These works demonstrate the superior level achieved by later generations of imitators. As for the outstanding masters from the early to mid-Qing period, such as Chen Mingyuan, Sheng Si, and Shao Daheng, no matter how exquisite the technical skill of those who replicate their masterpieces, one always feels that something is lacking in spirit. This inevitably falls into the distinction between jade and common stone. However, when such works have survived to the present day and are occasionally acquired by enthusiasts, they naturally still possess considerable value for appreciation and collection. They should be distinguished from modern counterfeits and forgeries. They are even more different from the recently emerged fakes-of-fakes—inferior quality products that use illustrated catalogues to create secondary forgeries—which are used to deceive oneself and others. Enthusiasts truly must exercise extreme caution and careful discernment to avoid being deceived and cheated. Otherwise, one may fall into the trap of becoming so obsessed with objects that one loses one's purpose—a warning that is not without merit. The above subjective observations are presented to fellow practitioners of the pottery art and those passionate about it for reference. I sincerely hope that knowledgeable colleagues will offer their guidance and instruction. This is my earnest wish! (Published in *Zisha Chunqiu* [*Annals of Purple Clay*], 1991)