Choosing a Teapot based on the tea you intend to brew involves continuous exploration and practice. It requires comparing and analyzing during the process of brewing, so that the teapot complements the tea and the tea nurtures the teapot, achieving a harmonious balance. Once a purple clay teapot has been well-maintained, Professor Shen from China Porcelain Library suggests trying it out with different types of teas, then deciding which type of tea best suits the pot based on personal experience. After that, stick to using the pot for that specific type of tea, ensuring “exclusive use for a specific purpose.” In the process of selecting a teapot for tea or vice versa, one can appreciate the subtleties of “Drinking Tea with intention.” As more people develop an understanding of Teapots, the return to a scholarly ambiance has become the current theme. Many are seeking environments imbued with an antique flavor, simply because the world moves too fast and they have less and less time for themselves. Purple clay Teaware offers the conditions necessary to satisfy this desire.

Many traditional teapot shapes that have been passed down through history, such as the Shi Piao, Jing Lan, Seng Mao, Tuiqiu, Qiduan, Huling, Mei Zhuang, and others, remain outstanding works even after being tested by the passage of time. Today, many artists attempt to replicate these designs, each creating unique variations. For example, there are over a hundred different versions of the Shi Piao teapot, as both ancient and contemporary artisans infuse their own aesthetic sensibilities into their creations.

The term “form” is often associated with the schools of thought in purple clay pottery artistry. Some believe that the schools of purple clay pottery can be categorized into “vein,” “flower,” and “plain” styles. However, this is a mistaken analysis. The analogy here would be that just as we do not categorize schools of comedic performance by the plays actors perform, but rather by the spiritual realm they pursue in their performances, similarly, the classification of purple clay pottery schools should not be based on the type of work produced, but rather on the spiritual realm sought by the artist. For instance, within the “flower” style, some artists pursue antiquity, others elegance, and still others whimsy.

Art is about feeling. The quality of a purple clay teapot's form is entirely dependent on personal perception. The artist's principles of “congruence” and “momentum,” which are akin to the concept of “balance” in design theory, are fundamental. Attempting to explain these concepts with complex theories may only lead to further confusion. There is a saying: “It can only be experienced, not explained.” The appreciation of art relies on the resonance of hearts and the understanding of the soul, as encapsulated in the phrase “a single point of understanding suffices.”