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Hong Kong Story: Antique Mahjong Tile Polishing Machines 香港故事:麻雀牌打磨機的溫馨回憶

The making of mahjong tiles not only reflects the exquisite craftsmanship of artisans but also serves as a vessel for our intangible cultural heritage. The mahjong manufacturing  process listed in Hong Kong’s ‘intangible cultural heritage’ involves more than the well-known “hand carving,” including machine grinding and polishing. Once, my family’s uncle skillfully crafted these delicate tiles at the Fuk Hing Lung Mahjong Factory, a place that is now hard to find in Hong Kong.

After a three-year wait, we finally had the opportunity to create two pieces of illustrations and explanations for two antique mahjong tile polishing machines at the Jockey Club Creative Arts Centre (JCCAC), with our father demonstrating the operation of the machines, adding a layer of familial sentiment to the cultural heritage!

These two antique machines are symbols of craftsmanship and silent witnesses to Hong Kong’s history. Once belonging to the “Au Heung Mahjong Factory” used to be operated in JCCAC, they are among the only old-fashioned mahjong tile polishing machines remaining in Hong Kong, now well-preserved on the 7th floor of the JCCAC. 

I am so thrilled to be part of this creative project, contributing to the 15th anniversary of the JCCAC, and having the chance to restore and cherish this piece of history.

It was particularly exciting when the descendants of the “Ou Xiang Mahjong Factory” reached out after hearing our story. Their predecessors were close colleagues with our ancestors, and through the making of tiny mahjong tiles, the bond between our families continues across generations, a sentiment we deeply treasure.

From now until August, everyone is welcome to visit the JCCAC to see my illustrations and understand the early process of making mahjong tiles in Hong Kong.

在賽馬會創意藝術中心JCCAC的七樓,靜靜展出著兩台昔日「歐享麻雀廠」的古董麻雀牌打磨機。

經過三年期待,我們終於有機會與它們「合作」,我們有幸獲邀為它們「增添色彩」。固此,我們繪製兩幅插畫,讓古董機器的故事重現,它們見證了這座城市曾經的工業輝煌,承傳著香港的歷史,更是前人努力追求卓越的見證。

這項目對我別具意義,它不僅連結了過去與現在,也讓我們與爺爺年代的麻雀工廠及老前輩記憶重燃。

展期至八月,歡迎大家到來JCCAC時前來參觀,同時亦可透過我們的筆觸認識古董麻雀牌打磨機,非常開心有機會參與保存這段歷史!

感謝張師傅(我的爸爸)為我們展示這些機器操作的方法。

Collect, Discard, Shuffle

In 2022, we were thrilled to receive an invitation from a senior graphic design student, Jacqueline at Boston University, to support her thesis project. The book, Collect, Discard, Shuffle, is an exceptional exploration of mahjong. Inspired by the dynamic nature of mahjong, Jacqueline explored how the game deepens family connections and transcends cultural barriers. Her project encourages appreciation of transience and fleeting moments. Finally, we were excited to meet Jacqueline in person in Hong Kong this summer!

We were delighted to contribute to this project through an insightful interview about preserving mahjong craftsmanship and featuring a documentary on hand-carved mahjong tiles two years ago. This collaboration added depth and history, emphasizing the artistry behind the game. Through her unique perspective, the book delves into the game’s intricate structure and cultural significance, highlighting its role in family connections and cherishing life’s fleeting moments.

Blending graphic design with the philosophy of impermanence, the book is both beautiful and compelling. It’s exciting to see this hard work come to fruition, and meeting the author was unforgettable. Her book quickly sold out, and we wish her all the best in her future career endeavors.

Care and Love – Art for Charity

Care and Love – Art for Charity

2023 the 9th Year of commitment

Beneficiary: Hong Kong Student Aid Society 

Special Thanks: SimplyEmpower HK, COOKIE SMILES


🎨✨ As the year draws to a close, I find myself reflecting on the journey that has unfolded. Every year end, I’m committed to engage myself in charity goals along with my passion for art with donation to a chosen charity beneficiary group. This marks the 9th year of my commitment and the powerful ways it can touch lives and help people in needs. I’m filled with gratitude for the incredible support that each of you has offered to Karen Aruba Art. It keeps us fulfilling my committment! 

