Dehua county’s renowned artists get support, aiding innovation and export of famed ‘ivory white’ works

On a chilly December afternoon in Beijing, the air in the Yellow River Hall of the Ministry of Culture and Tourism was warmed by intense focus.

Li Jinfeng, a porcelain artist from Dehua county of Quanzhou in eastern Fujian province, leaned over his worktable, holding a bamboo tool as fine as a strand of hair.

He was sculpting the detail of a Xunpu village woman from the province’s southern region into a piece of creamy, luminous white clay.

The woman’s head is slightly tilted, her fingers seemingly brushing against the flowers that adorn her hair. Most mesmerizing is the layered, delicate floral crown — each petal taking form under Li’s expert hands.

Guests from Jordan, Turkiye, and Italy gathered around Li’s table, forming a quiet circle as they witnessed the centuries-old craft freeze a cultural moment into a work of art.

“The texture of Dehua white porcelain, what we call ‘ivory white’, is perfect for capturing such fine detail,” Li explained to the crowd attending the launch ceremony for Beauty in Diversity, Porcelain as a Bridge, the 2026 Blanc de Chine Dehua porcelain international cultural exchange activity hosted by the Quanzhou Culture, Radio, Television, and Tourism Bureau and the Dehua government.

“It can convey the softness of petals and the fineness of hair,” said the artist.

Known as Blanc de Chine in the West, Dehua county porcelain is celebrated for its unique white hue and jade-like translucency, a quality derived from local high-purity kaolin clay, with a history stretching back to the Song (960-1279) and Ming (1368-1644) dynasties.

For centuries, Dehua’s Buddhist statues, tea sets, and scholarly objects were exported worldwide. However, by the late Qing Dynasty (1644-1911), its international visibility declined slightly due to geopolitical disruptions, including wars and maritime restrictions.

But production soon resumed, and Dehua porcelain regained international recognition through exhibitions, diplomatic gifts, exports, and cultural exchange efforts in the 20th and 21st centuries.

Li has devoted nearly three decades to the art of porcelain. Some of his representative works, like the Beauty in Books series, which blends classical female figures with books, and the solemn Ksitigarbha Bodhisattva statue, have found homes in galleries and private collections in France and the United Kingdom.

“The fact that my works are taken overseas is closely tied to Dehua’s systematic efforts to go global,” he said.

Li said he feels the source of this “systematic” wave can be traced to the 2023 strategic blueprint, from local authorities, for promoting Dehua porcelain abroad.

Over the past few years, Dehua porcelain exhibitions have traveled to 26 countries and regions, according to local authorities.

“The touring exhibitions significantly raised Dehua’s profile,” said Fang Junqin, the county’s Party secretary.

Fang noted that government endorsement has also been crucial, as local officials promoted Dehua porcelain at multiple sessions of the Canton Fair in Guangzhou, Guangdong province.

“This shows global buyers our commitment and credibility, leading to a substantial increase in orders,” he said.

The output value has grown by over 10 percent for several consecutive years, reaching nearly 80 billion yuan ($11.46 billion) in 2025.

“Our goal is to reach 100 billion yuan by 2027,” Fang said.

The drive to promote Dehua’s artistic profile globally has spurred many local porcelain artists to innovate.

With almost three decades of experience in creating porcelain sculptures, Peng Chengxiong has chosen to converse with the world using the most fundamental Chinese cultural symbol: Chinese characters.

His signature work is a reconstructed fu (fortune or blessing), a character traditionally displayed in Chinese homes during Chinese New Year, which he reimagined by using punctuation marks and parentheses to form its shape.

“I wanted to explore its artistic possibilities beyond calligraphy and seal carving,” Peng said.

It thrills him to see that this porcelain fu has become a cherished emblem of identity and connection for Chinese communities overseas.

In 2023, more than 3,000 pieces were presented at the World Chinese Entrepreneurs Convention in Thailand.

His latest creation, Maritime Silk Road Fu, incorporates the three iconic commodities of the ancient trade route — tea, silk, and porcelain — into the character’s form.

“I hope it can continue its journey around the world, acting as a bridge for exchange,” Peng said.

Building on current achievements, Dehua has charted a more ambitious course for 2026.

A new international touring exhibition will set sail for London, Geneva, Belgrade, and Lisbon, officials revealed at the launch ceremony in Beijing.

Zodiac-themed porcelain works for the Year of the Horse will be highlighted to connect Chinese people worldwide.

Furthermore, a comprehensive support ecosystem is being built, including an international ceramic culture week in the autumn to gather global porcelain enthusiasts and an international competition to spark creativity.

Meanwhile, a multilingual media matrix will tell the millennia-old story of Dehua porcelain.

The ongoing global initiative also seeks to integrate global supply chains and e-commerce networks, ensuring that Dehua porcelain will reach global consumers efficiently.

Zhang Weiguo, director-general of the China Center of International Cultural Exchange and Tourism Promotion, noted that ceramics have long served as an enduring medium through which Chinese civilization engages in dialogue with the world.

“Dehua white porcelain was exported overseas as early as the Song and Yuan (1271-1368) dynasties and gained fame during the Ming Dynasty as Blanc de Chine,” Zhang said.

“Today, as a symbol of cultural exchange among BRICS countries and beyond, it continues to play a vivid role in cross-cultural communication,” he observed.

For Li Jinfeng, the rising international recognition not only better showcases his works abroad but has reshaped his creative philosophy.

Initially, as his pieces began reaching international audiences, he began to think about how his art could bridge cultural divides.

Yet, the answer revealed itself through personal connections with international guests.

For instance, he met a Russian violinist who visited his studio and was deeply moved by his traditional Chinese figurative sculptures.

“His genuine, instinctive appreciation was a revelation,” Li recalled.

“It showed me that our cultural essence, when rendered with authenticity and mastery, carries a universal language. It doesn’t require dilution or adaptation for foreign tastes.”

He believes the key lies in balancing tradition and modernity.

“Tradition is our root; we employ classic techniques in our craft while infusing contemporary sensibilities into the creation process,” he explained.

“This allows the work to resonate with modern audiences and meet the demands of today’s market, all while staying true to its cultural essence.”

Contact the writers at yangfeiyue@chinadaily.com.cn