The formation of my thoughts began in 1992. Initially, I was moved by the admiration and deep respect that the visiting instructor Kato Tatsumi, who came to Yixing for the ceramics festival, showed toward Master Gu's tools. Subsequently, through investigations of Japan's ceramic art world and other craft and fine arts categories, I discovered that even in Japan—where craft traditions are best preserved—it would be difficult to find examples comparable to the Yixing pottery-making tools created by Master Gu. From this, I gradually formed my own views on Master Gu's importance to China's craft and fine arts industry. > Every detail, every line, Observing each Yixing pottery work left behind by Master Gu, "perfection" is naturally the most appropriate evaluation. > Every turn, every transition between surfaces—barring firing accidents— leaves no regrets in craftsmanship. You may take perfection as normal, but perfection does not equal lack of personality. When examining a piece from inside to outside, from details to the whole, this view of "normal" will change. This is the ultimate achievement of one perfect score after another in craftsmanship. Here there seems to be no "strangeness," everywhere making you feel comfortable and natural in its "ordinariness." But the ultimate achievement created by the precise grasp within this "ordinariness" can truly be called the tremendous skill of "the greatest sound is soundless"[1]—surpassing the past and reaching new heights. In terms of craftsmanship, Master Gu emphasized the importance of tools. The making and use of tools is key; tools are an extension of the hand. As the saying goes, "sharpening the axe does not delay chopping wood"—it makes work twice as effective with half the effort. With good tools, the work flows smoothly, with fluency and accuracy. > "Ten years of practice offstage for one minute onstage"—only then can one achieve "unity of mind and hand." Regarding form, one must "grasp it" and moreover "hold it firmly." He opposed "working to death" and "deadly work"—instead advocating for "liveliness" (meaning vitality). These were all phrases Master Gu often taught us back then. In terms of aesthetics, Master Gu believed that "people" must have common aesthetic standards. He did not advocate for pathological beauty, twisted beauty, or so-called ugly beauty. He consistently pursued the accurate beautiful form—one more point would be too much, one less point too little, healthy and precise. In shaping forms, he investigated meticulously, each time with an attitude of tireless patience, carefully deliberating and considering, making the most accurate and reasonable judgments; or having the form thoroughly mastered in his mind beforehand, so that during creation it flowed as smoothly as flowing water. --- [1] A reference to Laozi's *Dao De Jing*: "The greatest sound is soundless" (大音希声), suggesting that the highest achievement appears effortless and natural.