The main purpose of this paper is to investigate the origin and development of the field of modern pottery in Taiwan, and to find out the social drive shaping that field. Taking pottery as a kind of cultural production, our fundamental presupposition is that the practice of pottery based upon both social policy and the evaluating mechanism, which forms the judgment of its significance. It is all of them to make pottery work effectively, and to get the social legitimacy. In his theory of social change, Julian H. Steward (1902-1972), the American anthropologist, claims that in any region the development and changes of culture are the result of plural evolution. Accordingly we believe that modern pottery as a kind of social practice, its evaluation should not be monistic. There fore we regard that the reason why the pottery evaluation in Taiwan so distinctive form other regions (especially American, the origin of modern pottery), is caused of its unique tradition and context. In Taiwan, at the beginning pottery is not the genre of pure arts but a branch of courtly pottery; and latter it transformed into Aesthetic pottery. Therefore Aesthetic pottery became the primary concept of “pottery” in Taiwan; it is the late 1970s at the time. The real pottery, which means its creative idea instructed by Modernism, was first introduced into Taiwan during the early 1980s by the aboard students backing from U.S. and Japan. No merely new techniques, they brought back also new aesthetic attitude toward pottery. From then on, the whole mechanism of pottery production began to separate form the original system of craft; and further more, coming with the change of the authorities’ viewpoint, the autonomic production system of modern pottery had been constructed since the mid 1990s.