This Christmas, the meaningful collaborations between SimplyEmpower HK and HK Student Aid Society have been a beacon of hope. Together, Karen Aruba Art has had the honor to sponsor this initiative, supporting the journey of 8 students of Hong Kong Student Aid Society into the world of baking and cake decorating workshop organised by COOKIE SMILES – a simple yet profound gesture to spread cheer during the sweet Xmas season 🧁


🧁❤️ These cupcakes crafted by young individuals aren’t just treats; they’re symbols of love and festive warmth…… 

As we step into the new year, let’s continue to walk this path together, supporting and uplifting lives, helping people in need, and bringing them joy and hope. 

Thank you, from the bottom of my heart, for being a part of our art journey. 

Karen

Karen Aruba Art

 

Preserving the Art of Mahjong Craft – an interview with Madam Neoh at Penang’s Liang Yew Mahjong Centre

A Heartwarming Encounter with Madam Neoh at Penang’s Liang Yew Centre:

In last Dec 2023, we set off on a special adventure to Penang, Malaysia, because we have the deep love for traditional arts and crafts. Our little mission is all about keeping these treasures alive and well, which is exactly why we found ourselves at the doorstep of a truly inspiring lady, Madam Neoh Lye Choo, at the Liang Yew Mahjong Centre in Penang.

Madam Neoh’s tale is one of true grit, love for her craft, and the kind of dedication that keeps a family’s dreams alive through thick and thin. Her late husband, Mr. Lim, was the one who started mahjong making in Malaysia in 1992, bringing with him the art of mahjong tile making from Singapore, where he’d been perfecting it since 1968. Together, they built more than just mahjong sets; they built a legacy.

Seeing Madam Neoh continues this labor of love, using the same old tools and machines, especially when she was showing us all her precious pictures of how to make mahjong tiles manually, was like watching the history of our family and the factory, Fuk Hing Lung, come to life right before our eyes.

Madam Neoh greeted us with open arms, sharing her memories and the legacy of her husband’s art that she has carried on with such grace and strength. She took us back to the days when she was a young woman, learning and repairing mahjong tiles that has become her life’s work now. Her skill and passion was awarded with the certificate of appreciation. A showcase of Best Practice in Heritage Conservation and Sustainable Development.

Her workshop is a hidden jewel among the rich cultural fabric of George Town, where Madam Neoh paints Penang’s culture with the strokes of her ancient craft.

In our conversation with the good people at George Town World Heritage Incorporated, we felt a spirit. They, too, are guardians of the city’s past, ensuring that the traditional arts, like the ones Madam Neoh so skillfully represents, are celebrated and protected.

Luckily, we also met Mr. Vick Quah from the Department of Communications and Collaborations in the George Town World Heritage Incorporated (GTWHI) office. We appreciated their effort to keep the cultural heritage and sustainability in Penang.

As we continued our journey to the grand Cheong Fatt Tze Mansion. Surprisingly, we found an old mahjong set, each tile holding a story just waiting to be told.

Inspired by Madam Neoh’s resilience and the commitment of the George Town heritage protectors, we came back from our trip more determined than ever. Sharing these stories, supporting artisans like Madam Neoh, that’s how we keep the flame of our rich heritage burning bright, ensuring that the art of mahjong making, and all it represents, is cherished for many more tomorrows.

Thank you Madam Neoh and Mr. Quah for their precious time to share the stories with us – an important documentary as part of the intangible culture heritage.

Through the arts and crafts in different perspectives, we hope to keep the spirit of Mahjong stories alive, connecting traditions with today’s lives.

Discover the Vibrant Colors in Our New Travel Mahjong City 3.0 Launch 🌴🎨

Our latest design journey of Travel Mahjong City draws inspiration from the vibrant small island of Aruba. During the Aruba Mural Art Tour early this year, we discovered stunning street art that tells captivating stories through vibrant colors and creativity.

We are excited to introduce the ‘Travel Mahjong City’ 3.0 design boxes, beautifully photographed against Aruba’s colorful backdrop, contrasting with the Hong Kong skyline depicted on the box illustrated by Karen — a fusion of Western and Eastern cultures. These hand-carved and hand-painted mahjong tile and box colors capture the island’s essence, blending traditional craftsmanship with modern design.

This summer, we’re unveiling the Travel Mahjong City 3.0 – Hand-carved Single Mahjong Tile Gift Box, featuring popular mahjong patterns crafted by Master Ricky Cheung and box design by his daughter Karen. Their collaboration brings together generations of artistry, influenced by the joyful spirit of a wonderful mahjong journey in different part of the world!

