Research on functional innovations in Chinese porcelain: from tradition to modernity

Yue GUITING ORCID: 0009-0001-3346-9214 Postgraduate student; Institute of Philosophy; St. Petersburg State University 198504, Russia, St. Petersburg region, Peterhof, Khalturina str., 15k1 yueguiting@gmail.com

As an important part of Chinese civilization, the history of porcelain development dates back to pottery production in the Neolithic era. After thousands of years of evolution, it has gradually transformed from a practical object into a cultural symbol with artistic value. From the exquisite elegance of the official furnace porcelain of the Song Dynasty to the intricate decoration of porcelain of the Ming (1368-1644) and Qing (1644-1912) dynasties, and then to the modernization of modern ceramics, the development of Chinese porcelain has always been accompanied by double innovations of function and form ^{[15, p. 3-25]}.

The relevance of studying functional innovations in Chinese porcelain is due to the need to simultaneously ensure the continuity of cultural traditions and match the dynamics of consumer preferences in the digital age. The products evolve from utilitarian objects to digital art objects, demonstrating a unique synthesis of traditions and technologies. In recent decades, the topic of the synthesis of traditions and innovations in decorative and applied art has been actively explored in the works of Wang Qi (2018), Zhang Yimen (2022), and others. However, most works focus on historical and cultural analysis, ignoring technological and market aspects. The research of A.A. Zhuravleva (2009) and A.I. Zakharova (2015) focuses on Western art, ignoring the Chinese context. This article fills in these gaps. She proves that traditional methods and modern technologies (3D printing) complement each other.

The relevance of the study is confirmed by recommendations for designers, museums, exhibitions, manufacturers, etc. Designers can incorporate traditional motifs into modern products to enhance their aesthetics and functionality. Museums and exhibitions can use innovative items to attract visitors. Manufacturers are developing strategies to implement 3D printing, which allows them to create personalized products and increase competitiveness.

The purpose of the article is to identify patterns of transformation of functional innovations through the analysis of historical, technological and cultural aspects.

Functional innovations are understood as changes in the design, technology, and application of porcelain aimed at expanding its utilitarian, aesthetic, and cultural functions.

If in the past porcelain developed within the framework of local traditions, then globalization and digitalization of the XX–XXI centuries have radically changed the approach to its production and perception. After entering the modern era, with the development of globalization, science and technology, the functional innovations of Chinese porcelain began to attract more attention. Modern porcelain art is no longer limited to traditional practical functions, but is increasingly integrated with emotional expression and aesthetic value. The innovations of this period are reflected not only in materials and technologies, but also in the concept and form of ceramic works. This transformation provides a new direction for the functional innovation of Chinese porcelain. In addition, the study of porcelain functionality is gradually becoming an important area in scientific circles. Zakharov A.I. notes: "Shaping in ceramics can also be defined as the process of manifestation in the morphology of vessels of a set of objective shaping factors – cultural, historical, technological, aesthetic, operational, etc." ^{[6, p. 12]}. Researchers are trying to optimize the composition of the material and the design of the structure using scientific methods to meet the needs of modern life.

The study of functional innovations in Chinese porcelain includes the historical background, technological innovations, cultural implications, and modern applications.

Throughout its development, Chinese porcelain has gradually transformed from a practical utensil into an artistic medium with both aesthetic value and cultural significance. Traditional Chinese ceramic art refers to the ceramic art of ancient China, which is based on vessels and sculptures. The terms "porcelain", "earthenware" and "ceramics" are often used, however, it should be noted that porcelain and earthenware are subcategories of ceramics ^[20]. Traditional ceramic art focuses on the production of vessels and has always adhered to the principle of practicality as the dominant creative principle. This principle determined the morphological features of ceramic products: round vessel shapes were established as a basic design solution that optimally met household needs.

In decorative use, since the era of Neolithic painted ceramics, there has been a steady focus on the aesthetic canons of symmetry and balance ^{[4, pp. 49-50]}. The evolution of the ornament has gone through a three-stage development: from functional dominance through technological improvement to transformation into cultural symbols. Technological progress stimulated the integration of pictorial and sculptural elements into ceramic production, which led to the formation of an integrated aesthetic system based on philosophical concepts. This system is reflected both in the institutional difference between imperial and national furnaces, and in the philosophical concept of the "unity of heaven and man" underlying the creation of ceramic products ^{[1, p. 11]}. As a result, an artistic language with characteristic features of the time is formed. However, ceramic art, which has its roots in traditional society, is facing challenges in the process of modernization. Practically oriented creative thinking and programmed aesthetic traditions limit the breakthrough of artistic expression to a certain extent. This led to significant differences in the ways of ceramic art development between China and the West in the 20th century ^{[16, pp. 120-123]}. It should be emphasized that despite its historical limitations, traditional Chinese ceramics, thanks to its accumulated technological experience and cultural foundation, forms a unique platform for innovative transformations in contemporary art.

