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To Chris Dagradi， Jingdezhen international Ceramics Fair， the largest event of its kind in the world held in October， 2012， was like tracing porcelain back to its origin. Jingdezhen， known as “China’s porcelain capital，” has a porcelain-making history of over 1，700 years.
Dagradi attended the fair as a representative of Delft， a Dutch city also known for its ceramic products styled on Chinese porcelain imported during the 17th century.
“Four hundred years ago， the Dutch came to China to buy beautiful porcelain pieces， and then we began to imitate them in Holland，” he said. But after the 17th century， there was no contact between Delft and Jingdezhen for hundreds of years.
“Now we are coming back，” he said. Based on an intercity cooperation agreement， Delft wants to renew its historical relationship with Jingdezhen through several exchange programs.
But not only the Dutch are interested in Jingdezhen. Every year the “porcelain capital” of China is host to millions of Chinese and foreign visitors trying to unravel the mysteries of this ancient industry’s past， and share its promising future.
Strong traditions
For those unfamiliar with Jingdezhen in Jiangxi Province， the city’s former name， Changnan， may ring some bells. In the 17th century， Changnan City used to export ceramic products that were highly coveted by upper-class Europeans. Having difficulty in pronouncing the city’s original name， they called it China， and referred to its exquisite porcelain products using the same name. In the following centuries， these delicate pieces formed Westerners’ first and vague impressions of China， the remote dragon nation of the east.
To date， modern industries like aerospace and vehicle production have replaced the traditional ceramic business to become the pillars of the city’s economy. But the city’s pride in its splendid history can still be seen in ceramic-decorated streetlights and trashcans on the streets and bridges with names that evoke the city’s connection to ceramics.
To celebrate Jingdezhen’s traditions， an ancient kiln was lit in a ceremony conducted during the Inter- national Ceramics Fair. The dragon-shaped kiln was built by porcelain archaeologists and scholars in the style of the Dragon Kiln of the Song Dynasty （960-1279）. The ceremony followed a complicated traditional routine， including a sacrificial ritual dedicated to the god of ceramics.
“Young people nowadays know little about tradition，”said Yang Peng， Director of Jingdezhen Ceramic Corp.， a modern tech-based enterprise. She believes that the ancient ceremony was aimed at reminding people to have a scrupulous and serious attitude toward work. “We inherited porcelain-making techniques from our ancestors. These actions show our determination to pass our tradition and spirit on to the next generation. “ In the Ancient Kiln Folk-Custom Exhibition Zone where the ancient kilns are on display， many masters of hand-making porcelain techniques show their brilliant skills. Most of them are over 60， but younger artists can also be found. Unlike the disappearing cultural heritages of other Chinese cities， Jingdezhen’s traditional techniques seem to have a bright future.
A ceramic Mecca
As part of the sacrificial ritual to the god of ceramics， the mayor of Jingdezhen City read a traditional ritual verse in front of a “ceramic official” dressed in the traditional costume of the Qing Dynasty （1644-1911）. Part of the ritual involved two guests taking turns paying their respects to the god by making an offering of wine. After them， Philip Read also took part in the ceremony.
“I was really overwhelmed to be part of it，” said the American artist， who found himself understanding the exotic and ancient ceremony. “It’s not just going through the motions； it’s actually from the heart. As an artist and human being， I do believe that a part of our spirits go into the making of our works.”
Formerly the world’s premier source of porcelain products， Jingdezhen now has outsiders join in the building of its future. According to government statistics， over 3，000 foreign artists traveled to Jingdezhen during 2011 to study or seek inspiration. The local government supports these exchange activities by providing services ranging from accommodation to interpreters.
Located in a small village outside Jingdezhen City， Sanbao Ceramic Art Institute is based in several old and shabby village houses. But for ceramic artists from around the world， the workshop， surrounded by a stunning natural landscape， is a paradise because of its proximity to raw materials and traditional facilities， as well as its tranquil and unaffected atmosphere.
The Canadian sculptor Terry Lazaroff visits every two years， staying in Sanbao for one or two months each time. The year 2012 marks his fifth visit to Jingdezhen. Like Lazaroff， many foreign artists are attracted by the knowledgeable craftsmen and artistic atmosphere.
“I’m an artist； I’m supposed to come here to make art. But I’m also here for the culture，” said Lazaroff.
Seeds for the future
Looking to the future， Jingdezhen will find maintaining its position as a peerless center for porcelain and ceramic arts more difficult than it was in the past. In recent decades， cities like Foshan in Guangdong Prov- ince have emerged as great competitors. These cities are home to companies that specialize in high-volume manufacturing and enjoy an advantageous position in mass markets. Many agree that changes are necessary， but that complete industrialization would destroy the city’s traditional handmade porcelain system. For years， Jingdezhen has been seeking a unique solution that balances these concerns.
The Jingdezhen Sculpture and Ceramic Factory was one of the ceramic factories sinking in the tide of the country’s shift to a market economy at the end of the last century. But in recent years it has revived in a different form - run by former employees and artists， over 200 ceramic workshops are held in the old factory.
This strategy also attracts creative youngsters who gather here， seeking opportunities to achieve their dreams. On the weekends， the Letian Creative Market provides a platform for these young artists to sell their works and exchange ideas.
“This is like my first attempt at building my own business，” said Li Li， a student from the Jingdezhen Ceramics Institute. “We cherish the great traditional techniques， but we also want to make some new progress through our own efforts.”
The local government sees these young talents as a solid foundation for its growing cultural and creative industry. To promote the industry， many old factories in the city have been transformed into artistic communities and studios for young artists， and several creative industry centers have been established.
