of Yixing Pottery Factory No. 3. Among these, Gu Jingzhou... --- [1] *Han Meilin Art Museum Newsletter*, Issue 14, Page 2.