A relatively perfect work must be able to express its artistic language and naturally evoke a certain artistic feeling in the viewer. Taking the works of Shao Daheng as an example, Daheng was an outstanding representative in the art of clay teapots. In the more than 150 years since the Jiaqing and Daoguang periods of the Qing Dynasty, no one has surpassed him. According to Gao Ru's essay "On Teapots: Presented to Mr. Shao Daheng" in the *Yixing County Gazetteer*, he "excelled at imitating antiquity. He would extensively study famous works of predecessors, carefully examining and copying them by hand. Those who obtained his works treasured them like precious jade. In his finest achievements, he pursued the ancients with such dedication that he surpassed them, never falling short." The text further states: > "His handles, lids, necks, and bodies achieve a balance of structure and form that appeals to both refined and common tastes. The mouth and lid fit straight and tight, so that even when tilted there is no worry of the lid falling off. The spout and handle curve naturally, as if formed by nature. The cut spout is especially ancient and elegant. The mouth is thick and narrow inside to prevent air leakage. The holes are small on the outside but conical inside, shaped like a trumpet, thus avoiding the problem of blockage." This demonstrates the meticulous and superior nature of his craftsmanship. Shao Daheng's major works—such as the Dragon Head Yixing Bamboo Teapot, Egg-Wrapped Teapot, Handle Teapot, Imitation Drum Teapot, and Fish Transformation Teapot—are all exquisitely beautiful without exception. The first work I imitated from Daheng was the Handle Teapot, made in 1936. My creative experience is this: first achieve physical resemblance, then achieve spiritual resemblance, and finally break through to form one's own distinctive style. Through imitating Shao Daheng's works, my artistic level made a leap forward. Through more than half a century of exploration and continuous reflection, I believe that artistic innovation in teapot-making requires attention to three elements: ## Form The first is *form* (xing), that is, the teapot's image—its shape and style. This derives from one's depth of familiarity with modeling and depends on one's careful design. One must clearly arrange the major "surfaces" of the teapot, namely the body. One must distinctly emphasize each part of the teapot body—the spout, handle, mouth, base, foot, lid, and knob—and the directions they govern. From point to line to surface, clearly account for the origins and development of the lines, the buffering transitions, the light and dark turns, and the contrasts between solid and void. Only in this way can one penetrate into space and achieve depth of form. Once the points, lines, and surfaces are handled well, everything falls into place, and the work's form already possesses life. ## Spirit The second is *spirit* (shen), that is, the teapot's demeanor—the charm expressed and emanated through its form. When creating, one must never merely explore on a flat plane, but must think in terms of undulation. All life emerges from a center, then from inside to outside, gradually growing and sprouting, suddenly blossoming. One must envision the form (the teapot) facing you directly, protruding toward you, speaking to you, expressing itself to you. This kind of form possesses a strong internal momentum. Such an artistic work then possesses life and has spirit. ## Essence The third is *essence* (qi), that is, the teapot's temperament—the substantial aesthetic quality of the form's inner content. Yixing clay is one of the practical craft art products, a utilitarian and decorative item with artistic temperament. The product requires...