What the “Capital of Porcelain” foretells about China's future
How Jingdezhen became a hub for artists and achieved commercial success
Jingdezhen, a small town with a population of just over 1 million, has historically been known as the capital of porcelain. The porcelain ware, which may be small and delicate, is closely intertwined with the national fortune of China. Historically, the peak production period of the porcelain ware also coincided with the most prosperous times of socio-economic and cultural development. Conversely, when the products began to decline in quality, it was also a time when national strength waned.
I had a chance to visit Jingdezhen a month ago and wish to share my perspectives on the historical and current state of Jingdezhen, and how it reflects the new economic and cultural developments that will shape China's tomorrow.
What makes Jingdezhen the “Capital of Porcelain”
Jingdezhen is strategically located on the border of northern and southern China, where the composition of the clay differs. Prior to the Yuan dynasty, Jingdezhen primarily used China stone, which is more common in the northern region of China, as the main material for ceramics production. However, during the Yuan dynasty, kaolinite, predominantly found in the southern part of China, was discovered in Gaoling village, a small village in the Jingdezhen prefecture.
By incorporating kaolin clay into the China Stone to create a "binary formula," potters in Jingdezhen were able to produce ceramics that could withstand higher temperatures, reduce kiln failures, and create larger objects with more vibrant glazes. This incorporation of kaolin clay marked a significant breakthrough in the global ceramics industry and underpinned Jingdezhen's status as the "porcelain capital of the world."
From imperial exclusivity to private artistry
Historically, Jingdezhen is mostly famous for the “imperial kilns (官窑)” that were sponsored and operated by the imperial court and made ceramics exclusively for imperial use. Ceramic ware with the slightest defects would be destroyed rather than distributed to the general public. In the modern era, since the collapse of the imperial system, the kilns in Jingdezhen gradually became privately owned and more porcelains are made for the general public. However, the aesthetic taste of the old times was inherited — traditional patterns, magnificent colors, and made with utmost perfection.
Jingdezhen has historically attracted many artists but only started to become a popular travel destination and the hub for young artists since 2005, when the Le Tian Pottery Workshop was founded. Le Tian Pottery Workshop was founded by Caroline Cheng, a Hong Kong-born renowned ceramic artist and businesswoman. With a rich family background in art and archaeology, Cheng studied painting and zoology at Michigan State University, and received her Master’s in Sculpture from the San Francisco Art Institute.
She partnered with the Sculpture Porcelain Factory in Jingdezhen, a landmark company established in 1956 that exported traditional ceramic ware globally. The Sculpture Porcelain Factory, once splendid, faced the same challenge of 'state-owned enterprise reform' as other porcelain factories, resulting in successive layoffs and signs of decline in the workshops and factory premises.
After Cheng’s partnership, she helped bring in young artists and introduced a Le Tian “Saturday market” to the Sculpture Porcelain Factory, which provided a platform for young ceramic artists to showcase work that is creative and different from the traditional ceramic ware. The “Saturday market” soon became popular and drew an influx of visitors, revitalizing the old Sculpture Porcelain Factory.
Before the “Saturday market” was introduced, there were also young artists coming to Jingdezhen to study in the college or start workshops, but Jingdezhen was mostly stuck with the traditional ware that also lost vitality to the modern taste of the consumers. The success of the “Saturday market” truly revitalized the local tourism and economy, and these college students finally found a way to sell their work and find a living in Jingdezhen.
The young “Jing drift” (景漂)
Nowadays, apart from the porcelain and tourism industry, Jingdezhen also embraced modern industrial industries such as aviation and automobile. In fact, China's first large civil helicopter, The AC313, was developed and completed a test flight in bad weather at Jingdezhen in 2017.
In recent years, more young people and artists have been coming to Jingdezhen to work — they often call themselves the “Jing drift (景漂)”, much like the popular terms “Bei drift (北漂)” or “Hu drift (沪漂)” used by young professionals who move to Beijing or Shanghai without a permanent residence or stable job, in search of better career and living opportunities.
