Asian Journal of Education and Social Studies

Non-fungible tokens (NFTs) can connect digital artworks to identifiable blockchain records, but neither tokenisation nor a platform listing independently authenticates the underlying cultural object or confers copyright. This article develops an NFT-Mediated Digital Creativity Model to explain how the affordances of digital tokens and platforms may interact with cultural translation in the reinterpretation of Jingdezhen ceramic heritage. This article adopts a conceptual synthesis and uses Jingdezhen ceramic heritage as an analytically illustrative context; it does not report an empirical investigation of identified Jingdezhen NFT collections.Its three linked dimensions are creative-technical conditions (token and metadata structure, traceability, interface design and discoverability), translation-creative practices (iconographic interpretation, narrative recontextualisation and creative reassembly), and contingent circulation outcomes (visibility, interpretive hybridity and participatory engagement). Jingdezhen provides a historically situated context because its ceramic technologies, production networks and visual conventions have undergone repeated adaptation across markets and communities. The analysis separates verifiable token histories from claims about artistic authorship, cultural legitimacy and audience reception. It argues that NFTs may serve as one optional layer within broader digital heritage systems, rather than as a necessary or inherently superior means of safeguarding heritage.The model yields testable expectations concerning metadata quality, community participation, interpretive diversity and platform governance, while identifying intellectual-property, cultural representation and infrastructure risks. Its contribution is a cautiously specified framework for analysing when token-mediated creative circulation might support, rather than substitute for, historically informed heritage interpretation.