Early mornings hold no surprises for Jaume Ribalta. Rising before 8 am, this Spanish artist’s day begins with the care of his home and a brief stroll with his loyal dog. But what follows is a unique journey that takes him to the heart of porcelain craftsmanship, Jingdezhen, a charming city nestled in the mountains of China’s Jiangxi province.
Renowned as the porcelain capital of China, Jingdezhen’s history is deeply interwoven with the evolution of porcelain-making techniques. Ribalta’s connection with this city began five years ago when he embarked on a mission to explore Chinese porcelain’s traditions and craftsmanship.
“My initial venture into porcelain art in China took place during the vibrant spring and summer festivals in Jingdezhen. Here, I extensively employed the captivating cobalt blue in my creations. It was the intensity of this color that drew me closer to its origins, leading me to Jingdezhen, the very heart of porcelain,” Ribalta reflects.
Upon his first visit in 2018, Ribalta felt a boundless sense of opportunity and an invitation to immerse himself in Chinese culture and ceramics. With this in mind, he made the bold decision to settle down in Jingdezhen in August last year, transforming a modest countryside home into a personal sanctuary, workshop, and a small exhibition space.
“I bet everything I had, alongside my dog, on this venture into the unknown. But today, I feel like I’m living in a dream,” he says.
Jingdezhen, with over two millennia of ceramic-making history, stands as the pinnacle of porcelain craftsmanship. It boasts a staggering 8,300 ceramic enterprises and over 9,800 self-employed ceramic practitioners, supporting approximately one-tenth of its population. This thriving ecosystem has made Jingdezhen a global hub for ceramic artistry that continues to captivate foreign artists like Ribalta.
Incomplete statistics estimate around 30,000 Chinese and foreign artists call Jingdezhen their home, with about 5,000 hailing from foreign lands. Every October, thousands of ceramic professionals gather for the annual Jingdezhen China International Ceramic Fair, seeking collaborations and inspiration.
For many artists, their connection with Chinese porcelain was kindled long before they set foot in Jingdezhen. Torsten Jurell, a Swedish multimedia artist, traces his fascination with porcelain back to his childhood.
“My father, a police officer, had a passion for restoring Chinese porcelain. I can vividly remember him, expertly mending broken pieces with a diamond-tipped tool, scattered with bowls and plates adorned with stunning patterns and images,” Jurell reminisces.
The 72-year-old artist’s father never visited Jingdezhen, but he passed on a deep understanding of China’s rich history, spanning from the Tang Dynasty to the Song Dynasty and anecdotes from the reign of Emperor Kangxi of the Qing Dynasty.
Sweden’s longstanding porcelain trade with Jingdezhen further fueled Jurell’s interest. “Swedish porcelain trade with Jingdezhen dates back to the 18th century,” he adds.
China’s overseas ceramic trade has an extensive history, starting during the Tang Dynasty and expanding to European countries in the Ming and Qing dynasties. In the 18th century, Swedish collectors began studying and acquiring Chinese ceramics, which included pottery predating the Qing Dynasty.
In 1739, a ship named after Jurell’s hometown, Gothenburg, set sail for China, returning with tea, silk, and porcelain, spurring Swedish fascination with Chinese porcelain.
Motivated by the link between his hometown and Jingdezhen, Jurell embarked on his artistic journey to China, even though he had no prior knowledge of ceramic art. In 2007, he set foot in China for the first time and secured a studio at the Jingdezhen Sculpture Factory in 2011.
“I discovered that everything I needed was accessible, and the possibilities became endless,” Jurell shares.
For artists like Ribalta and Jurell, Jingdezhen is more than a center for porcelain and ceramics. It serves as a nurturing environment for artistic growth and development.
“I’ve learned from a diverse array of teachers, including kiln masters and mold masters. Jingdezhen accommodates every form of artistic expression,” Ribalta observes. “In a way, I am an ambassador for Jingdezhen ceramics. I am a Jingpiao, and as I stand here before you today, I represent the power of culture. It’s also a testament to what my father achieved while holding Jingdezhen porcelain in his hands,” Jurell adds.
From the Sanbao International Ceramic Art Valley to the Jingdezhen Sculpture Factory, international artists converge in Jingdezhen to explore, collaborate, and push artistic boundaries. These interactions contribute to the growing internationalization of this millennia-old porcelain capital.