“Our dream is to make Jingdezhen into an international ceramics center， just as it was centuries ago， but more creative and diversified，” said Li Li.
Dagradi attended the fair as a representative of Delft， a Dutch city also known for its ceramic products styled on Chinese porcelain imported during the 17th century.
“Four hundred years ago， the Dutch came to China to buy beautiful porcelain pieces， and then we began to imitate them in Holland，” he said. But after the 17th century， there was no contact between Delft and Jingdezhen for hundreds of years.
“Now we are coming back，” he said. Based on an intercity cooperation agreement， Delft wants to renew its historical relationship with Jingdezhen through several exchange programs.
But not only the Dutch are interested in Jingdezhen. Every year the “porcelain capital” of China is host to millions of Chinese and foreign visitors trying to unravel the mysteries of this ancient industry’s past， and share its promising future.
Strong traditions
For those unfamiliar with Jingdezhen in Jiangxi Province， the city’s former name， Changnan， may ring some bells. In the 17th century， Changnan City used to export ceramic products that were highly coveted by upper-class Europeans. Having difficulty in pronouncing the city’s original name， they called it China， and referred to its exquisite porcelain products using the same name. In the following centuries， these delicate pieces formed Westerners’ first and vague impressions of China， the remote dragon nation of the east.
To date， modern industries like aerospace and vehicle production have replaced the traditional ceramic business to become the pillars of the city’s economy. But the city’s pride in its splendid history can still be seen in ceramic-decorated streetlights and trashcans on the streets and bridges with names that evoke the city’s connection to ceramics.
To celebrate Jingdezhen’s traditions， an ancient kiln was lit in a ceremony conducted during the Inter- national Ceramics Fair. The dragon-shaped kiln was built by porcelain archaeologists and scholars in the style of the Dragon Kiln of the Song Dynasty （960-1279）. The ceremony followed a complicated traditional routine， including a sacrificial ritual dedicated to the god of ceramics.
“Young people nowadays know little about tradition，”said Yang Peng， Director of Jingdezhen Ceramic Corp.， a modern tech-based enterprise. She believes that the ancient ceremony was aimed at reminding people to have a scrupulous and serious attitude toward work. “We inherited porcelain-making techniques from our ancestors. These actions show our determination to pass our tradition and spirit on to the next generation. “ In the Ancient Kiln Folk-Custom Exhibition Zone where the ancient kilns are on display， many masters of hand-making porcelain techniques show their brilliant skills. Most of them are over 60， but younger artists can also be found. Unlike the disappearing cultural heritages of other Chinese cities， Jingdezhen’s traditional techniques seem to have a bright future.
A ceramic Mecca
As part of the sacrificial ritual to the god of ceramics， the mayor of Jingdezhen City read a traditional ritual verse in front of a “ceramic official” dressed in the traditional costume of the Qing Dynasty （1644-1911）. Part of the ritual involved two guests taking turns paying their respects to the god by making an offering of wine. After them， Philip Read also took part in the ceremony.
“I was really overwhelmed to be part of it，” said the American artist， who found himself understanding the exotic and ancient ceremony. “It’s not just going through the motions； it’s actually from the heart. As an artist and human being， I do believe that a part of our spirits go into the making of our works.”
Formerly the world’s premier source of porcelain products， Jingdezhen now has outsiders join in the building of its future. According to government statistics， over 3，000 foreign artists traveled to Jingdezhen during 2011 to study or seek inspiration. The local government supports these exchange activities by providing services ranging from accommodation to interpreters.
Located in a small village outside Jingdezhen City， Sanbao Ceramic Art Institute is based in several old and shabby village houses. But for ceramic artists from around the world， the workshop， surrounded by a stunning natural landscape， is a paradise because of its proximity to raw materials and traditional facilities， as well as its tranquil and unaffected atmosphere.
The Canadian sculptor Terry Lazaroff visits every two years， staying in Sanbao for one or two months each time. The year 2012 marks his fifth visit to Jingdezhen. Like Lazaroff， many foreign artists are attracted by the knowledgeable craftsmen and artistic atmosphere.
“I’m an artist； I’m supposed to come here to make art. But I’m also here for the culture，” said Lazaroff.
Seeds for the future
Looking to the future， Jingdezhen will find maintaining its position as a peerless center for porcelain and ceramic arts more difficult than it was in the past. In recent decades， cities like Foshan in Guangdong Prov- ince have emerged as great competitors. These cities are home to companies that specialize in high-volume manufacturing and enjoy an advantageous position in mass markets. Many agree that changes are necessary， but that complete industrialization would destroy the city’s traditional handmade porcelain system. For years， Jingdezhen has been seeking a unique solution that balances these concerns.
The Jingdezhen Sculpture and Ceramic Factory was one of the ceramic factories sinking in the tide of the country’s shift to a market economy at the end of the last century. But in recent years it has revived in a different form - run by former employees and artists， over 200 ceramic workshops are held in the old factory.
This strategy also attracts creative youngsters who gather here， seeking opportunities to achieve their dreams. On the weekends， the Letian Creative Market provides a platform for these young artists to sell their works and exchange ideas.
“This is like my first attempt at building my own business，” said Li Li， a student from the Jingdezhen Ceramics Institute. “We cherish the great traditional techniques， but we also want to make some new progress through our own efforts.”
The local government sees these young talents as a solid foundation for its growing cultural and creative industry. To promote the industry， many old factories in the city have been transformed into artistic communities and studios for young artists， and several creative industry centers have been established.
“Our dream is to make Jingdezhen into an international ceramics center， just as it was centuries ago， but more creative and diversified，” said Li Li.