Celebrate the vibrant colors and timeless craftsmanship with our new collection, perfect as a unique souvenir and a piece of artistic paradise.

Stay tuned for more beautiful creations inspired by our journey!

Int’l Shipping:

www.etsy.com/shop/KarenArubaArt

Local delivery:

https://www.qraftie.com/en/karenarubaart

The Reborn Mahjong Artisan – Disappearing Old Hong Kong Story 專訪前香港麻雀廠第二代傳人 (Eng & Chi Version)

To read the English interview, please click here

上回年屆九十歲高齡的梁玉卿女士分享了她和丈夫「復興隆麻雀廠」初創時期的故事、五十至七十年代手雕麻雀廠的經營情況。來到此系列本月訪問的第二位嘉賓——張誠忠先生。作為張氏家族第二代傳人,退休前張師傅一直是「復興隆麻雀廠」的舵手;近年則以手雕麻雀工匠的身份,繼續鑽研支持手雕麻雀技藝

在訪問中,張師傅不但談及他於九龍城西頭村的童年往事、個人志趣,亦分享了十八歲開始接掌「復興隆麻雀廠」時的心情,仔細描述當年香港麻雀製造業全盛時期明媚的風光,當然也包括麻雀製造業急速由盛變衰的畫面。

想知道張師傅如何從一個「廠佬」搖身一變成為手雕麻雀工匠,與囡囡 Karen 一起專注齊心推動香港文化工藝,更多少為人知消失的香港故事,請細心閱讀以下訪問:

問:張師傅,可否分享下你小時候於九龍城西頭村、城南道的生活片段?(西頭村已拆卸)

張師傅: 西頭村是進出九龍城寨的必經之路,所以非常熱鬧。第一代「復興隆麻雀廠」就坐落於西頭村成龍街,除了牙醫外,附近還有很多食店。另外,我們舖頭附近有木廠、電鍍廠、打鐵廠、噴漆廠等。最有趣是成條街的街坊大部分都是生仔,所以當時流傳了一個笑說法:「想生仔就去成龍街住啦!哈哈!

及後因為附近電鍍廠的生埃味太犀利,我父母一直都找地方搬。颱風溫黛襲港那年,我們就搬了去城南道,即九龍城寨附近。當時麻雀廠除了家父以外,麻雀廠還有幾個伙記、學師幫手,那個年代是以「件工」計算人工,打磨、𠝹料、雕牌、上色,不同工序就不同價錢,時間自由、多勞多得。識做多幾個工序的話就可以賺多些,甚至有伙記留宿工廠。

問: 張師傅大概是甚麼時候開始幫父親手?一邊讀書一邊學習手雕麻雀是不是很辛苦?

若果話開始接觸手雕麻雀,應該是四年班,大概10歲左右。一開始都是好奇心驅使,試下幫手上色。之後就開始觀察師傅們雕牌,初初開始學轉筒子,再到索子、萬子。筒子相比容易上手,但其他花式就有些難度,始終雕刻刀是比較難掌握,要用陰力雕之餘又要轉手腕。回想起來,自己都苦練了一年有多的時間,先叫做掌握到雕牌的手法、技巧。初初都是雕某一款花式先,未可以都駕馭到所有花式,其實要好有經驗的大師傅先會雕成副麻雀。

問: 是否很早已經有子承父業的準備?

子承父業都是順其自然,我其實未學滿師,但父親身體不是太好,十八歲左右已經接手管理麻雀廠。考到車牌後,為了節省成本,就連送貨都是自己和弟弟去。貨van最多可裝百多副麻雀牌,我們通常儲夠某一個貨量先一次過出車送貨,每星期有兩、三晚工場收工後就去送貨。當時未有過海隧道,要過海的話,要揸車去觀塘碼頭、九龍城碼頭或佐敦道碼頭,然後用「汽車渡輪」過香港仔、柴灣、中環送貨。

當時客戶主要是會所、酒樓、酒店、雀館等,以前擺酒通常都會大排延席,飲宴前賓客通常都會先麻雀耍樂,一開就是幾十枱。有時趕住開席,麻雀牌會亂放入麻雀箱,他們會請我們去幫忙跟返,還原返每一副麻雀牌,哈哈!

問: 手雕麻雀行業於興盛時期的情況是怎樣?

