[
    {
        "id": 208400,
        "series_id": 26,
        "series_slug": "histsyn-rashkb-journal-engine",
        "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊",
        "series_use_hku_proxy": false,
        "document_key": "RAS-1978",
        "page_number": 124,
        "title": "RAS-1978",
        "content_text": "108\n\nFREDRIKKE S. SCOLLARD\n\nnative Ming dynasty while under barbarian Qing rule, close scrutiny reveals the presence of two men in European dress—a strange phenomena in a Song dynasty setting. According to the curator, this scene refers to an incident involving French aggression in the Fushan area. (Plate 19).\n\nA similar incident involving skirmishes between troops led by British Consul Harry Parkes and residents of Fushan led the Shiwan potters to create pottery urinals and pillows out of the likeness of Harry Parkes. Most of these were destroyed by British order, but in 1942 one was discovered and put on exhibition, attracting much attention.13 (Plate 20).\n\nWhile I was contemplating these earlier evidences of cross-cultural interaction in Shiwan, it seemed of great significance to the town members that I was the first foreigner to be driven around the entire town. This heightened my own sense of exploration. The town itself evidences stark contrast between modern construction and underdevelopment, panoramically revealed from the observation deck on top of the new five-story \"Pottery Capital Restaurant.\" To the northwest are seen a heavy concentration of pre-1949 red brick residential houses, some prominently displaying roofs with \"ears\" which used to indicate the residences of wealthier families. The background is dominated by shorter chimneys of the traditional \"dragon kilns\" (sloping tunnel kilns). To the southeast the contrast is striking, with new concrete residential buildings and factories under scaffolding, and the tall slender chimneys of modern continuous kilns crowding the sky. The people can clearly remember the layer of soot which previously covered the town and made houses difficult to clean, and appreciate the cleanliness of the new kilns. The town has had paved roads since 1958; to the northwest of the town a public park with an artificial lake is being built, and a new \"Pottery Capital Restaurant\" was opened in March of 1978 largely to meet the demands of increased numbers of tourists.\n\nInside the factories the differences in the rate of modernization are just as striking. While the daily utensil factories as a whole operate eight continuous kilns, Daily Utensil Factory No. III operates only four dragon kilns (one dating back to the Ming Dynasty became a protected monument in 1964). The Arts Factory, which hosts all the tourists visiting the town, includes two new and large modern buildings with a partially yellow-tiled roof. The Daily",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1978.txt",
        "external_url": "https://digitalrepository.lib.hku.hk/catalog/8g84t8593",
        "rank": 0
    },
    {
        "id": 208401,
        "series_id": 26,
        "series_slug": "histsyn-rashkb-journal-engine",
        "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊",
        "series_use_hku_proxy": false,
        "document_key": "RAS-1978",
        "page_number": 125,
        "title": "RAS-1978",
        "content_text": "SHIIWAN POTTERY EXPLORED\n\n109\n\nUtensil 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\n\nJust 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.\n\nIn 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.\n\nAn 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.\n\nFamily 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.\n\nThese 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",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1978.txt",
        "external_url": "https://digitalrepository.lib.hku.hk/catalog/8g84t8593",
        "rank": 0
    }
]