Longnan Natural Lacquer Museum - Hsu Yu-Ming Introduction
Xu Yuming is originally from the Hakka community in Touhu Township, Miaoli. In 1959, he moved to Puli with his father, Xu Along, to engage in lacquer art. Growing up surrounded by this craft, he developed an early understanding of lacquer art. Later, he studied under Masters Wang Qingshuang and Huang Lishu, embodying the hardworking and resilient spirit of the Hakka people, which laid a solid foundation for his artistry. His works frequently win top awards and are highly regarded in the lacquer art community. Xu Yuming stated, “When creating, one must pour in their feelings; it cannot be done carelessly.” This is the core principle of his lacquer art creations. ■ Hard Work in Tradition and Innovation Xu Yuming insists that all his works use traditional natural lacquer and avoids mixing with chemical lacquers, as chemical lacquers can degrade over time. He confidently claims that his lacquer artworks will not deteriorate even after a hundred years, continuing the legacy of the "Long" brand established by his father and building his own reputation and credibility. Together with his brother Xu Yufu, they share a common goal to realize the dream of preserving lacquer culture. In 1996, the brothers established the Longnan Natural Lacquer Museum. In addition to their own collection, they have spent considerable effort gathering materials and artifacts related to lacquer from Taiwan, and their collection has become quite extensive over the decades. However, the journey to realize this dream has encountered many challenges. The devastation caused by Typhoon Wayne in 1986 and the 921 Earthquake in 1999 severely damaged the Xu family museum's collection of lacquer artifacts, and the building was nearly destroyed. After several challenging years, they began to recover, only to face a fire in August 2007 that nearly obliterated the factory. Xu Yuming could not bear to see the family business come to an end. ■ Deep Skills in Lacquer Sculpture After the sorrow, Xu Yuming and his brother decided to embody the stubborn spirit of the Hakka people and start anew, believing that as long as they were alive, there was hope. Xu Yuming said, “I am waiting for a second spring. Many elderly people say this phrase; it’s not about sitting and waiting but continually working and waiting for opportunities, which you must seize.” Xu Yuming is already proficient in lacquer techniques, whether in gilt lacquer painting (also known as “maki-e”),脱胎, basketry, or lacquer sculpture, all of which are favored by Japanese clients. Especially the lacquer sculpture technique, which is nearly lost in Taiwan, combines not only carving skills but also the production of natural lacquer sheets and blocks, requiring both effort and patience. A lacquer sheet about 5 cm thick and 20 square cm wide takes a year to complete using a stacking method. Without steadfast determination, it is impossible to finish. As a lacquer artist, Xu Yuming welcomes this challenge. Xu Yuming’s creations use not only wood but also fabrics, and even hemp ropes can become materials. The hemp rope lacquer hat he produces is not only flexible and safe but has also been tested to possess far-infrared functions beneficial to health, making it an unexpected benefit. ■ Natural Lacquer’s Simple Durability With nearly half a century of dedication to lacquer art, Xu Yuming has witnessed a growing recognition of lacquer culture and an increasing number of learners, which he believes is a positive development. However, some people are overly ambitious, lacking solid skills, and prefer to use chemical lacquers for convenience in creation. Over time, these chemical lacquers can crack, posing a further blow to the development of lacquer art. Xu Yuming hopes lacquer artists will adhere to sustainable management principles by using more natural lacquers to avoid future troubles and damage. “Taiyu Piao,” one of Xu Yuming's significant works, was selected for the National Art Exhibition. He discarded the more flamboyant gilding and maki-e methods to showcase the simple texture of lacquer through a stacking technique, interpreting the beauty of the vast universe. Xu Yuming insists that creations must have life, and this piece embodies a kind of vital energy that flows like the movement of Tai Chi, perfectly reflecting the artistry involved—it is a rare masterpiece. (Excerpted from "Central Taiwan, Arts and Play – Eight Selected Routes by Craft Appreciation Experts," published by the National Taiwan Craft Research and Development Institute)
