The research examines Chaozhou ceramic traditions—particularly painted coloured porcelain and the distinct architectural craft qianci (porcelain inlay)—as examples of cultural sustainability within the shifting context of global creative economies. Using cultural capital and intangible cultural heritage (ICH) as framing devices, the study adopted a systematised narrative review (PRISMA 2020 standards) to gather literature (n = 30), alongside comparisons with Jingdezhen (China) and Kyō/Kiyomizu‑yaki ceramics (Kyoto, Japan). The findings clarify that Chaozhou’s ceramic ecology comprises multiple parallel traditions that should not be conflated: (1) painted porcelain as a vessel‑based art; (2) qianci as an architectural relief craft; and (3) openwork ceramics as a sculptural lineage. The data reveal that global pressures—standardization, urban renewal, and digital market cycles—pose risks for visibility and transmission, especially for labor-intensive qianci. Comparative insights from Jingdezhen’s cluster revitalization and Kyoto’s brand governance offer lessons for Chaozhou’s sustainable development. The paper proposes strategic pathways—selective standardization, heritage‑plus product lines, narrative branding, and digital safeguarding—to support authentic innovation while maintaining cultural continuity and visibility.