Longnan Natural Lacquer Museum - Hsu Yu-Ming Introduction
Hsu Yu-Ming is originally from a Hakka family in Touwu Township, Miaoli. In 1959, he moved to Puli with his father, Hsu A-Long, to engage in lacquer art. Growing up immersed in the craft, Hsu Yu-Ming had early exposure to lacquer art and later apprenticed under masters Wang Ching-Shuang and Huang Li-Shu. With the steadfast and hardworking spirit typical of the Hakka people, he built a solid foundation in this art form. His works often win major awards and are highly regarded in the lacquer art community. Hsu Yu-Ming believes that “When creating, one must put in their emotions and not treat it casually.” This sentiment is central to his philosophy of lacquer art creation. ■ Hard Work in Heritage and Innovation Hsu Yu-Ming insists on using traditional natural lacquer for all his works, refusing to mix in chemical lacquers, as the latter can easily deteriorate. He confidently states that his lacquer works will not spoil even after a hundred years, continuing the legacy of the “dragon” sign established by his father and building his own reputation and credibility. Hsu Yu-Ming and his brother Hsu Yu-Fu share a common goal of passing down the lacquer culture. In 1996, the brothers established the Longnan Natural Lacquer Museum. Aside from their personal collection, they have devoted considerable effort to gathering information and artifacts related to lacquer in Taiwan, resulting in a rich collection over several decades. However, the process of building their dream has been fraught with challenges. The 1986 Wayne Typhoon and the 1999 Jiji earthquake severely damaged the Hsu family museum, destroying millions of dollars worth of lacquer artifacts, and their house nearly collapsed. After several years of recovery from this trauma, a fire on August 1, 2007, almost completely destroyed their factory. Hsu Yu-Ming watched helplessly as their century-old lacquer barrels were threatened, unwilling to see the family business come to an end. ■ Mastery in Lacquer Sculpture After the sorrow, Hsu Yu-Ming and his brother decided to adopt the tenacious spirit of the Hakka people and start anew, famously stating, “As long as we are alive, there is a chance.” Hsu Yu-Ming explains, “I am waiting for my second spring; many elderly people say this is not merely sitting and waiting, but always working and waiting for opportunities, which you can then seize.” He is already adept in lacquer techniques, whether it be in gold leaf lacquer painting (also known as “maki-e”), revetting, bamboo weave, or lacquer sculpture, all of which have captured the hearts of Japanese clients. Notably, the “lacquer sculpture” technique is nearly lost in Taiwan; aside from the carving skills, the production of natural lacquer sheets and blocks requires a combination of craftsmanship and patience. A lacquer sheet approximately five centimeters thick and twenty square centimeters wide requires one year of stacked lacquer application to complete. Without steadfast perseverance, it cannot be achieved. As a lacquer artist, Hsu Yu-Ming embraces this challenge. Hsu Yu-Ming’s creations are not limited to wood; fabrics also play a significant role, and even hemp ropes can be used as materials. The hemp rope lacquer hats he produces not only have sufficient elasticity and safety but also, after testing, provide far-infrared benefits that promote health, representing an added bonus. ■ Natural Lacquer: Simple and Durable With nearly half a century of dedication to lacquer art, Hsu Yu-Ming has witnessed the gradual recognition of lacquer culture and an increase in learners, which he considers a positive development. However, he notes that some seekers of fame lack solid skills; in pursuit of convenience, they favor chemical lacquers. Over time, chemical lacquers can lead to cracking, which ultimately hinders the development of lacquer art. Hsu Yu-Ming hopes that lacquer creators adhere to sustainable practices, using more natural lacquer to avoid future troubles and harm. His work “Tai Yu Piao” was also selected for the National Fine Arts Exhibition of Taiwan and is one of Hsu Yu-Ming’s significant pieces. He rejected the more vivid techniques of gold leaf and “maki-e,” opting instead for natural presentation of lacquer’s humble texture through stacking methods to interpret the beauty of the vast universe. Hsu Yu-Ming consistently insists that his creations must have vitality, and this piece embodies the essence of Taiji’s movement, subtly nurturing and revealing vitality. Its execution is well-balanced, making it an exceptional masterpiece. (Adapted from "Central Taiwan: Art Travel—Eight Selected Routes by Craft Appreciation Experts," published by the National Taiwan Craft Research and Development Institute)
