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Viewing cable 06GUANGZHOU11469, Revolution and Remembrance -- The Last Stand of
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Reference ID | Created | Released | Classification | Origin |
---|---|---|---|---|
06GUANGZHOU11469 | 2006-04-12 07:17 | 2011-08-23 00:00 | UNCLASSIFIED//FOR OFFICIAL USE ONLY | Consulate Guangzhou |
VZCZCXRO0290
RR RUEHAG RUEHCN RUEHDF RUEHGH RUEHIK RUEHLZ
DE RUEHGZ #1469/01 1020717
ZNR UUUUU ZZH
R 120717Z APR 06
FM AMCONSUL GUANGZHOU
TO RUEHC/SECSTATE WASHDC 4835
INFO RUEHOO/CHINA POSTS COLLECTIVE
RUCNMEM/EU MEMBER STATES COLLECTIVE
RUCPDOC/USDOC WASHDC
RUEAIIA/CIA WASHDC
RUEKJCS/DIA WASHDC
RHEHNSC/NSC WASHDC
RHHMUNA/HQ USPACOM HONOLULU HI
UNCLAS SECTION 01 OF 03 GUANGZHOU 011469
SIPDIS
SENSITIVE
SIPDIS
STATE FOR EB, R, EAP/CM, EAP/PD, DRL
STATE PASS USTR
USDOC FOR 4420/ITA/MAC/MCQUEEN, CELICO, DAS LEVINE
USPACOM FOR FPA
E.O. 12958: N/A
TAGS: ECON KIPR SCUL ELAB PINR CH
SUBJECT: Revolution and Remembrance -- The Last Stand of
Traditional Culture in Chaozhou?
Ref: Guangzhou 11352
(U) This document is sensitive but unclassified. Please
protect accordingly. Not for release outside U.S.
Government channels. Not for internet publication.
¶1. (U) Summary: War and revolution -- including that of a
cultural nature -- have not been kind to the once highly
civilized city of Chaozhou in eastern Guangdong. Still,
some artisans hid treasures during the Cultural Revolution
and preserved the expertise and aesthetic level as best
they could. Now traditional Chaozhou fine arts --
intricate wood carving and raised silk embroidery -- have
made something of a comeback but are being threatened by
the lack of apprentice and journeymen artisans not to
mention the provincial and central authorities' penchant
for appropriating Chaozhou artifacts for permanent display
in outside museums or for outright gifts to state visitors.
End Summary.
¶2. (SBU) Chaozhou has some stunningly beautiful cultural
sites and sights that could become the basis for a very
large tourism industry (reftel), but it has not been an
easy road for Chaozhou. This ancient city resisted the
Manchus in the 17th century and paid a terrible price.
Warlord armies crisscrossed the area in the 1920s, and
armed conflicts between Communist and Nationalist forces
also took place there during this era. Japanese
trepidations exacted their toll in the 1940s, and then it
became the turn of the Communists. The early part of that
era saw the substantial dismantling of the Xiangzi Bridge,
a unique and valued structure for Chaozhou citizens but
just an "old bridge" awaiting "modernization" for the
Communists. Then, the Cultural Revolution cut a huge
swathe in Chaozhou, including the destruction of most of
the Buddhist images and accompanying paraphernalia and
decorative artwork in the city's famous Kaiyuan Temple,
founded in the 8th century.
Physical Grandeur Being Restored
--------------------------------
¶3. (SBU) Now the Chaozhou government and citizenry are
well on their way to "retoring" the grandeur of the city.
The Xiangzi Bridge, with its stone pillars topped with
wooden pavilions and moveable wooden pontoons in the
middle, will be reopened in September. The Han Yu Temple,
built in 999 and which had not suffered much during the
Cultural Revolution (due perhaps to the anti-
"superstition," anti-Buddhist stance taken by this famous
Tang Dynasty essayist and philosopher) is very presentable
even now. The Kaiyuan Temple has brand new Buddhist
images, including some housed in an entirely brand new
eastern wing, and is serenely and tranquilly beautiful
despite the crowds of worshippers.
A Wooden Life
-------------
¶4. (SBU) But what of the artisans and the aesthetics
social classes of Chaozhou? Have they been "restored" as
well? Master Artisan Gu Liuxi told us that he is doing
quite well now. The new Buddhist images at the Kaiyuan
Temple are the work of him and his factory -- a dizzingly
noisy place with some workers using chain saws to cut huge
logs down to workable size, others carving the intricate
details famous in Chaozhou woodworking, and still others
applying the gold leaf found on many religious and non-
religious works. Gu said that he had survived the Cultural
Revolution in part because he was not then seen as a senior
craftsman, but he lamented the wanton destruction that had
taken place, particularly at the Kaiyuan Temple. After the
Cultural Revolution was over, there was not enough money to
restore the temple, but fortunately he and his factory,
then state-owned, received orders from Buddhist temples in
Thailand (where a lot of Chaozhou overseas Chinese reside)
and the company moved forward from that point.
