By studying the formal characteristics of Gu Jingzhou's works in books such as *Suo Pu* and *Purple Clay Master Gu Jingzhou*, and experiencing the curved transitions and structural balance proportions of his pieces, one can understand Gu Jingzhou's aesthetic habits and reject most low-quality forgeries at the door. The seal marks on low-quality fakes are also extremely crude, far removed from the format of genuine seal impressions. Forgers fabricate many seal application methods that simply do not exist. Regarding these flaws, discerning observers who pay slight attention will understand the basic common knowledge. The second category—identifying high-quality forgeries—presents greater difficulty for general enthusiasts, and even experts within the field may occasionally be deceived. The production of high-quality Gu Jingzhou purple clay teapot forgeries mainly occurred in the 1980s and 1990s. At that time, due to poor information flow between Taiwan and mainland China, a very small number of individuals with ulterior motives, in pursuit of illegal gains, hired skilled folk artisans in Dingshan to create reproductions using reference materials or actual objects. Starting from the clay preparation stage, forgers began meticulous research. They would conduct multiple test firings of small samples, seeking high-quality purple clay that closely matched the original teapot's clay color, granularity, and texture. Then, "drawing the gourd to paint the ladle," they strove to make the external form and related craftsmanship approach the original work. Simultaneously, in forging the seal marks, counterfeiters also invested considerable effort, employing methods of direct imitation carving or rubbing reproduction, such that ordinary visual inspection or even comparison with reference materials could not discern the differences. This is how forgers operate—painstakingly and exhaustively scheming, striving to deceive and obtain ill-gotten gains.