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Porcelain stone


Porcelain stone mill in the Hutian Village, next to Jingdezhen.
Photo: © Jan-Erik Nilsson, 1991

The second ingredient of the man made porcelain clay is here simply called "porcelain stone". It is a light, vaguely greenish rather soft feldtspathic looking stone. Only a few hours by car to the south of Jingdezhen is San bao peng, the porcelain stone quarry that today is the closest to Jingdezhen.

Today all of the ceramic industry in Jingdezhen gets its porcelain clay from the same clay mill. Porcelain stone is there crushed in a huge electric mill under a hellish noise and mixed with Kaolin clay in one operation. The final product, a white powder, is delivered in paper bags to the many different workshops.

But not all clays are manufactured by this modern method. Everywhere in the Jingdezhen are, along all brooks and rivers where there is water enough to power a water wheel you see small idyllic looking huts covered by straw roofs. As you come nearer you feel the ground under you vibrating by a rhythmic thumping you can feel in your feet's and legs. Here ironclad wooden hammers are still crushing porcelain stone in the traditional way.

In ancient times, (referring to the Song dynasty - contemporary with the Vikings...) my guide tells me, they were using windmills to power the stone mills. My father worked with this hammer before me, he told me. His work was to replace the wooden clubs since they gets worn out after a month, he said.

- What is porcelain made of, the Jesuit missionarie Pere de Entrecolle asked, in the early 18th century.

- Bai tun tse (Petuntse) - small white bricks - the Chinese potter answered, with a smile, I guess.

Fortunately enough the German alchemist Böttger had solved the problem with the kaolin-mixed porcelain clay on his own, by 1707. Otherwise we would not have been helped much by that answer.


During 1991 and 1992 I had the privilege to visit the city of Jingdezhen and its surroundings as an interested student of Chinese porcelain functioning as expedition photographer in a small group of scholars and students of Oriental art, the most notably being Bo Gyllensvärd, former head and founder of The Museum of Far Eastern Antiquities in Stockholm. All pictures illustrating this article is taken then.

Text and photos © Jan-Erik Nilsson, Göteborg 1991, 1992 and 2000. Back Home Next