Chinese porcelain artist Chen Qing has a vivid memory of her grandfather and the only occasion when he wrote down the formula for her family’s distinctive red pigment.

He instructed her mother to memorize the formula before burning the paper just minutes later. Since then, the secret has been passed orally from one generation to another.

“My mother did not reveal the formula to me until I was over 30,” Chen said.

Her family has practiced the craft in Jingdezhen, known as China’s “Porcelain Capital,” since around 1860. The city is in Jiangxi province, about 1,180 kilometers (735 miles) southeast of Beijing.

Jingdezhen has a pottery-making history stretching back more than 2,000 years, beginning during the Han Dynasty. Its porcelain sites were inscribed on the UNESCO World Heritage List in 2026.

Small details can take years to master

Jingdezhen’s craftsmen have preserved techniques once used to make porcelain for China’s imperial court, with the knowledge later spreading to private artisans.

Chen’s ancestors adopted some of those traditions following the fall of the Qing Dynasty in 1912.

“The craft is very difficult for an outsider to master,” Chen said. “A family might spend nearly a century developing a single technique.”

Two tables in her studio are covered with brushes, unfinished porcelain pieces and pigments. Working quietly under a lamp, Chen carefully applies each stroke.

Her fingers never touch the porcelain surface. Instead, she braces her hand against the outer edge while firmly holding the brush to create delicate and precise designs.

Painting a porcelain teacup can take several days. Even a tiny particle of dust or a drop of sweat can spoil the work, forcing her to begin again.

Landscapes are among the most challenging scenes to paint because their boundaries are often indistinct. A mountain peak, for example, may appear emerald green before gradually transitioning into brown and other warmer shades farther down the slope.

“Mastering a craft is a lifelong process,” Chen said. “Few people are willing to spend more than 10 years learning such a painstaking craft.”

Porcelain fragments offer a glimpse into the past

Artists like Chen work alongside archaeological sites and museums to help preserve China’s porcelain heritage.

The Jingdezhen Imperial Kiln Institute studies and restores ceramics excavated from a nearby complex where porcelain for emperors was produced in kilns whose remains can still be seen.

The institute is also using modern technologies, including artificial intelligence, to help identify, match and reconstruct fragments of ancient porcelain.

“By the establishment of our ceramic gene bank, we can collect all kinds of information,” said Weng Yanjun, president of the institute. “We hope that we can retrieve ancient technology with modern science.”

The research also provides insights into the culture and beliefs associated with porcelain-making centuries ago.

Among the tiles produced at Jingdezhen’s imperial kilns were those used at the Bao’en Pagoda.

The pagoda was part of a Buddhist temple complex in Nanjing that was destroyed during a 19th-century rebellion. Its exterior walls were decorated with porcelain tiles, each featuring an image of the Buddha.

Porcelain examined by the institute also contains traces of other religious traditions, Weng said.

“Islam, Buddhism, Taoism and, later on, European Catholic Christianity harmoniously blend into the porcelain decorations,” he said.

Porcelain-making was also shaped by beliefs

A shrine dedicated to Tong Bin, regarded as the protective spirit of ceramics, stands within Jingdezhen’s imperial kiln complex.

Known as the “Immortal Master of Wind and Fire” or “Kiln God,” Tong was revered during the Qing Dynasty for sacrificing himself in protest against the mistreatment of kiln workers, according to local tradition.

The shrine remains open today, with a statue of Tong inside along with figures representing other traditional roles in porcelain production.

“In ancient times, the technology was not as advanced as it is today, so, in many cases, people had to rely on their beliefs — their gods — to help bring good luck and better results,” Weng said.

Artisans have different ways of honoring the craft

Some Jingdezhen craftsmen say they do not hold any particular beliefs related to porcelain-making. Others keep figures of Budai, or the laughing Buddha, in their workshops as symbols of good luck and prosperity.

For master artisan Sun Lixin, however, the craft continues to have a spiritual dimension. A fourth-generation practitioner, Sun learned the trade from his father when he was 13.

“Some traditional rituals have faded considerably,” Sun said. “Yet in the hearts of craftspeople, that reverence remains.”

Whenever he paints or fires a piece, Sun remains conscious of the hundreds of millions of years of geological history that the white clay has undergone before reaching his hands.

Although he does not visit Jingdezhen’s shrine, Sun has developed his own ritual. Before firing a piece, he instinctively bows to the Kiln God, hoping for a successful firing and a fine porcelain product.

“If we do not care for it, paint it with devotion and treasure it, how could we possibly do it justice?” Sun said.

Artists from China and abroad drawn to Jingdezhen

While Jingdezhen’s porcelain traditions continue to be passed down through families, universities and residency programs are also bringing new generations of Chinese and international artists to the city.

Italian ceramic artist Paola Masi is taking part in a residency program that runs through October.

She said porcelain from the Song Dynasty influenced her early artistic training. As a result, coming to Jingdezhen feels like returning to the roots of her artistic journey.

Chinese artist Huang Qi graduated from Jingdezhen Ceramic University in 2015 before leaving the city to work elsewhere. She eventually returned and is now also an artist-in-residence.

“Jingdezhen is where my dream began,” Huang said. “More and more people are coming and the city is attracting growing attention.”

Working alongside other craftspeople has enabled her to learn new techniques, while Jingdezhen’s inscription on the UNESCO World Heritage List has made her optimistic about the future.

“It gives us confidence,” Huang said. “Things will continue to get better.”