About this book:

*Ink and Porcelain: A Cultural History of Chinese Art and Craft* explores the evolution of Chinese material culture from the Neolithic period to the contemporary era. Rather than viewing artworks as static relics, the book treats painting, ceramics, architecture, and various crafts as active agents of power, identity, and belief. It traces how technological breakthroughs—such as the perfection of high-fired porcelain in Jingdezhen, the modular logic of timber architecture, and the sophisticated development of ink and calligraphy—served as vehicles for political authority and social organization.

The narrative emphasizes the interplay between different social spheres, from the rigorous protocols of imperial workshops and the spiritual landscapes of Buddhist and Daoist temples to the introspective aesthetics of the literati studio. The book highlights how objects acted as mediators of exchange, particularly through the Silk Roads and maritime trade, where Chinese aesthetics both influenced and absorbed foreign forms. This global dialogue transformed crafts like porcelain and silk into international symbols of prestige while fostering hybrid styles that navigated the complexities of encounter and empire.

In its later chapters, the text examines the ruptures and continuities of the twentieth century, analyzing how traditional crafts were repurposed for revolutionary propaganda and socialist realism. It details the trauma of the Cultural Revolution and the subsequent revival of heritage through modern conservation science and a booming global art market. By documenting the shift from ancestral ritual vessels to contemporary conceptual installations, the book illustrates how the "material intelligence" of Chinese craft has remained a resilient force, capable of adapting to radical political and social shifts.

Ultimately, the book argues that Chinese material culture is a fluid yet durable metaphor for the nation's history. By examining the life cycles of objects—their creation, circulation, and eventual preservation or destruction—the text reveals how the tactile world of "ink and porcelain" has shaped the Chinese self-image. The summary of this cultural trajectory underscores a simple, far-reaching claim: that objects do not merely reflect history; they are the substance through which history is made and remembered.