Tangshan in Hebei is known as the “Porcelain Capital of Northern China.” The bone china produced here is lightweight yet delicate to the touch, boasting natural, warm hues and a pleasing, lingering resonance when tapped—a true hallmark of the city.

　　Today, a young “post‑90s” individual is breathing new life into this business card.

Wang Junyu’s Hand-Painted Ceramics

　　He is Wang Junyu, recipient of the 2024 National May Day Labor Medal, Deputy General Manager of Tangshan Boyu Bone China Co., Ltd., and a Senior Engineer. Having watched his father paint intricate designs on ancient architecture from a young age, he developed a deep-rooted appreciation for traditional culture; when he encountered 3D design in college, he brought design into the AI era. The interplay of tradition and modernity, hand‑drawing and technology, formal beauty and practicality—these many contrasts merge into one, giving rise to a uniquely beautiful aesthetic in Wang Junyu’s bone china creations.

　　 Ceramic Design in the AI Era

　　This coffee set before us features a simple, crisp design for its mugs. The wood‑carved blue rose motif, coupled with gold‑accented rims on the cups, saucers, and spout and handle of the coffee pot, adds a touch of refinement to its modern aesthetic. The interplay of deep red gold and vibrant azure, of elegant sophistication and rustic simplicity, and of intricate floral textures and the smooth, tactile quality of ceramic—all come together to embody the beauty and dynamic tension of life as seen through the designer’s eyes. Wang Junyu named this bone china coffee set “Flourishing Flowers,” capturing the fleeting nature of time while celebrating the enduring beauty of the present. “Flourishing flowers in rich brocade—like flowing years, each moment is the most beautiful and worthy of cherishing.”

　　Combining traditional craftsmanship with modern design concepts, integrating formal beauty with practicality, while consistently pursuing innovative exploration in materials and techniques—this has always been Wang Junyu’s style and philosophy.

　　Take this “Floral Splendor” series, for example: behind its dazzling, brocade-like beauty lies the immense challenge of perfectly fusing pure gold with ceramic. “Because gold and ceramic have different coefficients of thermal expansion, cracks often appear during firing, or the color may become uneven.” During that period, Wang Junyu devoted himself entirely to research, repeatedly calculating and experimenting with the technical staff, adjusting kiln temperatures together, and continuously refining the production process. “Each firing takes three days—and we fired it over and over, three or four times in a row. Every time we fired it, I couldn’t sleep, constantly worrying about what kind of results would emerge once we opened the kiln.” Those were days of intense torment, but for the sake of the dream in his heart, Wang Junyu patiently tried and adjusted again and again—then tried once more. Not only did this coffee set win the Gold Award at the Ceramics Expo, but it also sold out completely in the market.

　　In 2018, Wang Junyu’s first bone china design, the “Dragon Horse Wine Set,” drew inspiration from the “spirit of the dragon and horse” in traditional culture, then seamlessly blended it with a modern, minimalist style to showcase both strength and elegance, giving the wine set a distinctive visual impact in terms of color and texture. The shape and size of the wine set were meticulously crafted to suit contemporary dining tables. This collection won the Gold Award at the 8th China Ceramic Masters and Masterpieces Exhibition.

　　After that, his independently designed “Yunshuiyao” series won the “Technical Champion” award at the Tangshan City Ceramic Decoration Design Competition. “During that event, I attended a sharing session led by Master of Chinese Ceramic Art and Senior Arts & Crafts Artist Li Jianping, where I not only learned new approaches but also came to deeply understand the mission of young designers. Inspired after the session, I combined the flowing curves of clouds and water to create ‘Yunshuiyao.’” Wang Junyu employs eco‑friendly materials and ergonomic principles, emphasizing green design concepts, while also incorporating elements of abstract art into his designs—resulting in works that retain traditional charm while remaining distinctly modern.

　　“Using design to drive product development, boost industrial growth, and contribute my own unique design creativity” — this is Wang Junyu’s dream. “I hope that through my design works, I can help more people discover the charm of Tangshan ceramics.” His creations have not only earned widespread recognition within China but have also become cherished gifts used in diplomatic exchanges by the Tangshan Municipal Government. In 2023, Wang Junyu took first place in the finals of the Packaging Designer category at the Hebei Province Workers’ Digital Application Technology Skills Competition; in February 2024, he was awarded the “Hebei Province May Day Labor Medal.” In May 2024, Wang Junyu was honored with the “National May Day Labor Medal.”

　　 Enlighten through traditional painting, and open the doors of design in the AI era.

　　Because his father is a traditional architectural painter who specializes in the restoration of temple murals, Wang Junyu was immersed in art from an early age. Surrounded by oil paint, brushes, art books, and exquisite murals in his father’s studio, the seed of art had long been quietly planted in Wang Junyu’s heart.

Wang Junyu’s bone china piece “Golden Forest”

　　In high school, Wang Junyu chose to major in Fine Arts, where he received systematic training in sketching, quick sketches, and color theory. Three years of artistic instruction laid a solid professional foundation for him and sparked a deep interest in art design. After the 2009 National College Entrance Examination, Wang Junyu successfully gained admission to the Art Design program at the School of Light Industry at North China University of Science and Technology, officially embarking on his journey in art design. He loved every course—animation, character design, sculpture…!

