As far as the available documents show, the earliest ceramists or individual ceramic studios appeared in the 1960s. At a time when the environment allowed, Taiwanese ceramists such as Wu Rhang-nung, Chiu Huan-tang, Lee Mou-tsung and Yang Yuan-tai were influenced by the ceramic fashion from America or Japan, and started to create. At the beginning, they took advantage of kilns in ceramic factories, or built their own kilns by themselves according to what they know about it. Then they started to create and show their pieces in exhibitions, took part in international ceramic competitions, and launched the era of ceramic art in Taiwan. +more

During the 1960s to the 1970s, the first problem that Taiwanese ceramists had to deal with is the lack of equipment and technique. These handicaps could be supported by schools that provide ceramic courses, vocational training units and ceramics factories (as well as their suppliers), and other teachers of ceramics and ceramics studios. The concepts of ceramic creations are first made popular with teachers of ceramics or a ceramic studio, then through exhibition followed by media reports. The two most influential ceramists in the 1970s are Chiu Huan-tang and Lin Pao-chia who created “Taozen Taosheh Studio” and “Taolin Ceramics Studio”. +more

Most scholars believe that the exhibition featuring Taiwanese and Japanese modern ceramics held in 1981 was an important turning point in Taiwan’s ceramic art development. After this event, ceramic art was greatly promoted by ceramists in Taiwan. +more

During the 1990s, Taiwan’s modern ceramics turned out to be stabilized and started to introspect from its development in the 1980s. Some obvious changes in the ceramic art’s environment could be perceived, such as schools of ceramics started to replace ceramics studio, and more and more channels to pursue higher level of ceramic art were made possible. Opportunities for competition and exhibitions were even more varied, and more people devoted themselves to ceramic creation with even more mature styles. Although the environment for ceramics started to shrink in the second half of the decade due to the economic recession, the 1990s could be considered as an era of resource integration for Taiwanese ceramics. +more

If it were not the ceramic product manufacturing that established the basis of the whole industry, Taiwan’s modern ceramic art might have not existed. Taiwan’s ceramic industry has reached a self-sufficient situation with the local market’s demand by the end of the 1960s. The technique and equipment acquired in this period have contributed to the success that modern ceramic art enjoyed in the 1980s. +more