During China's Tang Dynasty (618–907), there was a brief period when mass-produced porcelain, using abstract Flambe glazes as its decorative design became popular. It created an aesthetic with great freedom of emotional expression and spontaneity, very close to that of contemporary art. This unique style, a fleeting moment in Chinese ceramic and art history, was exclusive to the Changsha kiln. Despite being world-renowned for its multicoloured and copper-red glazes, mass production capacity and exportation overseas, the products of abstract flambe style were targeted and sold almost exclusively to the indigenous plebeian class in China, being affordable yet of high quality. However, this aesthetic culture is little studied and its craftsmanship has long been lost.

In collaboration with Tao Run Co., we conducted some experiments on the reproduction of this ancient and unique ceramic decoration, in an attempt to understand the context of this aesthetic culture in terms of its technological and craftsmanship practices. Since materials, techniques, and equipment are so different from those used a thousand years ago, reproducing the effects presented an unprecedented challenge.

In addition, there are still many questions to be explored from the perspectives of design and craft history. What was the social and political context in which this distinctive style of decorative design arose? Why did it suddenly emerge and subsequently vanish, never to reappear in China until modern times? What reflections can it offer on the role and power of craft in contemporary China?