How Jingdezhen's Kiln Fires Have Burned for Millennia

JINGDEZHEN, China, Dec. 31, 2025 /PRNewswire/ -- A report from Jiangxi International Communication Center (JXICC): On the evening of October 17th, a kiln-lighting ceremony was held at Wanyao Square on Taoxichuan Ceramic Art Avenue in Jingdezhen, attracting crowds of locals and visitors. Particularly noticeable were the ceramic artists from around the world, many of whom have made Jingdezhen their second home for the love of ceramics. Together, they form a distinctive cultural landscape in the city.

The ceremony was not just about lighting a fire; it was a tribute transcending time and borders. With a history of over 2,000 years in ceramic craftsmanship, Jingdezhen—a city in northeastern Jiangxi Province—has served as a hub for official kilns for more than a millennium, and as the site of imperial kilns for over 600 years. This remarkable city has thrived for centuries, centered around a single handicraft industry.

How have Jingdezhen's kiln fires burned for millennia? The answer lies not only in its unique clay and time-honored craftsmanship but also in its people. Local artisans who have devoted decades to the art of porcelain, young innovators exploring new possibilities within traditions, and foreign creators who have come and settled in Jingdezhen for ceramics—all of them work together to keep the flames alive.

Flame of Craftsmanship

The "Spherical Vase with Carp and Waterweed Decoration in Underglaze Red and Black" is the most cherished work of Zhong Hui, the Master of Zhong's Kiln in Jingdezhen. The vase features a perfectly spherical shape and is adorned with waterweeds that glow in a warm underglaze red, with black carp seemingly swimming among them. The art of creating perfect underglaze red porcelain is a pursuit that has captivated this ceramic artisan for decades.

The story goes back to the last century. Zhong Hui comes from a long line of ceramists that spans generations. Growing up surrounded by kilns and clay, he naturally chose ceramic creation as his vocation. Zhong has a particular passion for underglaze red porcelain—a passion that has driven him for over forty years.

In the product catalog of Zhong's Kiln, there had long been a notable absence of underglaze red porcelain. This gap was the result of an expensive endeavor. In 2009, driven by his love for the underglaze red porcelain and the confidence gained through years of study, Zhong built a kiln specifically for firing this type of porcelain. However, fourteen consecutive kiln firings yielded flawed pieces, which left him deeply disappointed. This protracted experimentation placed a significant financial burden on him; he sold his car and house, and his savings dwindled to just 10,000 yuan. Even so, he never abandoned his pursuit of creating the perfect underglaze red porcelain.

Zhong spends most of his time in Sanbao Village, where he not only creates ceramics but also exchanges ideas with fellow artisans. He understands that ceramics is a collaborative art form that demands tacit coordination at every stage. Even with kiln masters he has worked alongside for decades, he oversees every critical moment: positioning pieces before firing, inspecting them as they emerge, and identifying flaws in time to make adjustments. After years of experience and seamless teamwork, his efforts finally paid off. When the kiln door opened once again, he held in his hands the underglaze red porcelain he had long envisioned.

Zhong channels his spirit of craftsmanship not only into creation but also into nurturing the next generation. He founded a ceramic workshop where young people can explore and study ceramic art, developing a passion for it through hands-on learning. Today, the legacy of Zhong's Kiln has passed down to its fourth generation—his son and daughter-in-law are already making their presence in the ceramic art. "I hope my grandchildren will continue this work," Zhong shares with quiet pride, "and that each generation will surpass the achievements of the last."

Flame of Innovation

Linglong porcelain is characterized by its translucence quality and jade-like luster, and it has stood the test of time as one of the four famous porcelain varieties in Jingdezhen. Lyu Yating, President of Jingdezhen FUYU Blue and White Linglong Porcelain Co., Ltd., believes that this ancient porcelain can still be revitalized and given new life.

In her company's showroom, Linglong porcelain teacups radiate with a soft, jade‑like glow. Their glaze, embedded with evenly distributed crystallites, scatters light like stars. This beauty is no accident—it results from a glaze formula developed by Lyu and her team after more than a thousand rounds of trial and error.

