## [Section Title Missing] 1965 photograph of Jiangsu Province arts and crafts artisans recuperating at the Workers' Taihu Sanatorium (Gu Jingzhou is fourth from right in the fourth row) fear gradually evolved into a kind of inner respect. This respect made every person who received his instruction engrave these details in their hearts and remember them for life. The students harbored no resentment or resistance toward Gu Jingzhou's strict demands; on the contrary, they faithfully followed their teacher's instructions, upheld excellent moral character, and formed correct craft habits—because they understood in their hearts: the master's "strictness" was to help them mature early and become fine craftsmen. This principle was consistently carried forward when they later passed on their skills to their own disciples. Under strict technical requirements, Gu Jingzhou demanded that students not execute tasks rigidly and without principle, but must think more, reflect more, and draw inferences from one case to achieve improvement. On April 9, 1995, Gu Jingzhou had Zhao Jianghua deliver a letter to Ge Taozhong. The occasion was Ge Taozhong's reproduction of Shao Dabu's "Bian Yuan Hu" from the National Museum of History, which sparked some of Gu Jingzhou's reflections on modeling art and Yixing pottery techniques. He specifically instructed Zhao Jianghua that, in addition to delivering the letter to Ge Taozhong, each of the other students should also receive a photocopy, hoping they could gain technical inspiration from it: > This morning, Taozhong brought his work to ask about technique (imitating Dabu's style from the National Museum of History's tall *Bian Yuan* teapot). The drawing was one I had given him. I pointed out the inadequacies of his reproduction section by section, from top to bottom, and taught him how to improve...