　　As a “native” of the internet era, Wang Junyu, who was born in the 1990s, first came into contact with AI design during his sophomore year of college. Sun Yahui, Deputy Secretary of the Party Branch of the School of Film and Art at the School of Light Industry of North China University of Science and Technology, said that the university has always emphasized the integration of teaching with industry talent needs, tailoring its curriculum to students’ individual characteristics while aligning with the demands of industry development, adopting a student‑centered approach to education, and exploring distinctive models for cultivating artistic talent. “Back then, when the university was in the early stages of exploring educational reform, we partnered with Crystal Stone Software, an internationally renowned training institution, to launch a 3D design training program.”

　　Kang Dong, a faculty member at the School of Film and Art Design and the then‑advisor for Wang Junyu’s class, believed that Wang Junyu was an ideal candidate to participate in the training program. As he recalled, shortly after enrolling, Wang Junyu had already been actively taking part in various competitions and activities—such as calligraphy, painting, and poster design—demonstrating lively thinking and a willingness to think outside the box; he was clearly a promising talent for the field of art and design. However, Kang Dong also knew that Wang Junyu was a frugal young man, so he encouraged him, saying, “You absolutely must sign up. If you think the tuition is too high, I’ll help you figure it out.” Fully aware of his teacher’s sincere and well‑intentioned support, Wang Junyu immediately registered.

“The first time I learned that AI could also be used for artistic design.” Over the course of a year, Wang Junyu spent every weekend immersed in his studies in the classroom, systematically mastering 3D design software. This skill not only freed him from the limitations of traditional design but also opened up new doors for his future career.

　　 Two rounds of rigorous training to bridge the gap from art to the market.

　　In the height of summer 2012, Wang Junyu graduated from university and began his professional career in the Songzhuang Art District in Beijing. “At that time, 3D design was still in its infancy in China—especially in the field of sculpture, where many artists still relied on traditional hand‑made models.” Relying on his solid 3D design skills, Wang Junyu helped artists transform their design concepts into meticulously rendered visualizations.

Wang Junyu gives a lecture on ceramic design.

　　“Traditional sculpture design requires hand‑molding small prototypes, which is both time‑consuming and labor‑intensive. In contrast, 3D design allows for adjustments at any time and can even simulate the effects under different materials and environmental conditions,” Wang Junyu recalled. His work has been recognized by artists and has also enabled him to accumulate extensive project experience.

　　During his two years in Songzhuang, Wang Junyu not only became proficient in 3D design software but also honed his aesthetic sensibilities and design thinking through continuous communication and collaboration with artists. In 2014, he independently completed the design project for the atrium art installation at the Dicaren Mall in Langfang and successfully won the bid through a competitive proposal process. This achievement further solidified his career path.

　　However, the path of design has not been smooth sailing. Wang Junyu admits that he often encounters difficulties when communicating with artists. “There are sometimes discrepancies between my design renderings and the actual sculptures, especially when it comes to structural design.” To address these issues, he continuously deepened his understanding of sculpture and sought advice from experienced designers. By facing challenges head-on and making steady progress, Wang Junyu gradually developed into a versatile designer.

　　As his wings gradually grew stronger, Wang Junyu’s gaze pierced through Songzhuang and extended toward even farther horizons. He joined Shanghai Shiguang Management Co., Ltd. to work in brand design. Unlike his previous work in 3D design, brand design is directly oriented toward the market; he must comprehensively consider a product’s functionality, aesthetics, and commercial value.

　　“Brand design is a systematic process—whether it’s exhibition design, packaging design, or product design, every stage requires meticulous planning.” Once again undergoing a transformation, Wang Junyu remained as diligent as ever. Back then, the company was located in Sanlitun, Beijing’s hub of fashion and trendsetting culture, where diverse cultures converged and blended, constantly refreshing the senses. To draw on more inspiration and energy, Wang Junyu even went so far as to live at the office for a time; after working late each night, he would stroll through the streets of Sanlitun, fully immersing himself in the cultural elements that permeated every corner.

　　During that period, Wang Junyu often worked overtime late into the night. Kang Dong still remembers receiving messages from Wang Junyu at 11 or 12 o’clock at night on many occasions, as he shared his thoughts or insights.

　　In 2016, Wang Junyu won first place in the company’s “Work Competition” and was selected to represent the company at the Global Franchise Expo held at the National Convention Center. In a limited timeframe, he “unleashed his full potential,” not only completing the design of the company’s exhibition booth and the overall exhibition plan, but also securing more than 200 contracts for the company within just one week. Looking back on those days of relentless, round-the-clock effort, Wang Junyu said, “That experience not only honed my design skills, but also taught me how to seamlessly integrate art with business.”

　　 Dedicate ourselves to the revival of bone china and inject new vitality into Tangshan ceramics.

　　In 2019, by a chance encounter, Wang Junyu returned once again to Tangshan, the city of his alma mater, and devoted himself to the revitalization of bone china.

