Sustainable Paradigms for Waste Ceramics: Ecological Responsibility and National Moral Image

DOI: https://doi.org/10.62517/jhet.202615126

Author(s)

Yuan Gao

Affiliation(s)

School of Design and Art, Jingdezhen Ceramic University, Jingdezhen, China

Abstract

Amid the global context of ecological governance and intensifying competition over national image, ecological responsibility has emerged as a core dimension in shaping a nation's moral identity. Ceramics embody the dual attributes of "nature and culture"—they serve not only as symbolic emblems of Chinese civilization but also as representative subjects for examining the ecological transformation of industries, given their resource dependency and the challenges posed by ceramic waste. This paper investigates the sustainable paradigm of waste ceramics to explore how ecological responsibility and national moral image are constructed. Through sustainable design, waste ceramics are transformed from "ecological and cultural liabilities" into "new resources bearing multiple values." This transformation is realized through three interrelated practical pathways: the transparent representation of material narratives, the embedding of metaphorical forms into everyday life, and the construction of communal systems through service design. These approaches translate abstract principles of ecological responsibility and intergenerational equity into tangible, perceptible material forms, thereby illuminating the ecological foundation of Chinese modernization and the ethical commitment of a major country.

Keywords

Sustainable Design; Waste Ceramics; National Image; Ecological Responsibility

References

[1] The General Office of the Central Committee of the Communist Party of China. Compilation of Documents of the 20th National Congress of the Communist Party of China [Z]. Beijing: People's Publishing House, 2022 [2] Li H M, Han J, Zhang J W. The mechanism and pathways of promoting national image construction through green development[J]. Inner Mongolia Social Sciences, 2024, 45(2): 55-62. [3] Liu W Y, Liu W B. Research on Jingdezhen ceramic product design and national image construction[J]. Ceramics Research, 2025, 40(3): 7-10. DOI:10.16649/j.cnki.36-1136/tq. 2025.03.042. [4] Xi, J. P. Xi Jinping: The Governance of China [M]. Beijing: Foreign Languages Press, 2020. [5] WCED.Report of the World Commission on Environmentand Development:Our Common Future[R].Oxford, NewYork: Oxford University Press, 1987:43. [6] Zhang T. The ecological perspective of Chinese-style modernization[J]. Guide to Ideological and Theoretical Education, 2024(3): 87-95. DOI:10.16580/j.sxlljydk. 2024.03.008. [7] Wang X. Current situation and development trend of China's ceramic industry[J]. Shandong Ceramics, 2022, 45(6): 70-74. [8]Fan H, Su X. Strategic communication of national image and cultural symbol system: An examination based on the practice of Japanese cultural symbol communication[J]. Modern Communication (Journal of Communication University of China), 2022, 44(6): 77-86. DOI:10.19997/j.cnki.xdcb. 2022.06.019. [9]China Building Materials Federation. Technical Code for Resource Utilization of Construction Waste: GB/T 25177-2010 [S]. Beijing: China Standards Press, 2010: 50. [10]Zhang Y, Ma J L. The generation, value and realization of ecological culture from the perspective of rural revitalization[J]. Journal of Social Sciences of Shanxi Higher Education Institutions, 2020, 32(6): 47-51. DOI:10.16396/j.cnki.sxgxskxb.2020.06.010. [11]Yan K R, Wang J, Lu B X, et al. Recreating the site for memory: Cultural translation practice in Zhenlong Market, Xinyi[J]. Architecture Detail, 2025, 23(6): 850-853. [12]Xi, J. P. Xi Jinping: The Governance of China (Vol. 3) [M]. Beijing: Foreign Languages Press, 2024: 362. [13]Papanek, V. J. Design for the Real World [M]. Beijing: Beijing Daily Press, 2020.