The knob, lid, body, foot, spout, and handle of the "Cang Liu" are all connected through six ridges, with clear and neat lines that are upright and powerful, with well-proportioned transitions. The spout and handle resemble the posture of a bird raising its head and spreading its tail. Gu Jingzhou's creation of square teapots demonstrated exquisite technical skill in controlling the moisture level of clay slabs and the precision of corner and surface joints. He avoided the rigidity that comes from strict regularity while reducing the soft feeling produced by corner and surface connections. This "Cang Liu Fanghu" has a clay color that is lustrous without being ostentatious, steady and simple in character, with gracefully curved lines that are upright and full. Its style is rigorous and measured, making it a representative work of Gu Jingzhou's early square teapot period. In his *Chahu Tulu* (*Illustrated Catalog of Teapots*), Japanese scholar Oku Genpo included a "Cang Liu Hu" with a "Longwen" mark from Huixi: > "The spout is curved and ridged, with a looped handle corresponding to it. The lid, body, and base all share six ridges, with the knob formed like a nipple... The entire form appears polygonal, yet the spout and handle have the posture of raising the head and spreading the tail, appearing both in motion and at rest, hence it is called 'Cang Liu Jushi' (Recluse of Hidden Six)." --- [1] (Japan) Oku Genpo, *Chahu Tulu* (*Illustrated Catalog of Teapots*), included in Han Qilou (ed.), *Zisha Guji Jinyi* (*Modern Translations of Classical Yixing Texts*), Beijing: Beijing Publishing House, January 2011 edition, pp. 88-89.