As a representative inheritor of intangible cultural heritage, Lyu, born in the 1990s, often faces a dilemma. On one side is the exquisite but difficult-to-scale handcraft of veteran artisans, while on the other side is the market's demand for consistent and affordable daily-use porcelain. Lyu has chosen to be the one who breaks down these barriers—preserving the spirit of tradition while also making way for mass production.

Change began where the labor demand was highest. Traditionally, the Linglong holes—delicate perforations on Linglong porcelain—were carved by hand, with a craftsman finishing only a few hundred holes per day at most. Lyu led her team in developing a precision carving machine for these holes, which increased efficiency tenfold, without compromising the porcelain's translucent glow. To solve color-variation issues in the production of "Yingqing Glaze Linglong Porcelain with a Curved Form", the team persisted for three years of trials, eventually creating a robotic glazing system that ensures an even and controllable glaze thickness.

"Craftsmanship is the relentless pursuit of perfection," Lyu says. This pursuit has made her a coordinator between two teams in her company: one delving into historic glaze recipes and the other focusing on industrial adaptation. She respects the artisans' dedication while recognizing that a company must produce at scale to survive. Her way is to bring both sides together to advance Linglong porcelain.

Technology alone is not enough; products need to incorporate cultural significance to truly resonate with consumers. Lyu has created a clear brand matrix for her company, enabling Linglong porcelain to find a structured and multidimensional path within modern commerce. The Fuyu series brings Linglong porcelain to everyday dining tables, while the cultural and creative brand WENO° captivates young consumers with hit products like the rotating cup. Meanwhile, Fuyu Kiln, which remains committed to using ancient wood-firing techniques, focuses on creating collector-grade pieces that may not sell quickly but embody the highest artistic ideals.

Lyu Yating opened a door: within lies the steadfast guardianship of millennia; outside, the echoes of contemporary life. A warm and radiant light pours through that doorway, bright enough to illuminate the path ahead.

Flame of Inclusiveness

Thursday is kiln-loading day at the Taoxichuan Public Kiln. Anne Loquineau always arrives early, carefully positioning her pieces inside the chamber. For the 29-year-old French artist, working with ceramics feels like a long-awaited rendezvous.

As the daughter of a Chinese mother and a French father, Anne grew up surrounded by her mother's treasured Chinese porcelain and the potteries found in the rustic workshops of the French countryside. When she was twenty, her father brought a catalog of imperial kiln porcelain from Jingdezhen. The pages revealed ancient dragon patterns that seemed to beckon her. At that time, she was studying business engineering, as her parents had wished. However, upon seeing the patterns, she realized, "That's enough. Ceramics is what I truly want to pursue." She soon transferred to a ceramics school to follow her passion.

In the school's workshops, the wheels were always shaping cups, bowls, and vases. Anne often wondered if ceramics could take on a different form in everyday life. This idea eventually developed into her Sculptural Handbag series, in which shards of porcelain—adorned with dragon patterns—are embraced by leather like precious artifacts. In 2024, the series earned her the Coup de Cœur des Parisiens award and was exhibited at Paris City Hall. Many visitors, especially overseas Chinese, lingered in front of her pieces. She experienced firsthand the captivating nature of cultural fusion and resonance, and she felt a strong connection to Jingdezhen—the place that she had only read about in her father's catalog and art history textbooks.

When the opportunity arose to create in Jingdezhen, Anne didn't hesitate. Through the Migratory Birds Project at the Taoxichuan Art Center, she met and exchanged ideas with creators from around the world. The intense exchanges gave her a strong sense of fulfillment. However, what she valued even more was the creative freedom she experienced here; the residency allowed her to set aside commercial pressures and focus on exploring ceramics as a medium for contemporary expression.

"You can feel ceramics in the air here. Walk into any workshop on a side street, or pull up a stool at a bar late at night—sooner or later, the talk always turns to porcelain," Anne says. To her, this millennia-old porcelain capital is a dream workshop brought to life. She is confident that her path will always lead her back here. The earth of Jingdezhen awaits with an open promise—it stands ready to cradle any creative spark that answers its call.

SOURCE Jiangxi International Communication Center(JXICC)