Zhang Limei's Gaoling Flower Teapot

Material: Small coal kiln red clay; Capacity: 200ml; Dimensions: Length: 11cm, Height: 10cm, Inner diameter: 4.3cm
Inscription: Made by Zhang Limei

Author: Zhang Limei (1960b.), National Senior Arts and Crafts Master, Intangible Cultural Heritage Inheritor.

Analysis:

modeling:

This Zhu Ni (red clay) teapot features a rhombus-shaped design. The incised and raised lines radiate outwards from the center of the lid. The knob, lid, body, spout, handle, and foot are all shaped like rhombuses, with neat, precise, and clear lines, resulting in an elegant and unique overall form. The base is marked: Made by Zhang Limei.

1. Mathematical Rhythm <br />The teapot's body is based on a twelve-petaled rhombus shape, strictly adhering to the principle of "equal division." Each petal's ribs radiate from the knob to the base, their gradual curvature subtly conforming to the proportions of the Fibonacci sequence. Viewed from above, it resembles a rotating mandala; viewed from the side, it appears as a layered, blooming lotus pedestal. This design language, grounded in mathematical aesthetics, embodies the Taoist cosmology of "The Tao gives birth to One, One gives birth to Two, Two gives birth to Three, Three gives birth to all things."
2. The interplay of movement and stillness : The body of the teapot adopts a parabolic contour with a "contraction at the top and expansion at the bottom," and the high foot design shifts the visual center of gravity upward, giving the static form an upward soaring feeling. The spout and handle form a 120° golden angle, with the three-curved spout resembling a curled rhombus stem, and the ring handle inspired by the moon. The strong lines conceal soft curves, forming the philosophical imagery of "a round heaven and a square earth."

III. Process

1. Precision forming : The process combines "body inlay" and "molding," requiring each incised line to be precisely aligned in the wet blank state. An error of 0.1 millimeters will result in misalignment of the ribs after firing. The lid and mouth of the pot achieve a level of "precise fit like paper and smooth rotation," showcasing the ultimate pursuit of "harmony between man and nature, and the same craftsmanship for the vessel."
2. Decorative Code <br />Double-line relief patterns are outlined between the petals using a shallow relief technique, simulating the texture of a flower calyx; the lid is inlaid with a hexagonal diamond-shaped handle, forming a rhythmic variation in size with the body of the pot. The bottom of the pot is cleverly designed with a wave-shaped diamond-shaped foot, which not only echoes the theme but also enhances stability, reflecting the design wisdom of "function follows aesthetics, and aesthetics serves function".

IV. Materialization of the Spirit

1. Symbolic Metaphor <br />The water chestnut flower has been considered an auspicious omen since ancient times. The "Book of Song - Treatise on Auspicious Omens" records that "the water chestnut flower with two heads is a sign of sage virtue," and its twelve petals symbolize the cyclical nature of the twelve months. The ribbed patterns on the pot's body subtly correspond to the hexagrams of the I Ching, elevating a natural image into a philosophical symbol.
2. The upright shape of the teapot symbolizes the integrity of scholars , while the vermilion clay color echoes their patriotic devotion. When holding the teapot and sipping tea, the ridges provide gentle stimulation to acupoints on the hand, aligning with the self-cultivation principle of "investigating things to acquire knowledge."

Xiaomeiyao Zhu Ni (small coal kiln red clay) is a rare mineral among Zisha clays. Due to its high iron content and firing shrinkage rate of up to 30%, it is known as "nine out of ten Zhu Ni teapots have wrinkles." This high-diameter rhombus-shaped teapot is entirely vermilion, with a clay color resembling orange peel and subtly shimmering with a jewel-like sheen. Its dense body possesses a jade-like luster. The subtle wrinkles resulting from kiln firing resemble the natural veins of a rhombus leaf, creating a harmonious interplay of solid and void with the teapot's decoration. The high density of Zhu Ni imparts a rich, mellow patina to the tea, making it particularly suitable for brewing highly aromatic oolong teas, combining practicality and aesthetic appeal.

The rhombus-shaped Zisha teapot originates from the ancient rhombus-shaped mirror, inspired by the water chestnut flower in the water. Cao Xueqin wrote in *Dream of the Red Chamber*: "Unable to swallow the jade-like grains and golden water shield, my throat is choked; unable to see my thin reflection in the rhombus-shaped mirror." A rhombus-shaped mirror refers to a bronze mirror with a pointed petal-like rim, typically eight or six petals. Breaking away from the traditional round and square shapes, the rhombus-shaped mirror first appeared in the Tang Dynasty, according to archaeological discoveries. In ancient China, the rhombus-shaped mirror represented the tenderness of women and was imbued with a romantic and elegant atmosphere. As history has progressed, the rhombus-shaped mirror has faded from our daily lives. However, the rhombus-shaped Zisha teapot continues to showcase its boundless charm with its superb craftsmanship and exquisite imagery, using Zisha clay as its base. The earliest rhombus-shaped Zisha teapot was created by Dong Han, one of the Four Masters of the Ming Dynasty; unfortunately, his works have not survived. Subsequent masters throughout history have also created rhombus-shaped teapots, with the most classic examples being those by Chen Mingyuan and Gu Jingzhou. Naturally, the rhombus-shaped Zisha teapot has been continuously created and interpreted in various forms by master craftsmen. There is no fixed style for the rhombus-shaped teapot; any teapot adopting this shape can be called a rhombus-shaped teapot. Lines extend from the center of the lid and base towards the body, with neat and tight ribs. The knob, lid, body, and foot ring correspond to each other, forming blooming rhombus flowers. The overall shape is elegant and unique, refined and regular. The yin and yang lines extend and radiate outward from the center of the lid, continuous and smooth, clear and distinct. The rhombus-shaped teapot, derived from the figurative rhombus flower, possesses an exquisite and endlessly charming aesthetic.