Indonesian Ceramic Artists Explore Cultural Heritage of Jingdezhen

The International Academy of Ceramics Congress 2026 was recently held in Jingdezhen, Jiangxi Province, eastern China, bringing together more than 400 ceramic artists from over 40 countries. The event focused on the preservation and innovation of ceramic culture. This year marked a decade of Nurdian Ichsan’s membership in the IAC and his first in-person attendance at the congress. For the first time, he was able to visit Jingdezhen, a destination that had long been at the top of his wish list.

‘This work is titled Source: The Well of Jingdezhen,’ said the Indonesian ceramic artist during the members’ exhibition. ‘Through this piece, I want to convey that Jingdezhen, as the birthplace of ceramic civilisation, has long attracted people from all over the world due to its rich ceramic heritage.’ Beside him, his wife Nadya Savitri, also a ceramic artist, enthusiastically observed the works on display. ‘This well does not contain water, but rather emanates light,’ Nurdian said, tracing his fingers over the textured brick surface. ‘I placed Jingdezhen jade porcelain at the centre of this work and installed a light source at its base, as a tribute to the city’s rich ceramic legacy and my admiration for this thousand-year-old porcelain capital.’

‘When I was studying pottery, I was very aware of Jingdezhen’s importance in the history of ceramic art. Coming here to experience the ceramic culture first-hand and create my own work has always been on my wish list,’ Nurdian said. ‘What impressed me most is that such a rich ceramic tradition is still thriving here today.’ Upon arriving in Jingdezhen, the artist with nearly three decades of experience was captivated by the city’s vibrant ceramic ecosystem. ‘The number of people involved in the ceramic industry here is extraordinary,’ he said. ‘Every week, various groups gather to showcase their works, and you can truly feel the powerful allure of ceramics in this city.’ He added that Jingdezhen’s long-standing heritage and its well-preserved handmade ceramic production system provided him with unprecedented creative inspiration.

Nurdian’s wife, Nadya, used the conference as an opportunity to explore the ‘porcelain capital’ for herself. ‘Nurdian has recommended Jingdezhen to me many times, and I am truly delighted to finally see it with my own eyes,’ she said. She noted that the high-quality ceramic materials in Jingdezhen offer excellent value compared to their price, something rarely found in Indonesia, and that the local studios and facilities provide extensive possibilities for experimentation in ceramic creation. ‘If I find the right opportunity, I would also like to apply to come here and create works,’ she added.

As a professor at the Faculty of Fine Arts and Design at the Bandung Institute of Technology (ITB), Nurdian acknowledged that his current teaching duties in Indonesia do not yet allow him to set up a studio in Jingdezhen. Nevertheless, he is already envisioning a future after retirement, when he might settle in Jingdezhen to work. ‘Although I cannot establish a studio here yet because I have to return to Indonesia to teach,’ he said, ‘I will certainly recommend my students to come here. The materials and the artisans here can help them realise any creative idea.’ From the land along the equator to the banks of the Changjiang River, this Indonesian ceramic artist couple finally realised their dream of visiting Jingdezhen through this international gathering. As a thousand-year-old porcelain capital, Jingdezhen continues to illuminate the artistic aspirations of ceramic artists worldwide with its characteristic openness and inclusiveness.