Jingdezhen ceramics industry under anti-corruption storm

Porcelain is a good toy, a table, a pen, and a person, can create a listed company's output value, there is no management costs, there is no site cost, the best is that porcelain this thing does not require after-sales service, can not provide 7 days replacement, Three-year warranty, life-long maintenance service, this thing, if it is broken, it will be broken. If it is broken, it will be broken, and I can't save it. Look at the following data. 1:10, 1:100, 1:1000 or even 1:10000 become the values ​​that the ceramic industry can shake, the artists who make ceramics, the artists who make the source, the workshops, etc. Their input The output can be at least 1:10 leveraged, and as top artists and workshops in the Porcelain Pyramid, they can achieve 1:1,000, 1:100,000, and even 1: million leverage. A porcelain, in the eyes of ordinary people, is a clay, a value of fire, but the great elasticity it smelts is the true cornerstone of wealth creation. This flexibility value can not only send the artist's wealth up the empty rocket, but also provide opportunities for operation and opportunities for such links as brokers, collectors, auction companies, etc. on the follow-up chain.

This is a beautiful industrial environment and industrial condition. It is a pity that everything changed quietly in 2013, and the year-long expectation finally fell completely on the eve of the Spring Festival in 2014. Government procurement, the purchase of gifts suddenly abated, and this last straw finally fell. Among the most important circumstances of the year, government purchases were the top priority for gift orders years ago. With the implementation of the national anti-corruption policy, artists have made less and less profit from government procurement and gift orders. Although the artist expects that it will not become the norm, what he is willing to do is that this storm will continue in 2014 and will continue to grow. Many artists in Jingdezhen are mostly at least 30% dependent on government spending and gift consumption, and some even reach 50%-80%. It is precisely this premium market that allows artists not to devote themselves to fostering traditional collection groups. Has continued to disapprove. Did you come? Did you come? On New Year's Day, the Spring Festival was just a few days away. Gifts that had been waiting for, government spending has been slow, micro-orders, and even 0 orders have caused many artists to collapse. This is not me. Sensational, it is happening, a policy has defeated an industry, and an anti-corruption has caused the artist to cry. One of my teammates who played basketball is selling sheds to the Jingdezhen wine factory. This year's sales were only 10% of the same period of last year, and one of them was to glaze the bottle factory. This year's figure is only 20% of the same period. It would be nice to see them once in the past week, and now you can see them on the court every day. It seems that I am pulling away. One can be the first to suffer from the impact of anti-corruption on the ceramic bottle industry and the art industry. Actually, the entire porcelain industry in Jingdezhen is affected and the whole porcelain industry is a whole. One of the components that can make porcelain efficient, one of which is a problem, drags down the entire set of components. Moreover, it is not just the wine bottle that is affected.

The closure of small workshops in Xindu Private Ceramics Park is the most worthy consideration and reflection. Jingdezhen Porcelain's low-end 50% of its products rely on the manufacturing and production of these small workshops in Xindu. After the overall cold, after the failure of profit-making methods to protect the market through price cuts, the closure has already been inevitable. I have also been wondering why Jingdezhen's workshops are so rude that when confronted with market issues, they are not considering changing the product structure and product quality, but they are first cutting prices, destroying peers through price cuts, and snatching The market, so the final outcome of everyone's price war is a meager profit. What's the point? Profits are not obtained through porcelain. Many workshops have nailed wooden frames and gained some profits in helping customers nail the wooden frames. This vicious circle allows workshops to make money without receiving orders, and linger almost on the cost line and the survival line. In addition to the price war, the purchase of production equipment, the production of manpower, and the cost of the flat burner, the workshop owner is almost hanging on the line, while it is a huge production facility that has to pay cash each day. The labor cost plus the drop in finished porcelain costs, and the rapidly shrinking market orders, may be the reason why these practices cannot be transformed.