每當有新會所、新酒樓、新酒店開張,都會主動揾我們造牌。當時還有另一間位於大角咀的麻雀廠「毅強」,生意大概各佔市場的一半。忙碌時一日可造20-30副麻雀牌麻雀牌打到蝕了,客戶又會成副麻雀牌送回給我們,我們會將這些牌「烹」返,之後再「雕」成一幅新的麻雀牌,幾十元就有交易。每副麻雀牌最多可以翻新4-5次。

那個年代,香港有很多手雕麻雀師傅,而每位手雕麻雀師傅都會設計其專屬的字體,好多時一睇牌上的字體就會知道那幅麻雀牌是出自那位師傅,師傅們又會互相研究對方的雕法。

問: 當時復興隆為何會選用德國出產的物料製造麻雀牌?

選用德國料其實都是無心插柳,主要經洋行介紹,當時市面上最流行是「充德料」,即冒充德國貨的原材料,價錢相當便宜。但「充德料」有一滲酸味,又非常容易變黃甚至黃到入牌芯,很難翻新。反而真正「德國料」就白淨很多,又易於打磨。「烹」幾次都仍然好白淨。「德國料」非常罕有,三、四個月頭先有一水船返。每批貨的顏色又有些差別,所以客戶只能找我們翻新舊麻雀牌。除了「復興隆」,全行只有「毅強」會用真正的「德國料」。

問: 後來為何一家人會短暫移居阿魯巴,及後又為什麼回流香港?

當時我外母於中美洲(近南美)的阿魯巴(ARUBA)經營西餐館,已經上了軌道,但不太夠人用。我和太太於是過了去幫手,我那時擔任廚師,麻雀廠就交托給我弟弟暫時管理。我們大約去了阿魯巴近一年左右,感覺到生活的節奏不是太合適我們,加上為了女兒學習上的考慮,所以我們一家很快就回流香港。

問: 為何90年代初,「復興隆」會搬遷到九龍灣?聽説你們那時開始自己研發機器輔助生產,情況又是如何?

麻雀廠後來規模擴大聘請了多些員工,地方不太夠用,於是就由城南道搬遷到九龍灣工業區。搬了去九龍灣之後,就改為找司機包貨、送貨,我可以花多些時間、心力研究下提升麻雀廠的產量。城南道時期,其實我們已開始用「砂紙機」磨平麻雀牌。但其他工序也引入機器輔助,就要到九龍灣時期先開始。最主要當時請了一個新伙記,他帶了部槓桿原理設計的「雕刻機」來,一日已經可以產出5至6副新麻雀牌。其他師傅則仍用手雕方式去「翻新」舊牌。

當時我們於上海街、新填地街購買現成機器,再自己改裝成合麻雀廠用的機器,成功研發出「水磨機」、「𠝹料機」。「水磨機」的用途是將麻雀牌放進水筒,加蠟、藤粒之後再進行打光、打水程序,將麻雀牌磨至圓滑。不過由於「德國料」比較吸水,如果放落「水磨機」會爛掉,所以「德國料」的麻雀仍然用人手磨。「𠝹料機」則取代了手鋸,用來𠝹麻雀牌,鋸出來很光滑又可以用盡所有料。有了機器的協助,產量確實提升了很多。

問: 復興隆生意大約幾時開始變差?原因又是甚麼?

2000年左右,國內機器製造麻雀牌及電動麻雀枱的出現,大部分客戶都轉用了電動麻雀枱。電動麻雀枱連麻雀牌只賣$500,成本這麼低,即使麻雀牌爛了,買一套新的價錢比找我們翻新便宜好多。只剩下少量客戶仍會不定期找我們做新麻雀牌或翻新舊麻雀牌。訂單減少,工場亦不需要這麼大地方就再搬去一個細少少1000呎左右的單位。去到後期我們好難營運,又無甚麼辦法,唯有選擇結束。

問: 對於最終也敵不過洪流,要結束復興隆,當時的感受如何?

當然是非常無奈,感覺好欷歔。始終做了這麼多年,花了很多心機,全家人都是依舊工廠為生,日日夜夜工作沒有休息,勞勞碌碌辛苦研發的機器又當廢鐵扔棄。不過其實我和弟弟又接近退休年齡,都算是差不多時候要退了,唯有迫於無奈選擇結束。

問: 出山重新雕麻雀牌這幾年有什麼感受?你又覺得傳承這門手藝最困難的地方是甚麼?

