## Linear Decoration Appropriate linear decoration can harmonize the elements of form, thereby highlighting the inherent expressive power of zisha (purple clay) material. Gu Jingzhou once explained this principle in straightforward language during his lectures: "If zisha forms lack lines, they will appear monotonous, without variation."[1] The ancient Greek philosopher Plato, in his aesthetic studies, believed that the highest realm of beauty is a kind of geometric beauty: "By beauty of form I mean not what most people would understand by it, such as the beauty of animals or paintings, but rather straight lines and circles, and the plane and solid figures formed from them by rulers, compasses, and squares," "The beauty of these shapes is not relative like other things, but according to their essence is eternally and absolutely beautiful."[2] Horizontal lines are typically arranged on the neck, shoulder, belly, and other parts of vessels. They not only provide decorative effect but also play an important role in the rises and falls of the form. Gu Jingzhou employed unique treatment methods to create lines of different shapes—convex or flat, thick or thin, single or multiple—using rhythmic undulation as the primary means of expressing the charm and character of plain vessels. ## Learning from Nature: Delightful and Ingenious Imitative form (*fangxing*) refers to imitating the forms of flora and fauna from the natural world, primarily applied in the creation of flower-form vessels or local components of plain vessels. The objects of imitation are drawn from nature and represent artistic forms refined by makers through observation of natural plant and animal forms. In Gu Jingzhou's view: > Ceramic materials have certain limitations within specific ranges. This requires us to artistically refine and process materials that come from life and from nature. For example, our "plum segment" and "pine segment" give people the image of plum and pine, but they are not the same as real plum and real pine. If we insist on exact resemblance to the true form, that is impossible, or at least quite difficult, or unsuitable.[3] --- [1] Gu Jingzhou (lecturer), Pan Chiping (compiled and recorded): *Technical Course Preparation Notes*, 1981. [2] Plato, translated by Xie Wenyu: *Timaeus*, Shanghai: Shanghai People's Publishing House, May 2005 edition, p. 23. [3] Gu Jingzhou (lecturer), Pan Chiping (compiled and recorded): *Technical Course Preparation Notes*, 1981.