Group 1: Financial Performance - The company's revenue in the first half of 2025 increased by 25.1% year-on-year, while net profit attributable to shareholders grew by 21.63% [2] - The gross profit margin for the first half of 2025 was 33.04%, a decrease of 1.08 percentage points compared to the same period last year [2] - The net profit growth rate in the second quarter of 2025 reached 31.51%, indicating strong performance in the industry [3] Group 2: Research and Development - R&D investment for 2024 is projected to be 67.9 million yuan, accounting for over 5% of revenue [1] - In the first half of 2025, R&D expenditure was 31.92 million yuan, reflecting a year-on-year increase of 4.78% [2] - The company holds 503 patents, indicating a strong focus on innovation [1] Group 3: Market Strategy and Expansion - The company plans to invest 1.438 billion yuan in the "ASEAN Ceramic Valley" project, which is expected to add 165 million pieces of colored glaze ceramic capacity, accounting for 40% of current capacity [4] - The company aims to diversify its customer base, as the top two clients account for over 60% of revenue [3] - The establishment of a research center in Shenzhen is part of the strategy to enhance innovation and design capabilities [1] Group 4: Export and International Relations - The proportion of foreign sales reached 71.06%, with key clients including IKEA and William Sonoma [2] - The company faces a 16.5% anti-dumping tax on exports to the EU, but the new Vietnam base will reduce tariffs to 3%, potentially increasing export share [2] - The company has maintained growth in EU exports despite the anti-dumping measures since 2011 [2] Group 5: Risk Management - The company has identified 12 internal risks and 291 related risks, primarily involving legal disputes [4] - Measures have been implemented to ensure compliance and manage related transactions effectively [4] - Accounts receivable accounted for 70.35% of net profit in the first half of 2025, with an average collection period of about one month [5]

铺洒渌江两岸的早春斜阳穿过窗棂，在案头素坯上投下细碎光斑。素坯泛着象牙白的光泽，仿佛等待泼 墨的宣纸。 她叫陈利，国家级非物质文化遗产——醴陵釉下五彩瓷烧制技艺代表性传承人。此刻，陈利正将羊毫浸 入青花料碗，笔锋在碗沿轻旋三圈，甩去多余水分——这个动作得自父亲陈扬龙的真传，能让釉料均匀 渗透胎骨。笔尖接触素坯的瞬间，钴蓝在素白天地间洇出萱草初绽的轮廓，像一抹淡墨在宣纸上苏醒。 我注意到她悬腕的姿势格外稳当，宛如扎根在岁月深处的一株老梅。她与釉下五彩瓷30多年厮磨的光 阴，在笔尖凝成半毫米的色层。 "薄施淡染的秘诀，在七分水三分色。"她说话时笔锋未停，青料在清水引导下自然扩散，花瓣的肌理渐 次浮现。这令我想起南宋《蚕织图》里缫丝女的巧手，同样是游走在有形与无形之间。她又耐心诠释着 蜚声陶瓷界的"薄施淡染"：在原来釉下色料中加大水的成分，着色时颜色随水沁入坯胎，通过浓淡的反 复操作，将釉下色料与泥料融为一体。这一技法是她父亲一生心血的结晶，她用半辈子工夫挖掘、整理 和完善，绘制的图案层次更丰富，色彩也更润泽。如果说传统醴陵瓷的装饰风格是厚重的，"薄施淡 染"的作品则是莹润通透、淡雅清新，像最上等的宝玉。 醴陵泥土 ...