¶5. (SBU) Gu continued that the Kaiyuan Temple restoration
was a highlight of his life, and he was pleased that
Chaozhou people from all over the world, including of
GUANGZHOU 00011469 002 OF 003
course within the city itself, had made massive monetary
contributions. The revenue from the restoration has also
allowed Gu to expand production of a whole array of
products including non-Buddhist pieces, and some of his
works are now on display at various exhibition halls
throughout China. These smaller works, often of scenes
from history (the Three Kingdoms Era, for example) or
literature ("The Dream of the Red Chamber," for example),
are intricately carved such that the details on the faces,
for example, are nuanced and realistic. Such works require
as many as three or four years, with teams of artisans,
some specializing in faces, some in furniture and screens,
and some in the natural settings (hills, forests, and
waterways). But these artisans are increasingly hard to
find, and the specialists are overwhelmingly middle-aged.
Working for three or four years on small pieces is
painstaking, hard work, and young people do not want to
take the time to learn how to do this type of intricate
carving, he lamented. Moreover, the tradition of passing
on techniques to the next generation within an artisan
family is also difficult in a one-child era (Gu's daughter
is involved in the business end of running the factory and
the two showrooms but is not herself interested in learning
the craft).
Silken Threads
--------------
¶6. (SBU) We also visited Master Artisan Zhang Xiuwen at
her Chaozhou embroidery shop. Zhang explained that
Chaozhou embroidery is famous for being raised, i.e., silk
thread is piled onto itself to create relief images of
animals, people, flowers, plants, and even Chinese
characters (in cheaper pieces, the raising is done with
cotton thread with a silk facade on top, but Zhang said
that these cheaper pieces often create problems later for
purchasers). These pieces could be relatively small but
they can also be enormous (for example, the Kaiyuan Temple
is festooned with embroidered floor to ceiling banners in
the Chaozhou style). Because of the interest shown
particularly by the Consul General's spouse, Zhang excused
herself and went to her home, which is on top of her shop,
and came back with her "stash" of a couple of score of
embroidery pieces.
¶7. (SBU) The Master Artisan had "rescued" these pieces and
several more score as a relatively low employee at the
embroidery craft factory where she had been employed when
the Cultural Revolution broke out in Chaozhou. She had not
believed that the Red Guards would have wanted to destroy
or confiscate these works, but after looking at the
destruction that took place before her very eyes, she
secretly took what she could and hid them for over a
SIPDIS
decade. And these are treasures. A traditional style "one
hundred birds" piece -- water-stained after it was
retrieved from a burning pile of embroideries -- is
brilliantly composed, with every single bird having
distinct faces and forms, while a version of "two chimeras
playing with one another" is vividly charismatic.
¶8. (SBU) Zhang had rescued more of these, but after
"reform and opening" she had told Chaozhou municipal
officials that these treasures still existed and she had
donated many to them. She was shocked and unhappy to
discover that many of the pieces were subsequently sent on
to Guangzhou and Beijing where they either went on display
at some museum or became outright gifts to visiting foreign
dignitaries. She finally convinced Chaozhou authorities
that they were giving away "the very soul of Chaozhou," and
now she carefully hordes those pieces remaining in her own
personal possession while Chaozhou officials have become
far more conscious that these artifacts are more
appropriately displayed in a Chaozhou setting, particularly
as the city further develops its tourist industry.
¶9. (SBU) Zhang said that the force of her argument was
buttressed by the fact that literally no more of these
types of embroidery pieces are forthcoming. The "secrets"
of manufacturing the silk fabric on which the embroideries
are stitched are "lost forever," and there is no large
GUANGZHOU 00011469 003 OF 003
extant supply of this particular type of fabric anymore --
she hordes some also for her own personal stitch work.
More importantly, the craft is also deteriorating if not
dying. To be sure, Chaozhou still produces embroidery but
much less care and work is involved in the production of
contemporary pieces (they are still good enough, however,
for provincial authorities to present as gifts to
dignitaries, with Chaozhou products accounting for 40
percent of provincial government gifts to visitors,
according to Chaozhou city officials). Moreover, because
embroidery is painstaking handiwork, many young women
refuse to take it up, preferring instead the lower pay but
easier work style of the factory or shop floor.
Comment
-------
¶10. (SBU) Although "very expensive" by Chinese standards,
the works by Gu and Zhang are cheap considering the amount
of time spent producing them and the artistic creativity
embedded therein. Accordingly, the products are seeing
brisk sales particularly to overseas Chinese albeit the
number of domestic Chinese patrons is also growing. Still,
it is not likely that the revenue potential will be a
sufficient draw for potential artisan apprentices and
journeymen to spend the years mastering the crafts. So,
while the physical attributes of Chaozhou's culture will
soon be fully on display for the world to see, the human
"memory" behind that culture as embodied in the generation
of Master Artisans Gu and Zhang may not be transmitted to
their posterity.
Dong