Foshan in Guangdong Province has been synonymous with pottery since ancient times. It was one of China’s four main market towns during the Song Dynasty (960-1279). Shiwan Town in particular has a 5,000-year history of ceramics industry, as witnessed by the late Neolithic Age embossed pottery items excavated from Beiqiu Site. Shiwan became a manufacturing base for domestic ceramics when foreign trade began to flourish.
　　“Shiwan Gongzai,” as Shiwan works of ceramic art are popularly known, are the fruits of highly developed domestic ceramic techniques fueled by high commercial demand and efficient distribution. Taken from daily life, Shiwan artistic ceramics fall under five categories: figurines, animals, artistic vessels, pot- ted landscapes and architectural ornaments. Combining artistic quality and practicality, Shiwan figures are a facet of the southern China Lingnan Culture. In 2006, Shiwan ceramic sculpture appeared on China’s first list of intangible cultural heritage.
　　Liu Zemian is of the fourth generation of a family of ceramics crafters in Shiwan Town. His great-grandfather Liu Huisheng was proprietor of the Liushengji store, which purveyed the type of miniature ceramic sculptures, such as figurines, animals and pavilions, used in potted landscapes.
　　Liu Zemian’s Grand Uncle Liu Zuochao was a reputed ceramics master in Shiwan. He inherited the Liushengji store and devised specific skills that are still in use today. As only a few of his works have survived the centuries, they are much sought after by local and international ceramics collectors.
　　Liu Zemian was born in 1937, when the War of Resistance Against Japanese Aggression broke out. Soon after, Japanese invaders occupied Foshan and the Liu family store collapsed. The family first sought refuge in Hong Kong, but later returned to Shiwan after the island colony too became occupied. The chaos of war made running the business impossible, and the Liu family knew extreme hardship. During the eight years of warfare, local potters wandered about homeless and penniless. By the end of the war Shiwan’s population had plummeted from 60,000 to 3,000.
　　Shiwan’s ceramic sculpture industry slowly revived after the victory in 1945 against Japan. Liu Zemian, then a schoolboy at an old-style tutorial school, contributed to the family business by kneading crude figurines, birds and beasts. This marked the beginning of his ceramics career. 　　Liu transferred to a primary school after the founding of the People’s Republic of China in 1949. Encouraged by his teacher, Liu created his first ceramic work– a statue of Chairman Mao Zedong. His maiden work later went on public exhibition in the town, and Liu was awarded the then princely sum of RMB 30.
　　During the 1950s China’s economy was vastly underdeveloped. As the eldest son, Liu shouldered the responsibility of providing for the family. He dropped out of school and applied for an individual business license to run a handicrafts workshop. In 1955, Liu participated in and organized a ceramics production cooperative, and later set up the Shiwan Artistic Ceramics Factory. Liu still remembers the small factory on a patch of wasteland where he and his workmates started out. After 50 years of hard work, it has evolved into a modern ceramics manufacturer of display art, architectural art, ornamental art and daily-use products.
　　Liu’s first trip to Beijing was in 1957 as a young folk artisan taking part in the first National Arts and Crafts Congress. Both the exhibits he saw there and the treasures on display at the Palace Museum broadened Liu’s artistic horizons. He later took up further studies at the Central Academy of Art and Design in Beijing. Encouragement and guidance from masters and professors, as well as exchanges with artists throughout the country, deeply influenced Liu’s artistic creativity. While maintaining the tradition of Shiwan figures, his works also imbue aspects of Western sculpture, reflecting the spirit of the times. Liu conscientiously carried on the tradition of Shiwan folk arts, so accumulating valuable ceramic sculpture technical references. He soon achieved maturity in his creative path, apparent in his unique style.
　　As Liu’s creative inspiration originates in daily life his work is hence life’s recreation. Liu went to Pingzhou Town, Nanhai County in Foshan in the 1960s to live as a farmer. Thanks to the construction of an irrigation system, local farmers were able to reap abundant harvests even at times of drought. The changed lifestyle in the new society and farmers’ gratification at harvest inspired Liu’s ceramic sculpture named Joy, which portrays a happy old farmer savoring a cup of tea. It is one of his most popular works.
　　In 1981 Hong Kong held its first-ever large-scale exhibition of Shiwan ceramic art. The organizer asked Shiwan to provide a complete set of traditional sculptures. Liu Zemian, his brother Liu Bing and son Liu Zhaojin set out to make a tableau of 18 Arhats. The three took a trip for research and inspiration purposes to the famous Yungang Grottoes in Datong, Shanxi Province, the Longmen Grottoes in Henan Province, Qiongzhu Temple in Yunnan Province and Nanhua Temple in Guangdong Province. They created more than 100 draft statues, from which they eventually chose 18 featuring the most vivid characteristics. 　　The works created a sensation in Hong Kong, and later won gold prizes at the National Arts and Crafts Hundred Flow- ers Award Competition. “This work established my artistic status and brought Shiwan ceramic sculptures to more people,” Liu said. Replicates have since been presented to the Wat Yansangwararam in Thailand.
　　As an old saying goes, “Two heads are better than one.” In addition to his own efforts, the support Liu has received from his family members, especially his wife Lin Rui, has been crucial to his work. “Half of my achievements are due to my wife,”Liu said. Liu Zemian and his wife were schoolmates and also colleagues at Shiwan Artistic Ceramics Factory. During their 50 years of marriage, his wife has helped to refine his works. Liu is gratified that all four of his children are engaged in ceramic arts, and that their distinct styles have made them well known in their own right.
　　During his 50-year career, Liu Zemian has met different people at various events. One who particularly impressed him is HK business tycoon Dr. Henry Fok Ying Tung. In 1987, the Shiwan Art Ceramic Factory held an exhibition of Liu’s works, making him the first ceramics master ever from Shiwan to hold a oneman show in Hong Kong. It was on this occasion that a Shiwan ceramic figurine sold for a record price. Henry Fok Ying Tung invited Liu to have dinner with him. Fok purchased several of Liu’s works and proposed sponsoring a ceramics exhibition featuring works by other Foshan ceramics masters. As this was the first time he had sponsored such an event, he was unsure as to what would be an appropriate donation. He gave Liu a blank check, saying: “You can fill in the sum you feel you need.” Liu was at a loss as to what to do. “After discussion with the leaders who had traveled with me to Hong Kong, I wrote the sum RMB 150,000 in the blank space.” Liu has never forgotten Henry Fok Ying Tung’s generous donation to Foshan ceramics.
　　Liu Zemian’s daughter Liu Jianfen is the fifth-generation inheritor of the Liushengji store. Now in his 70s, Liu Zemian still works on ceramics in his studio. His greatest happiness comes from making crafts according to his inspiration and winning public recognition. “Different from technology, artistic creation mainly relies on an artist’s talent rather than on training. I have never formally accepted an apprentice, but I’m willing to pass on skills unconditionally to young people who are eager to learn.”
　　Happy to be working with ceramics, Liu Zemian never considers retirement. To an artist, work never stops as long as the impulse to create remains in his heart.