The Cultural Revolution period (文化大革命, 1966 - 1976) was a tumultuous and transformative phase in China's recent history. It was a sociopolitical movement launched by Mao Zedong (毛泽东), then Chairman of the Communist Party of China. The stated objective was to preserve "true" communist ideology by purging remnants of capitalist and traditional elements from Chinese society. It re-imposed Mao Zedong Thought (毛泽东思想) as the dominant ideology within the Party and marked Mao's return to power after the catastrophic Great Leap Forward (大跃进).
During this period, art and literature were repurposed as tools to educate the masses on ideological values as defined by the Party-state. Shiwan (石湾) potters, renowned for their traditional craft, were prohibited from producing works inspired by ancient themes, as these were considered part of the "Four Olds" (四旧): Old Customs (旧风俗), Old Culture (旧文化), Old Habits (旧习惯), and Old Ideas (旧思想).
In response, Shiwan artisans had to adapt, channeling their creativity into producing revolutionary and propagandistic works. These creations became an essential component of "Red Culture" (红色文化) and serve as significant historical and artistic testimonies to the era. Notable master craftsmen of the time included Liu Ze Mian (刘泽棉), Zhuang Jia (庄稼), Mei Wen Ding (梅文鼎), Huang Song Jian (黄松坚), and Liao Hong Biao (廖洪标). Many of these artists survived the Cultural Revolution and were able to identify their unsigned works.
Shiwan Cultural Revolution figurines predominantly depicted social, political, and cultural themes reflective of the time. They are highly valued by collectors today due to their symbolic, historical, and artistic importance. A Shiwan master once noted that the essence of these works is tied to the unique spirit of the era, making them impossible to replicate.
Workers, peasants, and soldiers (工农兵, gong, nong, bing) were portrayed as the pillars of the new Chinese society. According to Huang Song Jian, a Shiwan master, most figurines from this era depicted these three classes. To accurately capture their essence, Shiwan sculptors visited production units to gain firsthand experience. A committee comprising gong, nong, and bing representatives evaluated and approved the figurines before they were mass-produced using slip-casting methods.
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| Figurines featuring worker, peasant and soldiers. |
There were three main categories of Shiwan Cultural Revolution figurines:
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| Example of figurine with more orangy paste and low fired lead glazing |
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| Example with more grayish paste and more high fired glaze |
The figurines' mannerisms and postures were heavily influenced by revolutionary model operas (样板戏), introduced by Jiang Qing (江青) to replace traditional operas deemed feudalistic and bourgeois. Notable examples include:
Shiwan artists produced numerous figurines based on these operas, often portraying iconic characters.
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| Figurines in biscuit form by Zhuang Jia from the play, The White-Haired Girl (白毛女) |
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| Figural work by Liu Ze Mian based on the play "Shajiabang“ (沙家浜） |
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| Figural work jointly created by Liu Ze Mian and Zhuang Jia, based on the ballet Red Detachment of Women (红色娘子军) |
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| Figural work by Zhuang Jia based on characters in "The legend of the Red Lantern (红灯记）“ |
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| Figurine of Li Yu He by Liu Ze Mian. Main character in "The legend of the Red Lantern (红灯记）“ |
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| Group Figurines featuring children acting the role of characters in "The legend of the Red Lantern". Work by Liu Bing (刘炳） |
Another significant subject for Shiwan potters was the depiction of role models from "Learn from" campaigns:
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| Figurine of Lei Feng. |
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| Figural work featuring Luo Sheng Jiao (罗盛教), a soldier who participated in the Korean war (1950-1953) and sacrificed himself while saving a Korean child from a freezing river |
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| Figurine of a Daqing worker by Liu Ze Mian |
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| Figural work featuring Zhao Xiao He (赵小和)，a peasant from Dazhai, who was praised for saving a horse from fall over a cliff. A team design work by Liao Hong Biao and Zhuang Jia. |
Other Themes
Shiwan potters also created figurines depicting:
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| Figural works featuring the minority races |
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| Figurines of children enjoying musical and sport activities. |
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| Figurine artwork portraying Chinese interaction and friendship with the international communities |
Some complex themes required collaborative efforts among Shiwan artists. Examples include:
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| A rare team work entitled "Condemning Project 571", the numeric codename given to an alleged plot to execute a coup d'état against Chinese leader Mao Zedong in 1971 by the supporters of Lin Biao, then Vice-Chairman of the Communist Party of China |
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| Another team work portraying Hong Xiu Quan, leader of the Taiping revolution smashing the wooden spirit tablet of Confucius. It is symbolic of repudiation of old feudalistic values. |
After the Cultural Revolution, Shiwan potters returned to traditional themes. However, the high demand for Cultural Revolution figurines led to the production of imitations. These reproductions often lack the original's craftsmanship and spirit, especially in facial expressions. Experienced collectors can distinguish authentic pieces by examining differences in paste and glaze quality.
This remarkable body of work remains a testament to a unique and complex period in Chinese history.
Shiwan Cultural Revolution figurines stand as both artistic masterpieces and historical artifacts, reflecting the ideological fervor of their time. While these works were created under strict political constraints, they demonstrate the resilience and adaptability of Shiwan artisans, who transformed traditional craftsmanship into a tool for political expression.
Today, these figurines are highly valued by collectors and historians for their cultural significance. They provide insight into the period’s social and political climate, offering a tangible connection to an era that shaped modern China. As interest in these pieces grows, distinguishing authentic works from later reproductions remains crucial in preserving their historical integrity.
Ultimately, Shiwan Cultural Revolution figurines are more than just artistic relics—they are enduring symbols of a transformative chapter in China's history, capturing the spirit, struggles, and aspirations of a nation in flux.
Written by: NK Koh (20 Dec 2018), updated 20 Mar 2025