This breakthrough has received a new impetus in the context of globalization. In the second half of the 20th century, phenomena such as the "California Clay Movement" (initiated by Peter Vulkos in the 1950s in the USA) challenged the utilitarian paradigm of ceramics, refocusing on abstract form and emotional expression ^{[5, pp.236-239]}. These ideas, which spread to Asia through Japan (the work of Kazuo Yaga and others), became a catalyst for the rethinking of traditions in China after the 1980s. The development of modern Chinese porcelain took place in the context of an active cultural dialogue with the West. Western ceramic art is influenced by Western contemporary art in general. The latter subverts the definition of classical art by removing restrictions on the use of materials and addressing the expression of the artist's emotions. However, unlike the Western emphasis on functionality, Chinese artists synthesized avant-garde techniques with local symbols (for example, calligraphy, images of the Qing Dynasty), which made it possible to preserve cultural identity in the context of modernization. Traditional ceramics focuses on the symmetry, balance and beauty of the vessel, while modern ceramic art emphasizes individuality and innovation, as well as the pursuit of artistic perception.

This innovation confirms Hobsbawm's theory of the "invention of tradition." Hobsbawm explains how "traditions" are constructed to legitimize innovation. An "invented tradition" refers to a set of practices that are usually regulated openly or accepted informally and have a ritual or symbolic character. These practices are aimed at forming certain values and norms of behavior through repetition, which automatically implies continuity with the past. In fact, wherever possible, they try to establish continuity with a suitable historical past ^{[11, p. 1]}.

Modern ceramic art refers to the work of artists who use ceramics as a means of expressing their personal feelings, ideas and aesthetic values, free from the limitations of practicality ^{[7, p. 81]}. It includes sculpture, painting, decoration and installations. Artists experiment with materials (porcelain clay) and techniques, combining traditional methods with new technologies. They diversified the types of modern Chinese art and contributed to the transformation of traditional ceramic art into modern art. Under the influence of Western modern ceramic art, Chinese art has formed a trend: to pay attention to the expression of individuality and emotions, presented in a pure artistic form, overcoming traditional limitations. At the same time, the development of equipment and technology lays the foundation for the flourishing of modern ceramic art.

This synthesis of artistic freedom and technological progress, gained through exposure to modern Western art, opened the way for Chinese porcelain to international recognition. For example, in 2023, at the Third International Ceramic Art Competition "Chinese White Porcelain" (China White International Ceramic Art Prize), the work of artist Ji Fan "Sweet Disguise" took second place [Fig. 1]. Using the technique of decorating white porcelain with metal inserts, the author explores the theme of consumer society and its influence on aesthetics. The work combines traditional materials with a modern concept, demonstrating how Chinese artists reinterpret heritage in a global context.

Another striking example is the Ice Feather project, which was awarded the highest Jinglan award at the International Ceramic Art Biennale in Jingdezhen (2023) [Fig. 2]. The artist created porcelain leaves with microscopic patterns made in the technique of blue-and-white painting, and combined them with wooden elements to convey the image of "snow on the pines." This project not only preserves the traditions of the Yuan era, but also expands the boundaries of porcelain as a medium, using it in the context of modern art. Yue Lizhi's work "Origin 2", presented at the International Ceramic Art Biennale "Journey of Porcelain" - 2023 in Jingdezhen, uses magnetic levitation to create dynamic sculpture, emphasizing the potential of technology to overcome traditional limitations [Fig. 3].

These examples demonstrate that Chinese porcelain not only retains its cultural uniqueness, but is also actively integrated into the global artistic context through innovations in design and technology.

Technology plays a key role in the transformation of porcelain functions.

