They said that they were compelled by the instigation of antique dealers and passively participated in this endeavor. Although they created many works of painstaking effort during this process, this experience became an unforgettable memory etched in their hearts for the rest of their lives. Regarding this matter, on the afternoon of August 6, 1995, the elderly Gu Jingzhou, at his home, shared with two visiting ladies—Lai Shu-yi from the Art Museum of the Chinese University of Hong Kong and Terese Tse Bartholomew from the Asian Art Museum of San Francisco—the feelings that had been buried in his heart for more than half a century: > Even if they are forgeries (referring to the hundred-plus photographs), they still do not lose their artistic merit. This kind of imitation appropriates the reputation of famous masters, not the objects themselves. The works produced are still a form of creation by the makers and dealers. > > This is an inglorious chapter of history, but there is creativity from the makers. These few words fully reflected Gu Jingzhou's attachment to this period of experience. The making of these works— --- [1] Xu Xiutang, ed., *Jingzhou Huyi Liubielu: Zisha Taidou Gu Jingzhou Jiushi Danzhan Jinian Zhan Zuopinji Zhen* [A Record of Jingzhou's Teapot Art Lineages: Commemorative Exhibition Collection for the 90th Birthday of Purple Clay Master Gu Jingzhou] (Shanghai: Shanghai Guji Publishing House, December 2004), p. 57.