我喜愛以興趣為先,不太重名氣、金錢,最初抱著嘗試的心態,女兒KAREN又好好好努力向其它師傅周圍詢問,竟然揾齊大部分已失去的手雕麻雀工具回來於是試下重操故業。

女兒設計了很多别具特色的國案,這樣很有心機再次雕下去,很有滿足感。反而以前都沒有雕得那麼有心機,興趣愈來愈濃厚。現在會研究字體、裝字,根據不同的設計,選用的字型亦有不同。近年比較喜歡的作品有「黃大仙系列」,最開心是多人認識,尤其當作品有外國人賞識。得到認同真是很有滿足感。

做了幾年,感覺始終承傳是有些難度,學手雕麻雀要用心、有耐性,最重要是有適合的原材料。現在的原材料相對實和硬,初學者是好難掌握,如果用返以前相對柔軟的物料應該會容易掌握很多。希望將來可以找到價錢合理又合用的麻雀牌以作教學之用。

訪問: Karen Cheung & Keith Chan

撰文: Keith Chan

設計: Ki

Karen Aruba Studio成立三週年慶祝活動我們進行了一次詳盡的紀錄! 如何由上一代經營麻雀廠工房,到第三代成功轉營為支持文化傳承工作,趣談消失的香港人故事,大家不容錯過 。更多內容:

專訪前香港麻雀廠始創人

消失的麻雀製造業故事

CNA TV 精彩訪問

The Mahjong Family Makers – Disappearing Old Hong Kong Story 3周年呈獻 – 專訪前香港麻雀廠始創人

To read English version, please click here

十月份正值「麻雀獻藝」工作室 (Karen Aruba Studio) 三週年紀念的日子,我們將有一連串的慶祝活動和分享!其中一項特別內容是邀請到前「復興隆麻雀廠」創辦人張富華先生的太太,年屆九十歲高齡、鮮有接受訪問的梁玉卿女士進行訪談。儘管梁女士已達鮐背之年,但她的頭腦依然敏捷 ,對答非常流暢!

我們相信她訪談中提及的香港麻雀製造業的歷史,是極其珍貴。梁女士生動地分享了她與丈夫相知相遇以及「復興隆麻雀廠」初創時期的故事,以及後來兩位兒子張誠忠先生(現為手雕麻雀工匠)及張振忠先生(當年主管手磨麻雀生產部) 接手管理廠房的回憶。這次訪問令我們更深入了解了六十至八十年代香港曾興盛一時的手雕麻雀廠及香港麻雀製造業前期的經營情況。

問:請問你與張富華師傅是如何認識?

梁女士:我本身是澳門人,而我丈夫本身在廣州居住。年青時候,我奶奶的朋友介紹了我丈夫到一間麻雀廠做會計、出納的工作。之後公司搬遷到香港,我丈夫也跟隨公司去了香港。麻雀廠結束後,他去了澳門,尋找機會。我16歲那年,經我母親朋友的介紹認識了當時27歲他。結婚初期,我們住在一間石屋,丈夫那時已開始從事麻雀銷售行業。過了一年多,大兒子出世後,我們就移居到香港了。

問:為何你們會從澳門移居香港,張富華師傅定居香港又是否繼續從事麻雀廠相關的行業?

梁女士:那時澳門的工作機會不多,而很多人都說香港的發展機會比較多,於是就膽粗粗來香港碰下運氣了! 起初我們一家三口住在荃灣那邊的木屋,我就經營一間士多主要賣糖果零食。而我丈夫當時就在油麻地廣東道一間麻雀店鋪跟師傅學雕麻雀。

之後我們搬了去九龍城寨的西頭村,那時正式開始創辦「復興隆麻雀廠],我們一家就住在舖頭的閣樓。最初,丈夫負責雕麻雀,我就幫手執頭執尾、幫手送貨。到我第四個兒子出世,那時候生意尚算不錯,有少少積蓄,於是就在附近城南道買了一個約500尺的三樓單位又做工場又自住,當時供樓其實都幾艱難。

問:城南道時期的復興隆麻雀廠的工作情況大概是怎樣?

梁女士:(笑) 師傅們早上飲完茶,就會回到工場開工囉。那時候,師傅們會在工場後樓梯「雕牌」、「磨牌」,其實工作時很大塵但又沒有人干涉。晚上我們就避忌些在工場裏面「磨牌」。後來,我們甚至將工場內其中一個廁所改裝成「磨牌房」。附近的街坊有時都會上來睇下師傅們「上色」。那時候基本上一星期七日由早做到晚,沒有休息日。三、四個師傅一日可完成十副八副手雕麻雀牌。工場收工後,晚飯後我們就開始送貨。有時都送到幾夜,送到11點、12點。那時生意好,基本上是供不應求,客人又會不停催我們交貨,我們都盡量趕工交貨給客戶。後來星期日定為休息日,大家都不知幾開心!