At the traditional stage, the production technique and decorative styles of porcelain have undergone changes from celadon to painted porcelain, reflecting the social demands and technological achievements of different eras. The Republican period (1912-1949) was an important turning point in the development of Chinese porcelain. During this period, the decorative techniques of porcelain changed in two directions. They gradually moved from traditional applied art to an artistic style and modern methods ^{[2, p. 22]}. The porcelain industry in Jingdezhen has modernized and transformed its decorative process through the introduction of mechanical and transfer printing technologies ^{[9, p. 69]}. The use of these technologies has not only increased production efficiency, but also enriched the decorative forms of porcelain. During this period, the craft of porcelain decoration underwent a critical shift from traditional to modern and eventually split into two main trends. On the one hand, under the influence of leading masters, the traditional art of porcelain decoration gradually left the field of crafts and moved into the field of porcelain art. New art forms have emerged, such as pale purple colored porcelain (Qianjiang)^[1] [Fig. 4] and new pink colored porcelain in pastel tones (Xinfang)^[2] [Fig. 5], which opened a completely new artistic chapter. On the other hand, in order to adapt to the progress of public production and the changing needs of people, the porcelain craft of the Republic of China has actively integrated with modern apparatuses and equipment to achieve the mass production of porcelain of daily use. These changes significantly increased production efficiency, and also contributed to the birth of new decorative techniques. For example: porcelain, Suihua (刷花瓷), Pinghua (喷花瓷), Tahoua (贴花瓷)^[3]. This change not only enriched the form of porcelain decoration, but also laid the foundation for its subsequent development ^{[17, pp. 39-46]}. In addition, the official furnace porcelain of the Song Dynasty occupies an important place in the history of Chinese ceramics with its excellent glazes and stucco patterns. The development of these techniques has provided valuable experience for subsequent innovations.

How to combine traditional cultural elements and modern aesthetics in modern Chinese porcelain?

Technological innovations do not negate the importance of cultural heritage. Symbols of the past, such as blue and white porcelain, remain the basis for modern experiments. Porcelain symbolizes the unity of China's material and spiritual culture. Blue and white porcelain, with its unique decorative language and cultural overtones, occupies an important place in Chinese ceramic art. Björnar Olsen suggests the following: "Things are more stable than they seem. They obviously last longer than speech or gestures. Things are concrete and offer stability..." ^{[8, p. 158]}. This means that the inclusion of traditional cultural elements is the basis for integration with modern aesthetics. The use of traditional blue-and-white porcelain technology or underglaze painting technology combined with modern design concepts and technical means makes it possible to create both traditional and modern aesthetic works. By integrating traditional ceramic techniques, patterns, ornaments and other elements into modern design, porcelain can not only preserve the traditional spiritual connotation, but also gain new vitality ^{[12, p. 600]}.

The influence of modern aesthetic trends on porcelain design cannot be ignored. With the development of society and changing aesthetic values, modern consumers are increasingly inclined towards simple, practical and personalized design ^{[14, p. 75]}. While preserving traditional cultural elements, designers must constantly look for new forms of expression and innovative methods to meet the aesthetic needs of the buyer. This can be achieved by simplifying traditional patterns or using a more abstract and modern visual language to reinterpret traditional elements.

The market and functional significance are also important factors influencing the design of modern Chinese porcelain. With the development of the economy and the improvement of living standards, people's demand for ceramics for daily use is not limited only to the material level: much attention is focused on its cultural and artistic value. Therefore, in the design process, it is necessary not only to take into account the practicality and aesthetics of the product, but also to focus on its cultural connotation and artistic expression.

Innovative practices and diversified integration are the key to the development of modern Chinese porcelain design. Based on respect for tradition, designers must constantly explore the combination of history and modernity and be bold enough to try new design concepts and techniques. By interacting with other fields such as furniture design, dynamic visual design, brand promotion, performing arts, etc., it is possible to bring more inspiration and possibilities to porcelain design.

As for modern applications, functional innovations in Chinese porcelain are reflected in a number of areas.

The porcelain culture of the Song Dynasty (960-1279) and Yuan Dynasty (1271-1368) is widely used in the design of modern tableware to meet the needs of modern customers ^{[3, pp. 105-107]}. Pink colored pastel porcelain of the Qing Dynasty (1644-1912) has found application in the design of modern women's clothing, demonstrating the perfect combination of tradition and modernity ^{[10, pp. 141-142]}.

The in-depth cooperation between porcelain and the cultural and creative industries has also contributed to increased consumption and cultural exchange.

The popularization of porcelain through popular culture demonstrates its adaptation to the needs of young people. For example, porcelain culture is promoted through the content of the television series "Blue Dawn" (Reblooming Blue, 2024), and through the use of porcelain to make museum souvenirs (refrigerator stickers, small sculptures); the game "Black Myth: Goku" (Black Myth: Wukong, 2024) demonstrates porcelain in game objects and landscapes; dancing and the theatrical performances contain references to the history of porcelain (the dance "Porcelain Shadow" on the 60th anniversary of the establishment of diplomatic relations between China and France) and so on. This not only attracts more young consumers, but also promotes the inheritance and promotion of traditional Chinese culture.

