Over five hundred years, there has been no shortage of masters among Yixing pottery artisans who "excelled above all others," exhausting their精力 in pursuit of excellence, reaching back to the vessels of the Three Dynasties to "establish the legacy of great refinement." They were the world's earliest awakened craftsmen who, through their craft, expressed and pursued their talents and individuality, proving the existential value of their lives while creating "vessels capable of carrying the Way." Master Gu Jingzhou was precisely such a person—following in the footsteps of Shi Dabin, Chen Mingyuan, and Shao Daxiang—unwilling to let his "voice fade into silence," using his "confidence in craft culture" and Yixing pottery to sound the "yellow bell" for us. And this "sound of the yellow bell" represents the most precious cultural heritage and most needed spiritual essence of contemporary China. It embodies the most fundamental Chinese spirit of creation. Today the Yixing pottery industry has reached its peak prosperity, and Yixing teapots no longer need to worry about lack of recognition. However, as people flock to Yixing pottery, bottlenecks in development have inevitably emerged. The phenomenon of "seeking form through form" and "seeking craft through craft" that remains on the surface is also widespread, and the public lacks deep and accurate understanding of the truly excellent cultural traditions of Yixing pottery. Behind the prosperity lies a blind following of market-driven values; beneath the unprecedented flourishing also exists the hidden concern of weakening and exhausting the developmental vitality of this industry. The times have put forward new requirements for today's Yixing pottery creation and its inner meaning. The publication of this work researching Master Gu Jingzhou's works, documents, and lifelong career comes at precisely the right time. It allows practitioners and Yixing pottery enthusiasts to fully appreciate the master's exemplary craftsmanship and artistic state in Yixing pottery art, providing the best reference for future Yixing pottery creation, research, and development. Having reviewed the materials and manuscripts collected over three years, and carefully read the research articles and Master Gu's chronological biography, I find the manuscript content substantial, detailed, comprehensive, and very thoughtfully prepared. As someone who spent many years by the master's side, witnessing his life and work firsthand, I deeply appreciate the difficulty of compilation. First, limited by environment and conditions, it is difficult to obtain such rich materials; furthermore, it is also difficult to invest so patiently in time to widely collect [materials].