Yang Zhi, Junci Procelain Inheritor, said, "The traditional method allows artist to be creative, like this peacock shaped ware. It's one-of-a-kind and can hardly be copied and reproduced. Whereas the new technique is more convenient for mass production."

Tradition versus contemporary, or the blending of the two? Franz porcelain is a Taiwan label based in Jingdezhen county of east China's Jiangxi province. The company is doing a brisk business. Its trendy designs include a variety of topics, updating the proud techniques of Jingdezhen to a new level, one in touch with today's market.

A manager from the company said that the cooperation is a win-win solution, and is giving Chinese ceramics new vigor.

It's a practical solution and a shared vision for artists of other art forms. The Cloud Brocade in Nanjing, for example, used to be available only for the royal family. Tracing back more than 1500 years, the brocade has also been called a living fossil.

Recognition of this fabric has grown in recent years with its application for the World Intangible Cultural Heritage List. Its entry was made in 2009. Artists from the Nanjing Cloud Brocade Research Center say the art can only survive as long as it goes with the times.

Guo Jun, Art Director of Nanjing Brocade Research Institute, said, "We have brought the most traditional pattern and a new pattern to the exhibition here. We hope that the visitors are able to connect with the fabric, and don't view it as an alienated art form."

The exhibition has demonstrated 318 art works from one hundred folk arts masters across 23 provinces, municipalities, and autonomous regions. Close to 1.8 billion yuan have been plunged into the project for 2200 protection institutions and 20,000 staff members.

Over one thousand art forms have been listed as national cultural heritage and twenty six have made it to the World Intangible Cultural Heritage list.

Organizers of the exhibition hope that collective efforts will continue to maintain the luster of each heritage.