Zisha decoration is a craft with a long history and rich expressive power. Based on traditional ceramic decoration techniques, it ingeniously combines zisha material with form, creating distinctive craft methods. Its expressive techniques are numerous, including carved decoration, clay painting, colored glazes, inlay, marbled clay, glazing, and many other methods. Influenced by his own long-established artistic aesthetic pursuits, Gu Jingzhou's works either sought a kind of grand beauty in simple lines, or made selective choices in auxiliary decoration, employing some simple traditional folk patterns or craft lines as decoration, seeking winding paths to express the spiritual essence of zisha: > In the content and form of a vessel, it contains the internal connections of many factors. The perfection of form and the excellence of craftsmanship are naturally the primary elements, followed by adding decoration to the complete vessel form, making the work even more splendid and enriching the visual experience.[1] Gu Jingzhou used the basic elements inherent in the clay material itself—the body form, clay color variations, and textural qualities—as the entry point for zisha decoration, emphasizing the visual expressiveness produced by the form itself. In his view: "When creating, one must never explore only on a flat plane, but must think in terms of undulation."[2] Through examination of Gu Jingzhou's artistic works, we find that Gu Jingzhou's zisha decoration, beyond its decorative function, often serves as an integral component of the form itself. The two intersect and merge, playing an important role in Gu's zisha art. --- [1] Gu Jingzhou, "A Brief Discussion on Appreciating Zisha Ceramic Art," in Shi Jundang and Sheng Pansong, eds., *Zisha Spring and Autumn* (Shanghai: Wenhui Publishing House, October 1991), p. 181. [2] Gu Jingzhou, "The Form, Spirit, and Vitality of Artistic Pursuit," in Shi Jundang and Sheng Pansong, eds., *Zisha Spring and Autumn* (Shanghai: Wenjiang Publishing House, October 1991), p. 172.