SHIIWAN POTTERY EXPLORED
109
Utensil Factory No. I makes use of many low buildings built just post-1949, as well as a few larger, more modern buildings, while in the grounds of Daily Utensil Factory No. III, the workers' residences consist of pre-1949 buildings in narrow alleyways. The new look of the town inspires optimism, while its old structures invite comparison with the past and are a constant reminder of its developing state.14
Just as the town combines old and new, so the potters in the Fushan Shiwan Arts Pottery Factory combine a new work force with a preserved family tradition.
In 1952, two members from PLA "propaganda units" (i.e. publicity units), Zhuang Jia(4) and Zeng Liang(R), joined the newly established State-owned arts factory, under the tutelage of the two best-known artists in Shiwan at the time, Liu Quan(F*) for figure sculpture, and Ou Qian(§#) for animal sculpture. After 1958 there was a concerted policy of bringing in outsiders to build up the industry. Of the 21 designers in the design studio, seven came to Shiwan between 1961 and 1963 directly from specialized pottery training in technical or art schools. Four out of these seven have married spouses in the pottery business.
An examination of the designers' family trees, however, revealed the continuation of old family traditions and the beginning of new family traditions. Three old Shiwan families are represented in the design studio; two in the fourth generation (families of Liu Quan(#1), and Liao Hongbiao(A)), and one in the fifth generation (family of Liu Zemien(###), Plate 21). In addition, the sons of both former PLA members Zhuang Jia and Zeng Liang have joined the pottery industry, indicating that these new families are now thoroughly integrated into the industry and beginning new family traditions.
Family involvement appears to be characteristic of the industry as a whole. Of the 21 artists in the design studio there are three married couples, two brothers and three father and son teams. Seventeen of the 21 designers have family members in other aspects of the pottery industry at Shiwan.
These artists vigorously carry on the tradition of Shiwan ceramic art, continuing to sculpt historical and folklore figures in addition to personalities of contemporary society, both well-known ones
SHIIWAN POTTERY EXPLORED
109
Utensil Factory No. I makes use of many low buildings built just post-1949, as well as a few larger, more modern buildings, while in the grounds of Daily Utensil Factory No. III, the workers' residen- ces consist of pre-1949 buildings in narrow alleyways. The new look of the town inspires optimism, while its old structures invite comparison with the past and are a constant reminder of its deve- loping state. 14
Just as the town combines old and new, so the potters in the Fushan Shiwan Arts Pottery Factory combine a new work force with a preserved family tradition.
In 1952, two members from PLA "propaganda units" (i.e. publicity units), Zhuang Jia (4) and Zeng Liang (R), joined the newly established State-owned arts factory, under the tutelage of the two best known artists in Shiwan at the time, Liu Quan( F *) for figure sculpture, and Ou Qian ( § #) for animal sculpture. After 1958 there was a concerted policy of bringing in outsiders to build up the industry. Of the 21 designers in the design studio, seven came to Shiwan between 1961 and 1963 directly from specia- lized pottery training in technical or art schools. Four out of these seven have married spouses in the pottery business.
An examination of the designers' family trees, however, revealed the continuation of old family traditions and the beginning of new family traditions. Three old Shiwan families are represented in the design studio; two in the fourth generation (families of Liu Quan (#1), and Liao Hongbiao (A)), and one in the fifth genera- tion (family of Liu Zemien (###), Plate 21). In addition, the sons of both former PLA members Zhuang Jia and Zeng Liang have joined the pottery industry, indicating that these new families. are now thoroughly integrated into the industry and beginning new family traditions.
Family involvement appears to be characteristic of the industry as a whole. Of the 21 artists in the design studio there are three married couples, two brothers and three father and son teams, Seventeen of the 21 designers have family members in other aspects of the pottery industry at Shiwan.
These artists vigorously carry on the tradition of Shiwan ceramic art, continuing to sculpt historical and folklore figures in addition to personalities of contemporary society, both well known ones
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