問:製作一幅手雕麻雀的流程這麼繁複,是如何確保生產質素?

梁女士:每位師傅的風格也有些分別,基本上每一副「手雕麻雀牌」也是獨一無二。雕好的麻雀牌還要進行「上色」、「剷牌」、「抹牌」幾個步驟才完成。大家一邊進行以上幾個步驟的同時,都會金精火眼檢查麻雀牌,有時麻雀牌大小不一又或某隻花式雕得不太好,師傅們便需要修整一下。有時可能要到最後「抹牌」(即清潔麻雀牌) 的步驟,才發現相關問題,盡可能都精益求精

問:那時復興隆出品的手雕麻雀主要對象是什麼?相對其他麻雀廠,復興隆的出品又有什麼特色?

梁女士:那時復興隆都算好有名,我們的出品用料靚,所以供貨給大大小小的酒樓、會所、麻雀館,全行可能得我們和另一間廠房專程由德國訂購原材料做麻雀。雖然用德國料成本高少少但又真的特別㩒打,大部份雀館都光顧我們,連屹立廟街多年的[雞記]都光顧。那時很多人的消閑娛樂活動就是到雀館打麻雀牌好多時客人一個月就要換一副新牌。相反住家客就好少,住家客的麻雀牌通常一打就可以用十多年。雖然是差不多獨市生意,我們又不會坐地起價,加價除了通常是因為要加伙記人工或原材料的價錢上漲。

問:妳年青時在復興隆廠房又擔任甚麼角色?

梁女士:哈哈!都周圍走位啦!「上色」、「剷牌」、「抹牌」都要做,有時連送貨都幫手。「烹牌」又做,即係將大小不同的麻雀牌整合、歸一。趕交貨做唔切,我又會試下雕麻雀牌!我都識雕「索子」、「筒子」啊!我們廠會包一餐伙食給員工,我又走去做大廚,又買餸又要煮都幾辛苦。後來有新抱幫手煮。節日時就會成廠人去酒樓食餐好,回想起來又熱鬧又高興。

問:幾個兒子在復興隆又主擔任甚麼角色?

梁女士:大仔、二仔十幾歲就開始幫手,後來三仔就負責「磨牌」。我丈夫又沒有話特別教他們,三個仔都是靠觀察我丈夫或者其他師傅的手法去學「雕牌」、「磨牌」。後來兩個兒子學車,開始幫手用貨Van送貨。之後我丈夫身體不是太好,就好順理成章由二仔、三仔接手管理復興隆。我丈夫身教幾個兒子,幾個兒子不賭麻雀又不食煙。

問:那時候有沒有好深刻的片段?

梁女士:記得有一次我要送四副麻雀牌到香港仔,雀館用的麻雀牌相比家用的麻雀牌是大隻很多。我將四副麻雀牌只用報紙包好,再用麵粉袋扎好,托上膊頭,行出去啓德機場附近搭巴士去香港仔送貨。我都覺得好神奇何以有力氣搬四副麻雀牌,可能當年還年輕!

問:聽說復興隆之後搬遷到九龍灣工廠區,當時有甚麼考慮因素?可否描述一下九龍灣工廠區時代復興隆的經營情況?

梁女士:生意其實一直不錯,那時雇用了八個員工,又有兩個師傅外判形式「雕麻雀」。城南道工場開始不太夠空間工作,於是就遷往九龍灣工業中心,單位面積比較大。當時亦開始用機器協助生產,購置了一部「𠝹料機」,其餘工序都仍然人手處理。不過那部「𠝹料機」經常有故障,工場的師傅要不時調整機器設定以協助生產。當時我們亦購置了一部「打磨機」。

在九龍灣前前後後都搬了幾次,自從國內低成本的「電動麻雀枱」出現,我們的生意做開始差。後期越搬越細。生意越來越差,又見不到有起色,到後尾都捱不住結業收場。最後貨錢加上員工遣散費都賠了百幾萬。

問:廠房結業差不多十年,對於孫女以新方式「復興」手雕麻雀工藝有何看法?