The ceramic ware created by these young artists is often very rich in personal taste and aesthetic statement. They use bold colors and shapes that challenge the traditional aesthetic standards used by the imperial kiln. “Imperfections” are now welcomed, and many artists embraced the idea of “imperfection” and raw beauty, creating pottery ware that perfectly conveys the connection to nature and earth. Many of the products are circulated within a small circle, due to the high price point as well as the individuality of the taste.
I happened to meet a couple of “Jing drift” artists born in the '80s and moved to Jingdezhen in 2016. They both graduated from the Jingdezhen Ceramic Institute and started by selling pottery ware in Le Tian’s “Saturday market”. A few years later, they started their own workshop called “Chong” and became independent ceramic artists. They chose to base their workshop in the 740 factory, which is affiliated with Jiangxi's provincial military industry. The artists told me that they like the fact that the factory park is away from the town center. They operate their own Xiaohongshu store and maintain healthy connections with local buyers who appreciate their styles. They mostly pursue the process of artistic creation and seek to find the balance between life and commercial success.
The artist couple represents the many who were born in the 80s and 90s who moved to Jingdezhen to pursue a “non-mainstream” way of living. They do not wish to follow the typical expectations of Chinese society to “have kids and buy houses”. The lower cost in Jingdezhen, the friends, and artists who share similar artistic visions attracted these young people to form their own hub in Jingdezhen and become an oasis for them to stay away from “mainstream” expectations and extraneous material desires.
Apart from ceramic ware, young artists brought more forms of creative products to Jingdezhen, such as Chinese lacquerware, silverware, glassware, wood art, performance art, and more, making Jingdezhen transcend the capital of porcelain and become a modern hub for artists and creativity.
Balancing tradition and modernity
One of the things that impressed me was that Jingdezhen preserved its heritage not just in the museum, but also maintained its vitality. For instance, Taoxichuan Ceramic Art Avenue is one of the most successful examples. Once a bustling old porcelain factory site, Taoxichuan was repurposed into a hub for art, culture, and innovation while preserving its historical essence. During the planning process, the government and the design team not only streamlined the histories behind the original site but also took into consideration the commercial aspects. (I was surprised to learn how “scientific” the planning process can be when I learned that the team once used data analysis to approximate the guest volume so they could plan how many rooms the hotel should have so the design becomes most economical.)
Despite the pandemic's impact, Taoxichuan has become a lively spot for training, contributing significantly to employment and sales in the ceramic industry. The district serves as a platform for over 80 renowned artists from around the world, hosting creative studios and fostering a community of nearly 17,400 creators. The preservation and modernization of the old factories and kilns showcase the evolution of ceramic firing technology, making it an educational site as well. By transforming industrial relics into cultural venues, Taoxichuan has established itself as a landmark for cultural tourism and international collaboration.
The dilemma: commercialism vs. spontaneity
The commercial success, however, posed some dilemmas for local artists.
Around 7-8 years ago, several independent artists moved to the 740 factory to establish their workshops and galleries. This also attracted buyers' stores and coffee shops. The entire commercial scene was spontaneously formed by the artists and remained relatively unknown, catering to a limited group of tourists. Nevertheless, the unique combination of modern artistic style with the old factory made it a niche but vibrant hub with around a dozen workshops and galleries, drawing tourists to visit. Recognizing the commercial potential, the state-operated factory has recently shown an interest in raising the rent. Some local artists told me that the original plan was to increase the rent by 30%. However, after negotiations and boycotting, the increase was reduced to 10%. Currently, the factory and the renters are still in the process of negotiating.
Similar events occurred in other locations, such as Pottery Street. Pottery Street is situated across from Jingdezhen Ceramic University and has become a gathering place for artists. It was initially formed spontaneously by students and artists from the university to sell their work. The tradition was to only sell in the evenings, as many artists worked on their projects during the day. In recent years, this organic district has gained popularity due to increased tourism in Jingdezhen, leading to systematic planning. The overall experience for tourists has greatly improved, but some artists and students who initially came to the street have been left behind as rent prices have risen. Some locals jokingly remark that Pottery Street is no longer the same, as it now houses brands and well-known artists who understand commercial operations. "They are different from the original artisans, but I suppose the only similarity that remains is that Pottery Street only opens in the evening."