The modern development of Chinese porcelain cannot be separated from the support of scientific and technological innovations. The use of digital technologies not only promotes the spread of porcelain culture, but also deepens the integration of science and technology with the cultural industry. The winner of the Grand Prix of the 7th He Chaozong Cup (Dehua City, China) in industrial ceramic design, the project "Electronic Pulse in porcelain Engraving", was created by Clement Zheng and other employees of the National University of Singapore [Fig. 6-7]. The authors present a new technique for creating circuits on porcelain surfaces: by engraving patterns on the surface of porcelain and applying conductive ink, it is possible to turn everyday porcelain objects into interactive interfaces and electronic devices and integrate them into everyday life. The researchers' innovative technologies are widely used, including a number of specialized ones: touch-controlled tableware; tiles that control the heating temperature; porcelain flower pots with water level control; porcelain plates that register user habits or warm up food.

At the same time, the introduction of new materials and modern processes, such as 3D printing technology, has made porcelain products more diverse and personalized. At the eighth He Chaozong Cup (Dehua City, China), industrial ceramic design received a gold medal for a series of "Light and Shadow of Dreams" weaves made by Pi Xin from Micro Porcelain Company [Fig. 8-9]. A lamp made using porcelain 3D printing is not only a lighting tool, but also a work of art. Unlike conventional lamps, the light effect of this lamp is unique. When turned on, it projects various amazing patterns onto the wall. In the production of this product, 3D porcelain printing technology is used to create a unique frame structure that cannot be obtained using traditional artisanal methods.

The joint Sino-Japanese enterprise Micro Porcelain Company, using the technology of the Japanese manufacturer of glass materials AGC Porcelain, has developed a special porcelain material BRIGHTORB (Platinum Lisha) for 3D printing of products ^[21]. Using it, it is possible to realize a modeling structure that is difficult to achieve in traditional porcelain. BRIGHTORB, as a type of 3D printing material, gives "less than 1% shrinkage" during firing and after shaping, which means a higher degree of accuracy and design freedom ^[22]. These innovations not only satisfy the needs of modern consumers, but also increase the added value and competitiveness of products in the market.

Conclusion and conclusions:

The conducted research confirms that functional innovations in Chinese porcelain are based on a synthesis of traditions and technologies. Traditional methods such as blue and white painting are successfully combined with digital tools. This is proved by the projects "Ice Feather" and "Sweet Disguise", where cultural symbols of the past take on a modern incarnation. The historical analysis revealed the stages of porcelain transformation from utilitarian objects to art objects. Tradition and innovation are not opposed, but complement each other. The development of Chinese porcelain is determined by the interaction of different eras. Globalization promotes the integration of Chinese porcelain into the global market. This model is applicable to other types of traditional art, where the preservation of heritage depends on its adaptation to changing conditions. Traditional craftsmanship serves as the basis for creating new forms. Technological achievements can retain their value only if they are combined with cultural memory.

Application

Figure 1. "Sweet Disguise" (author: Ji Fan, 2023)

Official website of the Jingdezhen Ceramic University Museum

Figure 2. "Ice Feather" (author: Guo Qilin, Liang Chengzhen, 2023) Official website of the Jingdezhen Ceramic University Museum

Figure 3. "Origin 2" (author: Yue Lizhi, 2023)

Official website of Jingdezhen Ceramic University

Figure 4. Porcelain vase in Qianjiang style (Landscape with figures). Author: Cheng Meng. Image from the Fall 2014 Poly Auction

Figure 5. New pastel porcelain (porcelain plates) - Liang Garden covered with snow, author: He Xu Ren. Collection of the Jingdezhen Ceramics Museum.

Figure 6-7. Series "Electronic pulse in porcelain engraving" (author: Clement Zheng et al., 2023)

Figure 8-9. The series "The Light and shadow of a dream" (author: Pi Xin, 2023)

^[1] Qianjiang (Chinese transcription) is an innovative variety of glaze color that appeared in Jingdezhen at the end of the Qing Dynasty. The term "Qianjiang" was originally borrowed from Chinese painting, referring to landscape paintings made by tracing the outline with ink and slightly worn paint and painting them with light ochre, blue and white. This technique originated during the Yuan Dynasty (1271-1368). Qianjiang colored porcelain dates specifically from the late Qing Dynasty to the early Republic of China. This is a popular type of thick and light black glaze on a colored background, applied to porcelain, and then colored with light ochre and watery green, herbaceous green, light blue, purple, etc., fired at a uniquely low temperature for colored glazes (650-700 ° C).

^[2] Xinfang (Chinese transcription) is a technique for using lead—free glaze pigments and coloring oxides in a 9:1 ratio by weight. The components are placed in a fine grinding mill to obtain water-soluble and oil-colored pigments used in porcelain glaze fired at 780℃-850℃. Xinfang replaces the traditional-colored lead flux, eliminating all toxic substances, and has eco-friendly characteristics, as well as rich and colorful shades. This technique is suitable for transparent antique and oil paints, pastels and other types of glaze decoration on art porcelain, furniture porcelain and porcelain for everyday use.

^[3] Three different porcelain decorating techniques.