Nick Vest, a 31-year-old artist from Pennsylvania in the United States, also feels a strong connection to Jingdezhen. Arriving in Jingdezhen in 2016 with aspirations to become a sculptor, Vest laid the foundation of his artistic career in the city.
Over the years, he has hosted more than 25 ceramic exhibitions across nine different countries, with his most recent exhibition taking place at the Jingdezhen Sculpture Factory.
“I hope to spend more time in China, especially in Jingdezhen. The artistic atmosphere here is so vibrant, and the fusion of art and life is more pronounced,” Vest shares. “I have many friends at the sculpture factory, and we have established a studio called ‘Menlo’, which bears a distinctly Chinese name.”
Vest and his fellow artists at the sculpture factory organize, curate, and participate in various ceramic art exhibitions. They also invite ceramic artists and enthusiasts from around the world to embark on trips to Jingdezhen, engaging in ceramic design, creation, and exhibitions.
These international ceramic cultural exchanges not only enrich the artistic landscape of Jingdezhen Sculpture Factory but also infuse traditionally symbolic Eastern sculptures with elements of realism from the West, elevating the overall artistic atmosphere of Jingdezhen.
In 2019, Jingdezhen was designated as a national ceramic culture inheritance and innovation pilot zone, bringing new opportunities. In Zhushan district, where many Jingpiao reside, ceramic art labor unions and institutions providing diverse activities and services to Jingpiao from both domestic and international backgrounds have been established, enhancing their sense of belonging.
Jingdezhen is not just an inspiration for foreign ceramic artists; it has also opened up new opportunities for commercialization. Many foreign potters in Jingdezhen now rely on the internet to sell their artwork. Livestreaming has become a booming industry, with the Taoxichuan Ceramic Art Avenue recording impressive sales.
In terms of creating an international hub for ceramic cultural exchange and cooperation, Jingdezhen promotes Chinese culture to the world. A viral TikTok video featuring a tiny vase with a diameter of 5 millimeters created by a ceramic artist based in Jingdezhen showcased the popularity of ceramic culture.
“In the future, we will continue to create ‘national trend’ and ‘national style’ artworks to express international connectivity, utilizing China’s ceramic culture to tell the captivating story of China to the world,” says the mayor of Jingdezhen.
People-to-people exchanges
Foreign ceramic artists have contributed to the cultural and people-to-people exchanges between Jingdezhen and other countries. Jaume Ribalta, a product designer and artist, embarked on a research and artistic creation project at the Jingdezhen Ceramic Institute, focusing on the applied painting traditions in Chinese and Catalan ceramics. This opportunity arose through the international artist residency program at the institute.
“I hope to continue contributing my small grain of sand in China and to serve as a bridge that connects both Chinese and Spanish cultures. Although geographically distant, these territories reside close to my heart,” Ribalta said.
“It’s only interactions that make us better, and we are welcoming more and more exchanges, especially after the COVID-19 pandemic. With borders opening to each other, there should be more international projects to connect us.”
Meanwhile, just like centuries ago, Jurell is bringing modern Jingdezhen ceramics back to Sweden.
“I am currently working on an exhibition in Stockholm, set to open in spring 2024 and run throughout the summer,” Jurell said. “The exhibition will showcase a collection of Chinese porcelain, featuring a beautifully crafted qilin (a mythical animal in China).”
During the past three years of the pandemic, when Jurell was unable to go back to Jingdezhen, he had been working on a book titled “The Fish in the Sky — A Story About Broken Porcelain, About Love and Art.” With the book, created based on his experience in Jingdezhen and set to be published next year, and the exhibition, Jurell hopes to be a bridge in the understanding of Chinese culture and thinking.
“I hope to present old China in a new light to a fresh audience, while also showcasing the contemporary ceramic culture of China,” he said.
In conclusion, Jingdezhen remains a sanctuary for international porcelain artists, a place where cultures and artistic expressions converge, and a source of boundless inspiration for creators from around the world. These artists not only immerse themselves in the rich traditions of Chinese porcelain but also contribute to the city’s cultural and commercial growth, creating a bridge between East and West through their artistry.