Wang Junyu

　　Wang Junyu hopes to inject new vitality into bone china through his designs. “Tangshan is the birthplace of bone china in China, but as times have evolved, this traditional industry has gradually declined. In those years, hardly any young people were working in ceramics, leading to a severe generational gap in the industry. When I returned home, the Tangshan Municipal Government happened to launch the Tangshan Ceramics Revitalization Plan, and I wanted to do my part to help revive Tangshan’s ceramic industry.” Driven by deep emotional ties to his hometown, Wang Junyu made a major decision that would shape the course of his life.

　　Back to Tangshan, giving back to Tangshan. Once a vital pillar of the ceramic industry and a key base for local ceramic production, Tangshan No. 9 Porcelain Factory had gradually fallen into disrepair over the years, losing its original productive value. Faced with dilapidated, desolate factory buildings, Wang Junyu and his team keenly recognized a new opportunity for transformation and development. He decided to reinvent this abandoned industrial site into a multi‑functional ceramic culture entrepreneurship park that integrates culture, creativity, education, and exhibitions.

　　“Bone china is not just a material—it’s a vessel for culture,” Wang Junyu said. Each time he undertakes a space renovation, he delves into ceramic knowledge tailored to the design theme of that particular space. When renovating the Bone China Museum, Wang Junyu, as the chief designer, took the lead in project management and planning, meticulously researching countless documents to gain a deep understanding of bone china’s history and evolutionary trajectory. He sought out veteran experts and skilled artisans in the field of Tangshan bone china—such as Jin Baoyuan, the former director of Tangshan First Ceramic Factory, and Shang Lingzhi, a seasoned technical expert—as well as the very first group of researchers who pioneered bone china development, listening intently as they shared the rich history and distinctive characteristics of Tangshan ceramics. The young man’s humble, eager-to-learn attitude and his profound love for ceramics filled the older generation with heartfelt satisfaction. Veteran factory director Jin Baoyuan encouraged Wang Junyu, saying, “Work hard and do a great job.”

　　“The veteran experts explained the characteristics of bone china, its production processes, and the intricate details of each stage. This knowledge enabled me to better showcase the unique qualities of bone china when designing the exhibition hall, and to promote public understanding and cultural dissemination of bone china in the most appropriate way,” Wang Junyu recalled.

　　Drawing on these valuable experiences and conducting in-depth market research to analyze local cultural resources, market demand, and potential development opportunities, Wang Junyu led his team to ultimately present a uniquely innovative design proposal. The plan includes a variety of creative functional areas—such as a co‑creation space, a bone china–themed creative museum, a roadshow hall, and Hebei Entrepreneurship University—fully leveraging the potential of the bone china museum. His design not only emphasizes aesthetic appeal but also incorporates educational elements, enabling more people to appreciate the cultural significance of bone china.

　　To ensure the smooth progress of the project, Wang Junyu led his team in actively integrating resources from multiple stakeholders, including government agencies, enterprises, and universities, thereby forging a robust collaborative network. After the project was launched, they established an efficient project management team, clearly defining the objectives and tasks for each phase. They carried out meticulous structural reinforcement and renovation of the old factory building, preserving certain historical elements while seamlessly incorporating modern design concepts. In the end, this project transformed a dilapidated ceramic factory into a contemporary ceramic culture–entrepreneurship park. It not only showcases Wang Junyu’s unique vision in ceramic industry innovation and cultural preservation, but also highlights his professional expertise in urban planning and spatial design, injecting new vitality into the development of the local cultural industries.

　　In addition to focusing on innovative work design, Wang Junyu actively participates in various social activities, organizing and taking part in ceramic exhibitions, art festivals, and other cultural promotion initiatives to enhance the public’s understanding of and interest in ceramic art. He delivers lectures and workshops at universities and design schools, hosts industry exchange conferences and forums, shares his design philosophies and experiences, and engages with peers both domestically and abroad to discuss design concepts and industry development trends. He also takes part in environmental protection efforts, community service projects, charitable donations, and collaborative urban planning and cultural development initiatives with government agencies, fulfilling the company’s social responsibilities through concrete actions. Furthermore, he actively engages in international dialogue and exchanges, leveraging events such as International Design Week and ceramic exhibitions to showcase the unique charm and innovative strength of Chinese ceramic culture to the world, while bringing international resources and collaboration opportunities to the domestic ceramics industry.

　　From 3D design to the revival of bone china, Wang Junyu candidly admits that every step has been fraught with challenges and breakthroughs, while also bringing growth and achievements. In the eyes of his teacher, Kang Dong, Wang Junyu consistently stays at the forefront of industry development, “proactively seeking innovation and proactively embracing change.”

　　Sun Yahui said that Wang Junyu’s story is not only the growth journey of a ceramic designer, but also an inspiring chapter about how young people in the new era can strike a balance between tradition and innovation—and strive to achieve it.

　　Perhaps the origin of it all lies in what he said: “Design is not just about creating beauty—it’s about illuminating tradition; it’s not merely a pursuit of aesthetics, but also a commitment to the inheritance and innovation of culture. We must use our talents and hard work to inject new vitality into traditional industries and allow culture to shine with renewed brilliance in the new era.”