The Shiliao Teapot is a traditional and classic shape in Yixing pottery, embodying the essence of wisdom desiring firmness, actions desiring squareness, the application of both rigidity and flexibility, allowing it to contain spirit, qi, and charm all at once. It has always been regarded as the wise one among Teapots. The beauty of the Shiliao lies in its well-proportioned structure, favoring strength over obesity, simplicity over excessive decoration. Apart from the requirement for several parallel lines in the overall shape, its spout, lid, body, knob, handle, and foot each have their own design principles. A characteristic feature of the Shiliao is its trapezoidal body, with the most beautiful form being a geometric shape in proportion: the diameter of the mouth is half that of the base, the middle line of the spout is parallel to the trapezoidal line of the body, and the line where the handle turns to the lower abdomen of the pot is also parallel to the trapezoidal line. Such proportions are considered to be perfectly balanced.

The Spout of the Shiliao: The spout of the Shiliao teapot is known as the straight tube hidden spout, with appropriate length and thickness, emerging naturally without any deviation. It gradually thickens from the tip to the body, and the angle from the spout face to the edge of the stream must be clear and distinct, clean and neat. Any angular or sharp edges should be avoided, as they would result in a weak appearance. From the spout plane to the root of the hidden joint, about one-third of the distance (about 1 cm from the pot) should form a straight line, giving an elegant look. Afterwards, it should gradually broaden, appearing somewhat like a trumpet shape, which is a visual illusion creating beauty. Its connection to the body should not feel like the spout joining the pot; rather, it should seem to emerge naturally from the body like a new branch on a tree, as if growing out of the pot itself. The angle of the spout is just right, with the spout face flat and upright, the inner hole round, and the diameter of the spout's inner opening the smallest, increasing in size towards the inside. This ensures a strong water flow without dripping.

The Lid: The overall requirement for the lid is that it be flat and upright. Although it is a flat lid, it is not completely flat like a water surface; in fact, it is slightly higher in the center than at the edges, with only a millimeter difference between the center and the edges. At first glance, it appears extremely flat, but upon closer inspection, there is a slight difference in height, avoiding a protruding appearance in the center. The key aspect of the lid lies in the transition from the lid surface to the rim, which must gradually slope downwards, creating a sense of pressure. This is a technical treatment that allows the eye's aesthetic habit to change. The lid plate line is neither too thick nor too thin, and the line should be round and smooth, fitting tightly with the mouth, and smoothly transitioning with the lid surface while highlighting the fullness and strength of the lid plate line.

The Body: The shape of the pot is formed by two parabolas, one from the corner of the mouth to the bottom, and the other from the center of the bottom to the corner of the bottom. These two parabolas are slightly different but combine seamlessly, creating a feeling of rigidity with suppleness, harmonious and powerful. The overall shape of the body is a geometric triangle (also referred to as a “person-shaped”), with this shape narrowing from top to bottom, especially in the transition from the mouth to the lower part. From the mouth to two-thirds down is a straight line, avoiding too much bulging or fatness, with the more upright the better, reflecting the strength of the Shiliao, conveying a sense of firm bones reaching into the sky. The line from the bottom to the walls of the pot should extend outward, forming an upward curve with a supporting sensation, resembling a palm curving inward, fully displaying the pot's supporting power. This curvature is where the Shiliao contains its substance. All things require harmony between Yin and Yang; without substance, there is deficiency, and with substance, there is strength. If so, the upper and lower parts of the body would connect smoothly, creating a harmonious and flowing appearance. Adding the downward pressure of the lid, the two forces meet, naturally producing tension, thus imbuing the pot with a rich presence.

The Knob: The knob (referred to as the button in some cases based on the shape of the pot), the highest point of the pot, can skillfully control great force, possessing the power to stabilize the spirit. The knob (bridge) on the lid is the most critical element, requiring a bridge shape with a height and span that are proportionally correct, allowing for significant variations. The narrowest part of the bridge gradually extends to both sides until it meets the lid, particularly forming an elliptical shape at the junction with the lid, although not entirely, but only two-thirds of an ellipse. The junction of the bridge and the lid should be semi-visible, clearly discernible but not obvious, with the inner hole transitioning smoothly and evenly, also forming two-thirds of an ellipse, echoing the shape of the bridge. The two sides of the bridge are symmetrical, making the handling technique quite challenging and demonstrating the author's skill. When viewed from the front, apart from the perspective effect causing the lid and the bottom to appear curved, the knob is the only true curve, playing a role in connecting and harmonizing the overall lines within a series of triangular forces. The knob hole should not be too high, as a high position would appear jarring. The ends of the knob should be subtly visible, evoking imagination. When these elements are handled appropriately, the hardness and softness complement each other, endowing the pot with its own unique spirit.

The term “Shiliao” is also known as “Shidiào.” “Diào” is explained in the “Cihai” as “a kettle, a small cooking utensil with a handle and a spout.” Originally made of metal, it later evolved into a Ceramic vessel. The earliest evidence of the “Shiliao” pot dates back to the great writer Su Dongpo's poem “Trying the Exam Tea,” in which he writes: “Let us learn to make a famous drink, with a brick stove and a stone kettle accompanying us.” Here, “Shiliao” refers to a Yixing clay pot. Looking at the surviving “Shiliao” pots, by the time of Chen Mansheng and Yang Pengnian, there had been significant changes, moving towards a more refined and artistic direction.

Mansheng Shiliao

Mansheng Shiliao (Image source: Internet)

The main feature of the “Mansheng Shiliao” is that it is smaller at the top and larger at the bottom, with the center of gravity low, providing a very stable base. The body of the pot resembles a “pyramid,” dignified and imposing. Although the lid feels thin, it gives a sense of substantial weight. The color is full and lustrous, resembling purple jade, mysterious and noble. The spout is short yet resolute, and the handle also forms a triangular shape, giving the pot a “bent bow shooting an arrow” momentum.

So when did the Yixing “Shiliao” become known as “Shiliao”? This can be traced back to the period of Gu Jingzhou, who used the phrase “from the vast waters, I take but a single scoop” to praise his affection for the “Shiliao,” after which “Shiliao” became widely known as “Shiliao.”

The Shiliao is a classic shape in Yixing tea vessels, which has been improved by subsequent generations of masters, resulting in variations such as the Ziyi Shiliao, Jingzhou Shiliao, and Hantang Shiliao.

Ziyi Shiliao

Ziyi Shiliao (Image source: Internet)

The “Ziyi Shiliao,” due to slight differences in clay and shape, gives a different impression. If the “Mansheng Shiliao” exudes a solemn and majestic beauty, then the “Ziyi Shiliao” has a touch of ancient simplicity