The Sculpture Porcelain Factory originally had many craftsmen and independent artist studios, but it has recently been acquired by the state for the development of Taoxichuan. Some local independent artists worry that they will follow in the footsteps of Taoxichuan, undergoing uniform planning and development, which may eventually raise the cost of living.
The tourism in Jingdezhen actually started to gain popularity during COVID. During the Covid period, live-streaming e-commerce became increasingly prevalent as local artists and merchants sought alternatives. The rise of live-streaming has allowed more people to become aware of Jingdezhen and the modern creativity taking place there. However, as tourists flock to the area, the commercialization has created a dilemma for the artists who sought solace in Jingdezhen.
An artist told me, "our generation of 'Jing drift' feels more nostalgic for the Jingdezhen before 2010. Back then, most visitors who came were niche groups within the circle who understood the works, and communicated similarly. It was simple and comfortable.” They prefer to maintain a certain distance from the current 'big market', choosing a creative lifestyle that is not overly commercialized.
However, nowadays, tourists prefer products that may not necessarily convey much artistic value. For example, they favor cheap products that carry symbols of commercialism or popular culture, such as lucky bracelets, IP products, and pottery with meme slogans.
Seeking a new balance
Amidst the rise of commercialism, some individuals began searching for a new balance between artistic pursuit and commercial success. During my time in Jingdezhen, I had the opportunity to meet a gallery owner in the 740 factory. This gallery owner had previously worked in the e-commerce industry and had experience in new-media operations. Accompanying him was his wife, a flower arrangement artist, who had come to Jingdezhen in search of vases for her art. During their visit, they encountered numerous artists and conceived the idea of opening their own space to merge ceramic art with flower arrangements.
Within a year, the gallery attracted dozens of international ceramic artists. Unlike independent artists, the owner adopted a more proactive approach, leveraging his diverse and interdisciplinary background in the business world. Drawing on his experience in new-media operations, he successfully established an online presence for his gallery. Additionally, he understood the significance of proactive communication with the government, as he realized that artists and the planning team may have different perspectives and mindsets.
The future
Jingdezhen is a place that has emerged organically, embodying a spirit of free exploration. As Jingdezhen evolves, its ceramic and other art forms also evolve, taking on new personalities and forms. From my perspective, despite the challenges, I don't view commercialism as entirely negative. I believe the best way to preserve heritage is not by placing it in a museum for people to admire from a distance, but by allowing people to actively engage with it in their lives. This means innovation, the disruption of tradition, and the inevitable departure of some who fail to adapt to the changing times.
Ultimately, social media has the power to shape the taste and appreciation of the general public. Therefore, it is crucial to amplify the voices and ideas of artists. The issue with an overly commercial approach is that it often prioritizes products that bring immediate and immense commercial success. However, developing and educating aesthetic tastes and promoting diversity requires time and greater exposure.
Gladly, I see new art forms and styles booming in Jingdezhen, and the visionary group of young artists still strive to seek diversity and balance between their artistic vision and commercial success, creating artwork that carries the legacy of tradition but is genuinely innovative.
*If you are interested, I also published a personal blog that reviews how the esthetics of the ceracmis change from ancient time to modern times. You’ll see some of the modern pottery ware that truly impressed me.
And perhaps, what is happening in Jingdezhen reflects a broader narrative about the future of China itself. The era of rapid commercial triumphs is giving way to a period of introspection and measured growth. As the economic fervor moderates, the upcoming decade promises a more deliberate approach to development. This period of recalibration may forge a future where cultural richness and thoughtful innovation flourish, giving birth to creations, inward reflections, and ideas that the whirlwind of rapid expansion could never nurture. This shift means that innovation and thoughtful ideas have space to grow, nurtured by a society more interested in individuality than in instant mass success. In Jingdezhen's journey, we witness China's broader path: embracing a future where slow progress and cultural depth are not only welcomed but celebrated.
Loving these peeks into a particular aspect of Chinese culture!