应物赋形边几灵感来自与宋代「听琴图」中的“鹤膝桌” 其底座由黄铜一体铸造，不规则的，具有流动性的支撑立架先制作完成后，再将软泥附着于立架之上，随 着立架的形态手工塑形完成台面的塑造，犹如一座倒立的冰山。 应物赋形即“随物赋形”，原意指水流无常形，随地理形貌或自然物而呈现千变万化的形态，苏轼用它来 形容文艺创作应像水流一样流畅自然而又灵活多变，即遵循客观规律，又体现艺术家的自由创作的意志， 从而达到立意与表现技巧自在圆融，情、景、事、理妙合无间的审美境界，这一术语可能受了道家“上善 若水”与佛教“随缘自适”思想的影响，也是艺术家人格，学养，技艺的综合体现。 The "Form Follows Matter" side table draws inspiration from the "Crane-Knee Table" depicted in the Song Dynasty painting Listening to the Qin. Its base is cast in a single piece of brass, featuring an irregular, fluidlike support structure. The support is first crafted, then soft clay is applied and sculpted by hand, following the natural flow of the structure to shape the tabletop—resembling an inverted iceberg. "Form Follows Matter" originates from the concept of "Shaping According to Things" (Suí Wù Fù Xíng), which traditionally describes water’s ever-changing form as it adapts to the contours of landscapes and natural objects. The scholar Su Shi likened this to artistic creation—just as water flows naturally and flexibly, art should follow objective principles while allowing for the artist’s free expression. This harmonious integration of intent and technique, emotion and scenery, subject and reason, reflects an aesthetic ideal of seamless unity. The concept is likely influenced by Daoist philosophy ("The highest virtue is like water") and Buddhist thought ("Adapting to circumstances")—a synthesis of the artist’s character, knowledge, and craftsmanship