梁女士:很叻呵,我都無咁嘅本事,年紀又大,不過真係要花很多心機才能做到…….. (微笑)

訪問: Karen Cheung & Keith Chan

撰文: Keith Chan

設計: Ki

踏入10月份,Karen Aruba Studio成立三週年慶祝活動我們進行了一次詳盡的紀錄! 如何由上一代經營麻雀廠工房,到第三代成功轉營為支持文化傳承工作,趣談消失的香港人故事,大家不容錯過 。更多內容:

消失的麻雀製造業故事

麻雀物料的演變

CNA TV 精彩訪問

Visit by WereldMuseum Team: Research Trip to China (Nov-Dec 2023)

Past and present of a manufacturing culture.

We are very honored to share that our “Mahjong Wanderlust Hong Kong” design is invited to be featured in the exhibition at the Wereldmuseum in Rotterdam. The exhibition is now on display at Wereldmuseum Rotterdam. In this exhibition, the museum looks at the past and present of ‘makership’. Because makership is of all times and so inextricably linked to being human. In this way, we reflect on the world around us and shape it at the same time. The exhibition takes China as a case study for a new look at makership. With a mix of objects, timelines, art, fashion, photos and videos, the exhibition shows the manufacturing culture of China, which is centuries old and at the same time very much alive.

Mahjong

Cheung Sing Chung (also known as Ricky Cheung) used to carved up to 432 tiles a day (3 full mahjong sets), six days a week, at his peak. He began learning the craft at the age of 13 at his father’s Fuk Hing Lung Mahjong Factory. It was one of the largest mahjong manufacturers until its closure in 2009.

Karen Cheung is the daughter of Cheung Sing Chung and works under her illustrator name, Karen Aruba.

In the past, mahjong tiles were made from ivory, bone, or bamboo and sometimes had a jade backing. Nowadays, they are made from acrylic. The Mahjong tiles are carved with basic tools. The tools are handmade.

Interview (English Translation)

At the end of 2023, a team from the Wereldmuseum traveled to China in preparation for the exhibition. Along with journalist Cindy Huijgen and photographer, cameraman Matjaz Tancic, they journeyed from Beijing to Jingdezhen, Yixing, Shanghai, and finally Hong Kong. Along the way, they spoke with many interesting and passionate creators and artists. They returned with a wealth of information: interviews, photos, and objects

Hong Kong Trip

Mahjong Makers in Hong Kong

In Hong Kong, we spoke with Karen Aruba and her father Cheung, one of the last traditional Mahjong makers. Cheung, now in his 80s, learned the craft as a young boy from his father, who owned a Mahjong factory. The carving of the mahjong tiles is a demanding and precise task; each carved line requires a different depth and thickness. For a mahjong carver, it is crucial that all tiles are identically carved to prevent cheating.

Creation Process

For the new sets designed by Karen Aruba, father Cheung Sing Chung hand-carves all the Chinese characters and traditional concentric circles. Karen Aruba then hand-paints the carved designs. His daughter, Karen Aruba, designs the Mahjong tiles and adds contemporary images. In the past, mahjong tiles were made from ivory, bone, or bamboo and sometimes had a jade backing. Nowadays, they are made from plastic. They are carved with five handmade basic tools. It is a craft that requires years of practice to master. With their creations, Karen and her father keep this traditional craft alive. For the museum, we purchased a set, a new design by Karen Aruba, with images depicting the history of Hong Kong. The tiles are each small works of art, carved and colored with love and care.

The Creation Process

Making Mahjong sets is considered part of Hong Kong’s intangible cultural heritage. Mahjong originated in the 19th century (during the Qing dynasty) in China and spread from there to Chinese communities worldwide. There are various versions, but the Hong Kong variant is probably the most popular globally, because most Chinese emigrated via Hong Kong or the surrounding Cantonese-speaking area. It is a social game, usually played with four players. Because it is played for stakes, large sums can be gambled away. But there are also plenty of situations where people play for fun. At celebrations and parties, such as Lunar New Year or family gatherings, there is always a mahjong table to be found. In the past, it was played in both gambling houses and on the street, now also much online. On the West-Kruiskade, there was a shop with a ‘club’ above it where mahjong was played. In Ka Fook Mansion, the residential community for Chinese seniors on Graaf Florisstraat in Rotterdam, one of the recreation rooms is specially designated for playing mahjong. Here, it is no longer played to win money but to come together and keep the mind active.