From August 30 to September 2, the State Council Information Office organized a group of Chinese and international journalists to visit Jingdezhen, Jiangxi Province, for an in-depth reporting trip focused on the systematic protection of cultural heritage.
Journalists from China, the United States, Spain, Italy, Japan, the Republic of Korea, Indonesia, India, and other countries explored the millennium-old porcelain capital, visiting historic heritage sites as well as emerging cultural and tourism landmarks. During the trip, they exchanged ideas with local experts and scholars, inheritors of intangible cultural heritage, young ceramic creators, and international artists living and working in Jingdezhen.
Through these encounters, the journalists gained a closer understanding of how Jingdezhen is protecting, inheriting, and innovating its distinctive ceramic heritage while connecting traditional culture with contemporary life.
Journalists Explore Jingdezhen's Porcelain Heritage
A Model of Urban Renewal
During the visit, the press group toured a number of important cultural heritage sites, including the Imperial Kiln Site, Zhuxialong Site, and Hutian Ancient Kiln Site. They also visited newer cultural and tourism destinations such as the Taoxichuan Cultural and Creative Block and Sanbao International Porcelain Valley.
At the Taoyangli Historical and Cultural Tourism Zone, the journalists visited the Exhibition Hall of Jingdezhen Handmade Porcelain Industry Remains, where they learned about the historical development of Jingdezhen's porcelain industry and the continuation of traditional ceramic craftsmanship.
At the Jingdezhen Imperial Kiln Museum, Director Weng Yanjun and his team introduced the latest developments in archaeological excavation and cultural heritage conservation.
From ancient kiln sites to newly developed cultural and creative districts, the journalists observed how Jingdezhen has evolved while retaining its historical identity.
Old factories and kiln sites have not simply disappeared as the city has modernized. Instead, many historic spaces have been given new functions, becoming artist studios, exhibition venues, cafés, cultural and creative stores, and other public spaces. In these renovated areas, traces of the past coexist with the rhythm of contemporary urban life.
Desca Lidya Natalia, a journalist with Indonesia's Antara News, was particularly impressed by Jingdezhen's concentrated ceramic industry. She noted that Indonesia also has regions known for porcelain production, but these areas are distributed across different cities. Jingdezhen, by contrast, has developed a highly concentrated ceramic ecosystem.
"People here are fully dedicated to porcelain, which is really impressive," she said.
Han Jong-gu of South Korea's Yonhap News Agency said he had long been interested in Jingdezhen porcelain, partly because of his familiarity with Korea's Goryeo celadon and Joseon white porcelain. His visit gave him a deeper appreciation of the scale and concentration of Jingdezhen's ceramic industry.
Jenny Jen (Ren Yifang), a journalist with Taiwan's Eastern New Media, returned to Jingdezhen after nearly 20 years. She said the city looked remarkably different from what she remembered.
"It is completely different from what I remember. Besides being highly modernized, I found that Jingdezhen is truly integrated with the international community," she said.
She recalled that young artists she interviewed nearly two decades ago hoped to introduce their work to international audiences. Today, she observed, Jingdezhen has become a place where new generations of creators can pursue that ambition.
The Global Appeal of Jingdezhen's Porcelain Culture
The journalists found that Jingdezhen's attraction extends beyond its long history. The city remains an active center for ceramic production, artistic creation, cultural exchange, and education.
During exchange sessions at Taoxichuan International Studio and Jingdezhen Ceramic University, journalists repeatedly raised a similar question: Why does Jingdezhen continue to attract artists and creators from China and around the world?
Irene Morante De La Hera, a journalist with Spain's EFE News Agency, was struck by the way ceramic craftsmanship continues to pass from one generation to the next.
"Some artists we met learned their craft from their parents, and their children are willing to carry on the tradition. That is amazing," she said.
In her view, Jingdezhen's appeal to international artists comes not only from its deep ceramic heritage, but also from its openness and welcoming environment, which allows foreign creators to live, work, and concentrate on their artistic practice.
Gianluca Modolo, a journalist with Italy's La Repubblica, has lived in China for five years. While interviewing international artists in Jingdezhen, he met a creator from Faenza, Italy, a city often described as "Italy's Jingdezhen."