The production of porcelain is entirely a human-oriented handicraft production model. To improve the yield, reduce costs, and reduce costs, the best method is to use skilled production, that is, fixed production, make one or several varieties, and sum up experiences. , strengthen the process, as long as the yield can be increased by a few percent, is the maximum cost protection. So you will see that forever making big cylinders for bigger cylinders, making tables for always making tables, making bigger bottles forever making bigger bottles, making tea sets forever making tea sets, low technical thresholds, labor-intensive industries Model, huge expenditure costs, that is to say, this production line it can not stop at all, stop, the daily worker's expenditure must also pay, you have to stop production workers can not without income will immediately leave, once you leave, want to recall is very Difficult. Don't stop it. In the prime of life, as long as the billet becomes porcelain, it is money, and in the present, the billet is even more valuable than porcelain, because as long as it is not produced into porcelain, it has other opportunities to use, and once it is produced Porcelain, the pressure of manufacturing costs, defects, warehousing, packaging, and inventory is increasing day by day. Imagine a workshop that can take over, produce 10,000 sets of porcelain, and set up hundreds of thousands of sets of porcelain. What is the state of labor intensity and what is the burden? pressure.

Creative ceramics, a very good name, are closely linked with the students of art colleges in Jingdezhen. Its main production area is concentrated in the old factory. The old factory is the name of a district in Jingdezhen. Because of the private buildings, a large number of furnaces are hidden. It also built a complete ceramic production system around these furnaces. The old factory once had a very prosperous day. A large number of ceramic distributors from all over the country were buying ceramics here. Every day they took on their shoulders and enjoyed a lively life. With the rise of the Xindu Industrial Park, and the booming shopping malls in the city, etc. The old factory gradually gradually deserted and became a relatively simple production center. If the new low-end ceramics all accounted for 50% of the production, the remaining 50% would be completely occupied by the old factory. In the old factory, the most visible figures you saw were young students who turned their ideas and ideas into earthenware through clay and wealth through ceramics. In my opinion, IT can allow millions of people to reach the list of wealth. The most important thing is that it only requires a computer and a human brain. With countless games, the software's creativity can be huge at a low cost. reward. This is also true of art ceramics, and precisely because of this, the old factory has a completely different situation from the new capital. Although it has experienced tremendous ups and downs, but the old factory is still full of vitality. This is the creative ceramics. Unfortunately, such a good sunrise industry, such a good component on the chain, is also experiencing tremendous impact. Of course, creative ceramics do not rely on government procurement, gift orders, and lack of protection of intellectual property rights are hindering the development of this new industry. A picture, a device type, a collocation, may have experienced numerous experiments and losses for the original creator, and finally succeeded, but once he has formed, it becomes a ceramic, as long as it appears on the market, Then a week later, countless imitations immediately sprang up and even after they were improved, they were even more competitive in price and quality than the originals. Ever since, one by one student, one by one's creativity has become the cannon fodder of the porcelain industry. After their former servants contributed intelligence and youth to the porcelain industry, they were knocked out mercilessly by the imitation. Who are these copycats? They are actually workshops, some are local workshops, some are students' workshops, and they survived cruel market competition. They are not the kind of huge, intensive human workshops, but the scale Absolutely more than the student's production capacity of this husband and wife's studio is much stronger, their production and sales are not a single type, they are also pursuing change, constantly looking for market hot spots, but they must continue to develop their costs and capabilities Having been greatly constrained, imitating and plagiarizing became shortcuts and became the most effective way of doing things. Therefore, they took Magic to the students' products.

There is no way for the students to hide from others and they cannot sell them, and they can't change their lives. To sell it out, only to take it out, but it was taken by others, or bought a finished product. This idea was stolen. The number of students who can actually be stocked in the porcelain industry is probably a few tens of them. There are only two ways in which they can survive. One is to open a bigger workshop and let this little fish eat shrimp that was once like himself. There is another one, that is to become an artist, into the collectors community, there are many such people, but most people who can really complete the original accumulation are in the latter. A student’s ceramic works are more expensive than the provincial masters. Seeing whether this phenomenon is normal or not normal, I really don’t say so well. I can only say that if the price of artists grows out of artists’ prices, most of them are supported by individual or minority channels, then the price is not. Secure. The ceramics collection is not a fast-selling product. The instant noodles have to be eaten before they are eaten and eaten, while the ceramics collection is a precipitated collection. Repeatability and repeated purchases are not very strong. The collectors are easy to saturate. As the collector's collection is saturated, the channels Sales will also saturate, and in the end the market will be made very embarrassing and dangerous. In fact, originally collectors invest in student-oriented growth artists for their cost-effectiveness. Even so, cost-effectiveness is a top priority, and many student-based growth artists grasp their own price levels and market their own. Estimates are often overly optimistic. Without the support of any professional title or any honorary title, the concept of cost-effectiveness is missing. It is true that art is the root of the work, but the people of consumer art are doing economic problems.