After reviewing the drawings, he proposed modifications: > "The upper part should slope, making the base wider, more stable, and more comfortable. The connection should be more rounded, more harmonious, and more unified." From Gao Zhuang's modifications, particularly the adoption of a hexagonal spout, we can see the continuation of his aesthetic perspective on the "Dabin Tiliang Pot." Professor Gao Zhuang's modification suggestions were respected and reflected in Gu Jingzhou's later Yixing pottery designs. On the basis of fully understanding, digesting, and modifying the drawings, Gu Jingzhou completed the configuration of specialized production tools that summer, then trial-formed the body according to the pot sample, assembled the relevant components, and ultimately completed the physical finished product. --- Nan Jian, *Artists Who Created the Tiliang Pot*, Issue 17, p. 17. Ibid. --- **Emotional Context** Gu Jingzhou and Gao Zhuang (center) > "The lower body maintains a proportional slope, with the neck opening and base each occupying one-third in relation to the body, achieving perfect balance." On this drawing, the spout and handle of the pot referenced the "Xu Collection Tiliang Pot" and "Dabin Tiliang Pot" respectively. After redrawing, Gao Zhuang's modified pot body featured "shoulders and base in hexagonal form, with a flat overhead handle form, making the overall lines and surfaces more rounded." The downward slope was changed to a gentle slope, with the straight body form occupying more than two-thirds of the proportion. In this way, the shoulders and base... Thus, Gu Jingzhou and Gao Zhuang jointly completed the "Tiliang Pot." After numerous revisions, Gu Jingzhou did not finalize it until 1978. --- [1] Gu Jingzhou and Gao Zhuang, *Purple Jade and Golden Sand (Humanities Volume)*, 1998, Issue 63.