Instability in Human Resources

Tracing the early trajectory of Hong Kong’s painted porcelain industry, its development can be characterized as turbulent and circuitous.

Oral histories from the trade indicate that the sector suffered from severe labor instability: during the Japanese occupation of Hong Kong, production ground to a halt amidst severe hardship, causing the earlier wave of migrant workers from the north to disperse in search of a livelihood, with some returning to the Mainland. Following the restoration of peace after the Japanese occupation—popularly referred to as the "Three Years and Eight Months" (1941-1945)—the industry underwent demobilization and recovery. However, with infrastructural and economic conditions left in ruins, full recovery was not officially achieved until approximately 1947. In 1945, as the Chinese Civil War broke out domestically and political instability escalated, another influx of skilled artisans migrated to Hong Kong. Yet during the 1950s, responding to calls from the Mainland to return and participate in national construction, the local talent pool experienced a temporary contraction, though a portion of these workers subsequently returned to Hong Kong after a short interval.

Scarcity in Industrial Resources

Beyond labor instability, the early porcelain-decorating industry suffered from a severe dearth of industrial resources.

Oral histories indicate that prior to the 1960s, even municipal water and electricity supply systems remained rudimentary. Workshops depended entirely on manual labor to haul water. Because electric kilns were not available at that time, production solely relied on traditional hand-operated charcoal-fired kilns. Case studies reveal that there was a newly established workshop that constructed the primary structure of its overglaze muffle kiln out of an earthenware sugar jar to conserve scarce resources. These early workshops were crude cottages; some workshops were tragically destroyed after being caught in sweeping fires. Because porcelain blanks essential for painted decoration were in chronically short supply, factories frequently maintained pools filled with strong acid to submerge old porcelain, stripping away existing surface patterns so the vessels could be re-decorated.

These diverse challenges demonstrate that the early operational ecosystem had yet to stabilize, making the establishment of workshops and the cultivation of a sustainable livelihood exceptionally difficult.

Structure drawing of a self-made muffle kiln constructed by Mr Lee Wing-chiu during his early years in Hong Kong in the 1950s. The utilization of an earthenware sugar jar as the inner chamber of the kiln underscores the severe resource constraints of the era. (Designed by Mr Lee Wing-chiu; drawing drafted by Mr Yiu Hoi-ki based on Mr Lee's recollections.)

Opportunities Amidst Adversity

Although the early painted porcelain industry floundered in the face of hardship, Hong Kong’s geopolitical advantages carved out unique apertures for survival and growth, paving the way for a gradual transition toward prosperity. Several pivotal historical opportunities catalyzed this development:

First, around the period of the Second Sino-Japanese War in the 1930s, China initiated a boycott of Japanese goods. Consequently, painted porcelain factories in Guangzhou were barred from using Japanese porcelain, severing a primary source of blanks and dealing a severe blow to local production. Hong Kong, then under British colonial rule as a free port, faced no such restrictions on utilizing Japanese blanks. Thus, even when regional political turmoil severely disrupted the supply of Jiangxi blanks to the Hong Kong, the gangcai workshops could still secure Japanese blanks for decoration, thereby sustaining business operations.

Second, following the end of the Japanese occupation in 1945, the local economy witnessed a rapid resurgence. Post-war demand for painted porcelain in Chinese Mainland and Southeast Asia soared, driving prices up to tenfold their pre-war levels and triggering a dramatic boom in sales.

Third, following the Korean War, from 1953 to 1972, the United States imposed an embargo on China. Porcelains manufactured in China or decorated on Chinese blanks were strictly prohibited from entering the U.S. market. However, commodities produced in Hong Kong—including products decorated in Hong Kong using non-Chinese blanks—could be exported to the United States provided they obtained a Comprehensive Certificate of Origin (C.C.O.). Recognizing this commercial avenue, the gangcai factories universally adopted Japanese blanks to secure export channels, a practice that persisted until U.S. President Richard Nixon’s historic visit to China in 1972, which thawed Sino-American relations and lifted trade restrictions. Concurrently, leveraging its status under British colonial rule, manufacturers in Hong Kong holding Comprehensive Certificate of Origin could simultaneously apply for the British Commonwealth Certificate of Preference to Hong Kong. This certificate granted preferential tariff treatment for exporting goods to the United Kingdom, France, and their respective territories, a measure that undoubtedly favored Hong Kong’s porcelain export trade. While China faced trade barriers during this era, Hong Kong enjoyed favorable economic and commercial terms. Although Hong Kong lost its historical position as an entrepôt for trade with China, it gained a crucial turning point to transform into a light-industrial port, directly shipping locally decorated porcelain to international markets.

Fourth, during the Cultural Revolution in Chinese Mainland in the 1960s, porcelain production in Guangzhou was heavily disrupted. Western merchants subsequently redirected their attention to ceramics from Hong Kong. By filling this market vacuum, the Hong Kong painted porcelain trade experienced a period of robust prosperity.

Export painted porcelain dating from the Korean War period through the 1970s, featuring an English backstamp: "JAPANESE PORCELAIN WARE•DECORATED IN HONG KONG•" Hong Kong products decorated on Japanese blanks at the time enjoyed unrestricted export access.

Transition from Family Handicraft Industry to Small-Scale Light Industry

Beyond capitalizing on geopolitical factors, the gangcai industry demonstrated remarkable adroitness in turning prevailing circumstances to its advantage.

Regarding production technology, the sector relied exclusively on hand-painting  during its inception. However, starting in the 1960s, as both local and Western demands for painted porcelain escalated, evidence indicates that select workshops introduced rubber stamps for pattern application alongside assembly-line decoration methods to facilitate mass production.

In the post-Korean War era, Western buyers flocked to Hong Kong to source painted porcelain. Seizing this prime opportunity, select porcelain factories introduced composite-processed wares designed to align with Euro-American lifestyle trends. Between the 1960s and 1970s, these porcelain decorators collaborated with metalware manufacturers to encase painted porcelain bowls and dishes in pewter or brass shells, transforming them into ashtrays. This structural integration gave rise to numerous novel decorative patterns that diverged sharply from tradition. As evidenced by the shop-marks found on the bases of these wares, orders were commissioned by a diverse array of Euro-American corporations. This robust demand naturally spurred the establishment of new workshops and drew more factories into production. By embracing these opportunities with industriousness and innovative thinking, the sector gradually laid the groundwork for its subsequent expansion and economic takeoff.

This era marked a period when the gangcai industry consolidated its roots and flourished, transitioning from a family handicraft industry into a vibrant, small-scale light industry (often colloquially termed shanzhai light industry).