[
    {
        "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
    },
    {
        "id": 208403,
        "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": 127,
        "title": "RAS-1978",
        "content_text": "SHIWAN POTTERY EXPLORED\n\n111\n\nsuch as Lu Xun (§i§) and Yang Kaihui, (#5 B♬*) and many types of workers and peasants. In 1962 the art theory of well-known potter Liu Quan was published in Mei Shu (), which greatly enhances the understanding of a designer's creation process.\n\nI regret that time does not permit more than the introduction of a few topics related to Shiwan pottery, but it is hoped that they are sufficient to stimulate the interest of the audience, whom I have no doubt will have further opportunity in the future to hear more about this fascinating artistic expression.\n\nNOTES\n\n1 Nigel Cameron, \"Second Thoughts on Shekwan”, South China Morning Post, Tuesday, October 18, (1977).\n\n2 These discoveries were subsequently published in: Chen Zhiliang (***), “Guangdong Shiwan Gu Yao Zhi Diao Cha\" (ARGZSEALJO✨), Kuo Gu (**), (1978) No. 3, pp. 195–199.\n\n3 Li Jingkang (*), “Shiwan Tao Ye Kao” (*****), Guangdong Wen Wu {}£x#), (1941) Vol. 10: 39-47.\n\n4 Xu Zhiheng (#2&), “Yin Liu Zhai Shuo Ci\" (ABÜZ), Mei Shu Công Shu (*#*#), Shen Zhou Guo Guang She (®Æ*), (1947), Vol. 3, No. 6, pp. 159-160.\n\n5 See Guangdong Wen Wu Zhan Lan Hui Chu Pin Mu Lu (ARXMAL**), Zhong Guo Wen Hua Xie Jin Hui, Xi Nan Tu Shu Yin Shua Gong Si (@ztbet, gå!***AJ), (1940); and photographs in Guangdong Wen Wu (A*X4b), (1941) Vol. 2, pp. 163-165.\n\n6 \"Guangdong Yangjiang Shiwan Cun Fa Xian Gu Dai Yao Zhi” (ARBELZHURLRED), Wen Wu Can Kao Ze Liao (24b4”**) (1955), No. 3, pp. 161-162.\n\n7 Op. cit. Ref. 2.\n\n8 \"Gong Yi Ming Cheng Fushan\" (ILM−84), Xin Fu (**), (February 1959), No. 39, pp. 34-37.\n\n9 Yu Chengxian, editor, (**), Zhong Hua Tong Su Wen Zhang: Fushan Qin Si, (+$**$4ké), Xianggang Zhong Hua Shu Ju (✯#+4#5), (March, 1961).\n\n10 Zhuang Jia (ƒ), “Yi Qi Bu Yi Zhi, Yi Cang Bu Yi Lou-Liu Quan Tao Su Jing Yen Jian Jie”(宜起不宜止,宜藏不宜露,一則傳陶塑經驗簡4) Mei Shu, (★#ƒ), (1962), No. 3, pp. 41 f.\n\nThis theory is discussed more fully in: Fredrikke Skinsnes Scollard, \"Destruction and Creation: The Impact of Revolution on Shekwan Pottery\", Leverhulme Conference, University of Hong Kong, 1977, (In press).\n\n11 Manuel da Silva Mendes, \"Barros de Kuang Tung\", Boletim do Instituto Luis de Camoes, (Outubro de 1967), Vol. 2,",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1978.txt",
        "external_url": "https://digitalrepository.lib.hku.hk/catalog/8g84t8593",
        "rank": 0
    },
    {
        "id": 213797,
        "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-1996",
        "page_number": 149,
        "title": "RAS-1996",
        "content_text": "120\n\n24\n\nН\n\nTou To Wang, Changsha Wang and various Muowang \"demons\" I have not consulted Shuton Yoshio eds. Yao Documents (Tokyo Kodansha 1975)\n\nFor example the Buddhist concept of Liu Dao, and the Asura was summoned by the Devil King to fight the Buddha in the Dunhuang narrative literature Buo Muo Branwen, in Dunhuang Brannen, in Tarper Shipe Shuju reprint, 1980, p 347 But in a passage of the Hua Yan Jin quoted by Hong MA,, op cut P. 1680, the King of Asura was among those summoned by the Bodhisattva to come to the rescue of those in turmoil\n\nBut Muowang \"Demon Kings' also featured in canonical Daoism in which They have been conquered by the Daoist gods and can be summoned by Daoist for protection\n\nEven then the Jade Emperor's native place, according to the same document, was \"Puo Xi\" which could have been Persia too\n\nSee Jiang op eit for Qujiang, and Hu Qiwang et al Bancun Yang, Minzu Chubanshe, 1983, for Guangxi Province\n\n\"See Lagerwey for the present situation\n\n\"The SJYLSSDC as we see now, a Qing reprint of the Ming book, has a passage that says Chen went to Lu Shan to study magic. But the next four characters do not make sense The crucial characters will give the master's name as Jiu Lang and can be found in reprints in a more recent series A Ming version reprint of the same book, under the title of Sanpao Yuanliu Shengdi Faozu Shoushen Dachuan, in the series Zhongguo Mijian Xinvang Zijido Hunbuan, Taiwan, 1989, gets most of the characters right. Compare also Shi Shen, a Qing manuscript also reprinted in the same series that quotes a Zheng Shou Shen ji, the passage is otherwise identical with SJYLSSDC\n\n\"See for example Lagerwey, perhaps Liu Zhiwan also. Note the latter being account of practice of the Zhang Fazu sect, which seemed not to involve the Lu Shan Jiu Lang at all\n\nTh\n\nInteresting information is found in John Lagerwey was not mentioned, instead \"John Keupers\", \"A Description of the Fa-ch'ang Ritual as Practiced by the Lu Shan Taoists of Northern Taiwan\", in Saso and Chappell eds Buddhist and Taoist Studies 1. Hawaii University of Hawaii, 1977, p 83 This article on the Lu Shan San Nai sect shows, without saying so, that the confusion has multiplied as the priest has mistaken the pair Lu Shan Jiu Lang and Wang Tu Mu for Dong Wang Gong and Xi Wang Mu, two prominent gods in canonical Daoism, and by two steps of substitution (Xu Xun = Lu Shan Jiu Lang, Dong Wang Gong = Lu Shan Jiu Lang) identified Dong Wang Gong with Xu Xun\n\n-\n\nSee for example the San Jiao Shou Shen Da Chuan\n\nMin Du Wai Ji by den He Qiu, reprinted 1987 by Fujian Renmin Chubanshe\n\nYuan Hao-wen, Yi Jian Zhi, Reprint Beijing Zhonghua Shuju, 1988\n\n14\n\nALL\n\nOp eit pp 1181, 1429\n\n+",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1996.txt",
        "external_url": "https://digitalrepository.lib.hku.hk/catalog/3n209j641",
        "rank": 0
    }
]