World history has witnessed numerous attempts to terminate cultural globalization that emerged due to economic and commercial activities and to remove borders between countries. Silk Road and Spice Route connected the East and the West for centuries carrying valuable goods and inventions to new geographical areas. In addition, this interaction allowed people to get to know about new ideas, reli-gions and cultures, to understand them and to establish closer relationships. In other words, techno-logical developments, discoveries, religions and culture spread to a large geographical area thanks to these roads. Blue Whites, one of the most symbolical objects of these roads, reached all over the world from China as the consequence of the inevitable effect of globalization. As the rare surviving samples of cultural globalization, Blue Whites have been an effective way of selfexpression for artists because of their strong language inspired by their traditional, classical and modern iconography. This paper aims to introduce a group artists who deal with political and actual issues in ceramics art, question basic human rights and freedoms, focus on wars and migrations, emphasize hatred against women, attract people’s attention to natural and socio-political disasters, adopt a critical approach towards social issues such as smuggling, drug trafficking, urbanization, football, religion and sex, and prefer to reflect this approach on white plates through a blue language and a pictorial concern. It also presents the methods they prefer or develop by themselves to express their feelings as well as the effects of this language on the vocabulary of ceramics.