After the "Cultural Revolution" began, Yixing purple clay works had to eliminate personal characteristics as much as possible, and rarely bore the maker's signature. Gu Jingzhou carved his own "Made in Yixing, China" base seal, for example on works like "Gaojinglan Teapot," "Meibaochunguo Teapot," "Shangxinqiao Teapot," and "Small Flower Pot." Sometimes he would only stamp a square seal reading "Gu Jingzhou" in seal script or a rectangular "Jingzhou" seal inside the lid. During the "Ten Years of Catastrophe," Gu Jingzhou developed deep friendships with seal carvers Huang Yanghui, Gao Shinong, and Lai Chusheng. In the 1960s, Huang Yanghui carved the seal "Made by Jingzhou," Gao Shinong carved "Handmade by Jingzhou" and "Jingzhou," which were given to Gu Jingzhou. Beginning in the 1970s, Lai Chusheng carved "Made by Jingzhou" and "Handmade by Jingzhou" for him. These seals were extensively used in Gu Jingzhou's middle and late period works. During this period, works bearing signed inscriptions were relatively rare, such as the "Shouxing Teapot" with the base inscription carved with an awl reading "On a cold night when guests arrive, tea serves as wine - Jingzhou." "Niugaixuanzi Teapot" was a new leisure seal that Gu Jingzhou began using in the 1970s, appearing on works such as "Imitation Drum Teapot" and "Small Shouxing Teapot." During those turbulent years, Gu Jingzhou saw through the fickleness of the world and, left with no choice but to seek refuge outside the situation, turned his devotion to tea. At the same time, this metaphorically represented the teapot maker's personal character and cultural cultivation. Only in a state of balanced mind and peaceful spirit could one truly grasp the essentials of the teapot-making craft, ultimately achieving the highest realm of form, posture, spirit, and charm.