French ceramic artist Camille Grandaty has been living in Jingdezhen, China, for nearly a decade. She would learn ceramic-making techniques with local masters and regularly meet with ceramic artists from around the world. Over the years, she established her own studio, developing a creative style that blends Eastern and Western artistic elements.

Despite her extensive practice and study, one might assume Camille fully understands the intricacies of Chinese ceramics. However, she admits to feeling a "distance" from the craft due to cultural differences. Fascinated by the origins of ancient Chinese ceramic-making techniques and the secrets behind Jingdezhen's status as the world's ceramic capital for over 1,000 years, Camille is eager to deepen her understanding of this remarkable tradition.

This summer, she joined the Path Seekers, together with Gong Liang, honorary director of the Nanjing Museum. They embarked on a journey along the ancient Kaolin Road, located about 50 kilometers east of Jingdezhen. Gong highlighted the historical significance of this seemingly modest route, which once served as a vital artery for transporting Kaolin clay-the key ingredient in porcelain production. The advanced "Binary Formulations Approach", which involves mixing Kaolin clay with porcelain stone, played a pivotal role in Jingdezhen's emergence as a global ceramic hub for over a millennium.

Each step along the ancient road brought new insights. The team explored mining sites, historic streets, and ancient docks, as well as kilns, porcelain factories, and museums. At the museums, Camille discovered the profound cultural exchange between Eastern and Western civilizations through the intricate designs of "export porcelain". During a visit to a young ceramic artist's studio, she admired how traditional craftsmanship seamlessly integrates with modern design concepts. Inspired by these experiences, Camille and Gong collaborated to create a blue-and-white porcelain bowl, which they named Yuanfen-a Chinese term meaning "destiny" or "special connection".

Transporting Kaolin was just one step forward in refining raw materials. The dedication of craftsmen who spend their entire lives mastering a single craft-an inheritance of skill and spirit-is truly the soul of Chinese porcelain. Amid the bustling crowds of Taoxichuan at dusk, where history and modernity converge, Camille reflected on her journey. Through Path Seekers, she gained a deeper appreciation of the art form and the country she has called home for the past ten years.

今年，是法國(guó)陶瓷藝術(shù)家開(kāi)彌（Camille Grandaty）在江西景德鎮(zhèn)生活的第十年。在這里，開(kāi)彌跟著當(dāng)?shù)乩蠋煾登写璐伤?，與中外年輕陶藝師定期聚會(huì)，她也慢慢建立了自己的工作室，創(chuàng)作風(fēng)格主打一個(gè)中西合璧。

十年里，總覺(jué)得對(duì)中國(guó)瓷再熟悉不過(guò)了，但是開(kāi)彌依然覺(jué)得“隔”。

隔在哪里？隔在文化的那一層。“我做瓷，但不知道中國(guó)古代制瓷最厲害的技藝從哪兒來(lái)？為什么景德鎮(zhèn)能成為千年瓷都？一直上手做，但更想深入了解精髓。”

今年夏天，開(kāi)彌跟隨“Path Seekers 問(wèn)道中國(guó)”徒步小組，與南京博物院名譽(yù)院長(zhǎng)龔良先生一起，來(lái)到景德鎮(zhèn)以東約50公里處的高嶺古道。龔良先生告訴她，不要小看這短短幾公里的古道，當(dāng)年，它是運(yùn)送高嶺土的重要通道；不要小看高嶺土，那可是制瓷的關(guān)鍵原料，正是高嶺土和瓷石混合配比“二元配方”的進(jìn)步，加速成就了“千年瓷都”。

從古道出發(fā)，移步換景，走過(guò)礦區(qū)、古街、古碼頭，走進(jìn)窯廠(chǎng)、瓷廠(chǎng)、博物館，在色彩獨(dú)特的“外銷(xiāo)瓷”展品里了解東西方文明的交流互鑒，在年輕陶藝家的工作室欣賞傳統(tǒng)工藝與現(xiàn)代設(shè)計(jì)的“牽手”，開(kāi)彌與龔良先生興致所至，合作完成青花瓷碗手工畫(huà)坯，起名“緣分”。

高嶺土的運(yùn)送只是實(shí)現(xiàn)原料的進(jìn)階，而“一輩子只做一件事”的匠心與傳承，可謂中國(guó)瓷的靈魂。夜幕下的陶溪川，人潮涌動(dòng)，古老又年輕，隨著“問(wèn)道”之旅的不斷深入，開(kāi)彌對(duì)生活了十年的這個(gè)國(guó)家有了更深刻的理解。