Longnan Natural Lacquer Museum - Hsu Yu-Ming Introduction
Xu Yuming, originally from Touhu Township in Miaoli, is a Hakka person who moved to Puli with his father, Xu Alung, in 1959 to engage in lacquer art. Having been exposed to the craft from a young age, he developed an understanding of lacquer art early on. He studied under masters Wang Qingshuang and Huang Lishu and, combined with the hardworking and persevering spirit of the Hakka people, he developed a solid foundation in the craft. His works often receive top awards and are highly recognized in the lacquer art community. Xu Yuming stated, "When creating, you must pour your emotions into it; you cannot be casual." This is the core philosophy of his lacquer art creation. Xu Yuming is particularly dedicated to using traditional natural lacquer in all his works, refusing to mix in chemical lacquers, as chemical lacquers can deteriorate over time. He confidently asserts that his lacquer art pieces will not deteriorate even after a century, thus continuing the legacy of the "Long" sign founded by his father and establishing his own reputation and credibility. Together with his brother Xu Yufu, they share a common goal of preserving lacquer culture. In 1996, the two brothers established the Longnan Natural Lacquer Museum. In addition to their own collection, they have devoted great effort to gathering information and artifacts related to lacquer in Taiwan, resulting in a rich collection after decades of endeavor. However, the journey to realize their dream has been fraught with challenges. The 1986 Wayne Typhoon and the 1999 Jiji earthquake caused damage to the Xu family's museum, destroying millions of dollars' worth of lacquer artifacts and almost collapsing their building. After taking years to recover from this pain, a fire in August 2007 nearly destroyed their factory, and Xu Yuming was reluctant to see the family business come to an end under his watch. Eventually, after this period of sorrow, Xu Yuming and his brother decided to take on the Hakka spirit of perseverance and started anew. Xu Yuming expressed, "I am waiting for a second spring. Many elders say this phrase—not to sit idly and wait, but to keep working and waiting for opportunities; only then can you seize them." Xu Yuming has long mastered the skills of lacquer art, whether in gold-leaf lacquer painting (also known as "shi-wei"), sheet lamination, woven articles, or lacquer sculpture, all of which are beloved by Japanese clients. Particularly, the technique of "lacquer sculpture," which has almost been lost in Taiwan, involves not only carving techniques but also the creation of natural lacquer sheets and blocks, requiring a combination of skill and patience. A lacquer sheet approximately 5 cm thick and 20 square cm wide requires a year of layering to complete, and without strong determination, it cannot be achieved. As a lacquer artist, Xu Yuming finds this challenge enjoyable. Xu Yuming's creations utilize not just wood but also fabrics and even hemp ropes as materials. The hemp rope lacquer hats he makes are not only elastic and safe but also, after testing, exhibit far infrared functionality that contributes to health, which can be considered an additional gain. With nearly half a century of commitment to lacquer art, Xu Yuming has seen lacquer culture gradually gaining recognition, with more people learning the craft, which he considers a positive development. However, some people set their sights too high without mastering the basics, opting for chemical materials for convenience in creation. Over time, chemical materials can crack, which would be detrimental to the development of lacquer art. Xu Yuming hopes that lacquer artists will adopt sustainable practices and use more natural lacquer materials to avoid future troubles and harm. "Tai Yu Piao," selected for the National Fine Arts Exhibition, is also one of Xu Yuming's important works. He abandoned the brighter methods of gold-leaf and inlaying, instead using a layering technique to present the unadorned texture of the lacquer, interpreting the beauty of the vast universe. Xu Yuming insists that his creations must possess vitality, and this piece, like the movement of Tai Chi, inherently nurtures and reveals life force, showcasing a perfect balance in execution and standing out as a rare gem. (Excerpted from “Central Taiwan: Art Travel Fun—Eight Selected Routes of Craft Appreciation Experts,” published by the National Taiwan Craft Research and Development Institute)