"It is wonderful to see such exchanges between Italy and China," he said.
He noted that Italy and China share a strong appreciation for culture, history, and traditional craftsmanship, creating opportunities for both sides to learn from each other.
Maria Hernandez, an Associated Press journalist from Mexico, also saw connections between Mexican and Chinese ceramic cultures. She said these similarities demonstrated how cultural traditions can cross both time and national boundaries.
"It is truly inspiring to see how Jingdezhen cherishes and takes pride in its own culture," she said. "This can serve as an inspiration for other countries and regions."
Ananth Krishnan of India's The Hindu visited Jingdezhen for the first time and spoke positively about the city's approach to cultural heritage protection.
"It is not merely about preserving traditions here, but genuinely sustaining them through living inheritance," he said.
He observed that Jingdezhen does not treat its history as something confined to the distant past. Instead, traditional culture remains connected with present-day production, creativity, and daily life.
Yasuhito Watanabe of Japan's Kyodo News summarized his impression of Jingdezhen with three words: "blue and white porcelain, integration and openness."
He also commented on Jingdezhen's historical importance, saying, "I think it is only natural that Jingdezhen was inscribed on the World Heritage List. To understand Jingdezhen's history is to understand China's history."
A New Starting Point Following World Heritage Inscription
In July 2026, the "Jingdezhen Handmade Porcelain Industry Heritage" was inscribed on the UNESCO World Heritage List, becoming China's 61st World Heritage property. The heritage property represents Jingdezhen's traditional handmade porcelain production system and includes multiple components connected to production, raw materials, and related activities.
The inscription marked a new stage in the history of Jingdezhen's cultural heritage protection.
On the evening of September 1, a cultural salon titled "Guard the Millennium Kiln Fire — Cultural Heritage Protection and Ceramic Cultural Inheritance and Innovation in Jingdezhen" was held in the city. Chinese and international journalists, together with invited guests, shared their observations from the field visit and discussed issues including heritage conservation, cultural inheritance, innovation, and international exchange.
Ananth Krishnan raised an important issue concerning Jingdezhen's future after its World Heritage inscription. He noted that the city may face challenges associated with increasing visitor numbers and greater commercial activity. In his view, maintaining an appropriate balance between heritage protection and contemporary development will be an important issue for Jingdezhen going forward.
Jenny Jen (Ren Yifang) emphasized the relationship between traditional craftsmanship and modern technology. She said that while traditional ceramic craftsmanship cannot simply be replaced by AI, technology can provide new tools for preserving, documenting, and presenting ceramic heritage.
Referring to the digital displays she encountered at the Ceramic Gene Bank of the Imperial Kiln Museum, she said, "It is fantastic to integrate porcelain elements, chronology and documentation through technology."
She also observed that Jingdezhen's ceramic industry has moved beyond conventional perceptions of traditional porcelain. Some artisans, for example, have developed highly durable ceramic cups using specialized formulas and kaolin clay.
"Creativity is boundless, bringing changes beyond our imagination," she said.
Following the exchange sessions, several journalists said they planned to share what they had experienced and learned in Jingdezhen with audiences in their respective countries and regions.
Jingdezhen: Where Tradition Continues to Evolve
From centuries-old kiln fires to World Heritage recognition, and from traditional craftsmanship to international artistic exchange, Jingdezhen continues to use ceramics as a connection between history and the wider world.
The city's heritage is not limited to ancient objects or preserved archaeological remains. Its ceramic traditions continue to be practiced by artisans, explored by young creators, studied by researchers, and reinterpreted by artists from different cultural backgrounds.
The recent visit by Chinese and international journalists offered another perspective on this living heritage. Their observations showed how Jingdezhen is combining conservation with creative development, allowing historic spaces and traditional skills to remain part of contemporary life.
The inscription of Jingdezhen's handmade porcelain industry heritage on the World Heritage List marks an important milestone, but it also opens a new chapter. The continuing challenge is to protect the historical foundations of the porcelain capital while creating space for innovation, cultural exchange, and responsible development.
From its ancient kilns and traditional workshops to its contemporary studios, museums, universities, and cultural districts, Jingdezhen continues to tell the story of Chinese ceramic culture while opening that story to audiences around the world.
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