Xifeng District is located in the core area of Dongzhiyuan in Longdong, the hinterland of the Loess Plateau. The highly plastic red clay is widely distributed. Humans fired pottery here in the Neolithic Age. The ancestors of the Zhou Dynasty created the Bin culture here and made great contributions to the pottery industry in Qingyang. The pottery relics unearthed from the Gedaqu site in Nanzuo and Wangzui Village in Houguanzhai Township are the evidence of the history of pottery in Xifeng District and even in Qingyang. Xifeng pottery sculpture has a long history and is in the same vein as the pottery craftsmanship in ancient times. It has been continuously developed since the primitive society and has been passed down to this day. It retains the traditional handmade characteristics. The original traditional techniques are still used in the firing process. In terms of product modeling techniques, traditional methods such as pinching and pasting are inherited and developed. The products have strong national characteristics, distinct local styles, and are honest and simple in form. According to their uses, they can be divided into four categories: temple building ornaments, residential house ornaments, daily necessities, and playthings. They are mainly used for temple and residential decoration. The main products of Xifeng pottery sculpture are various flower ridges, animal heads, tiles, relief (or openwork) patches, etc. on temples and antique houses. These products inherit traditions and have distinct personalities. They are works of art that integrate practicality and aesthetics. They add verve and soul to antique buildings with their vivid forms and strong cultural connotations. In the past 30 years, with the popularity of modern architectural styles and the change of materials for making daily necessities, pottery products have lost their original market, and artists have abandoned or changed their jobs. Only one of the original three pottery factories in Xifeng District remains. In addition, the work of this art is heavy and the technical requirements are high. Young people are unwilling to learn it, resulting in a lack of successors and the art is on the verge of extinction. It is urgent to increase support and take incentives to enable this long-standing folk traditional art to be passed on and flourish.