At the Jingdezhen Imperial Kiln Institute, east China’s Jiangxi province, a vast “gene bank” of ancient ceramics is unlocking the technological and cultural codes of porcelain production in China.

Inside the facility, rows of transparent drawers line sleek grey iron cabinets, each containing ceramic samples dating from the late Tang Dynasty (618-907) to the Republic of China (1912-1949).

Nearby, robots operate steadily, fabricating new ceramic specimens for ongoing research.

“This ceramic gene bank is something archaeologists once only dreamed of,” said Weng Yanjun, head of the Jingdezhen Imperial Kiln Institute, explaining that in the past, identifying and authenticating unearthed artefacts depended heavily on expert intuition and experience.

The establishment of the gene bank has fundamentally transformed this process, enabling a standardised specimen repository and unified data system to support scientific authentication and academic research.

Renowned as China’s ancient porcelain capital, Jingdezhen boasts an extraordinary ceramic heritage.

Since the late 1970s, the institute – formerly known as the Jingdezhen Institute of Ceramic Archaeology – has uncovered more than 20 million kiln relics through sustained archaeological efforts. Among these are significant quantities of imperial porcelain shards from the Ming and Qing dynasties (1368-1911), characterised by meticulously documented excavation contexts and rich typological diversity – cornerstones of the gene bank’s authority.

In June 2022, the institute collaborated with Tsinghua University, the Palace Museum in Beijing, and the Shanghai Institute of Ceramics under the Chinese Academy of Sciences to initiate the creation of standardised ceramic reference samples and a knowledge-graph-based database.

“We’ve built 3D digital models of representative specimens alongside their reconstructed forms, incorporating archaeological records, physical data, condition reports, and analytical results,” Weng explained.

Holding a shard from a late Tang Dynasty celadon bowl, Weng demonstrated how a simple QR code scan provides comprehensive information, including form, clay composition, glaze, decoration, and dimensions. So far, over 3,000 curated samples have been digitised, yielding nearly 1.2 million individual ceramic data points.

“The gene bank aims to harness science and technology to decode the embedded knowledge in ancient ceramics and apply it to modern innovation,” said Weng.

The gene bank now serves multiple purposes, facilitating historical reconstruction, revival of traditional craftsmanship, artefact authentication, cultural tourism, and international cultural exchange.

Recently, a Dutch ceramic collector consulted the gene bank to identify a dragon-patterned porcelain plate he had acquired years ago. Despite extensive testing in European laboratories, the piece’s origin remained uncertain.

“We selected 17 comparative samples spanning from the Xuande period of the Ming Dynasty to the Guangxu period of the Qing Dynasty,” Weng recalled. Analysis revealed the piece to be a product of a late-Qing folk kiln – a determination made possible by what Weng likened to a “porcelain DNA test.”

In collaboration with Peking University, the institute also conducted advanced research on blue-and-white porcelain during the Yuan and Qing dynasties (1271-1911). Leveraging submicron-scale analysis, researchers confirmed the coexistence of imported and domestic raw materials beginning in the Xuande period – a major breakthrough in ceramic studies.

Furthermore, gene bank data has enabled the faithful reproduction of iconic artefacts, such as the Ming Yongle Blue-and-White Cup with Loop Handle, by providing detailed insights into shape, ornamentation, glaze chemistry, and inscription styles.

“Recreating ancient porcelain techniques is only possible with a solid data foundation,” Weng emphasised.

To promote creative industries, the institute has released open-source data on artefacts like the “Ducktor Sui,” a duck-shaped ceramic incense burner created in the Ming Dynasty. Drawing from its structural and chemical attributes, a range of innovative cultural products has been developed to wide acclaim.

“By opening access to the gene bank, we are encouraging public engagement and supporting the creative transformation of traditional culture,” Weng concluded. “In doing so, we breathe new life into the timeless art of Chinese porcelain.”