Chasing and surpassing the pinnacle of Yixing pottery in his own heart naturally became a creative impulse he had been nurturing for a long time. The form of the "Imitation Drum Teapot" is simple and clean, with flowing lines. It is one of the basic traditional shapes in Yixing pottery, and almost every practitioner initially learns to make this type of teapot. Although everyone has studied it and everyone can make it, those who can make it well and earn widespread acclaim are as rare as phoenix feathers and unicorn horns. Historically, Shao Daheng's "Imitation Drum" is considered a masterpiece. The most distinctive feature of Shao's teapots is their presentation of an archaic and unadorned beauty—ancient without being rigid, simple without being crude, possessing both "strength" and "bearing." This is precisely where the extraordinary power of traditional Yixing craftsmanship lies. Compared to Daheng's original work, Gu Jingzhou's pieces inherit the same "weightiness" and "bearing." The difference is that Gu Jingzhou's work, through further compressing the shoulder and lid surface and shoulder line, and widening the lid rim line, allows the upper part of the spout to extend smoothly and gently from the shoulder line, while the lower part is tangent to the curved line of the flattened drum body. This makes it appear short without being cramped, introducing a point of powerful extension to the overall flattened spatial form. The handle curves and extends gracefully, with a wide, thick, and flat interior. Therefore, although the body is flat with the center of gravity toward the outside, and with a capacity of about half a liter, holding it full of water with one hand does not feel strenuous—its practicality is extremely strong. Viewing the whole piece, the body is flat without collapsing, and the spout, handle, and knob extend naturally, embodying a rhythmic and refined beauty. This aesthetic orientation permeated Gu Jingzhou's entire creative career, gradually forming the distinctive personal style of Gu Jingzhou's teapot artistry. Judging from surviving works and the use of different seal marks, Gu Jingzhou made the "Large Mouth Shoulder and Belly Teapot" multiple times over a period, with a total number of no fewer than ten pieces. The reason Gu Jingzhou repeatedly returned to this particular form seems to be that he was searching for a feeling, searching for his understanding of Yixing pottery in his mind, searching for a language that belonged to himself alone.