Longnan Natural Lacquer Museum - Hsu Yuming Introduction
Hsu Yu-Ming is originally from the Hakka people in Touhu Township, Miaoli. In 1959, he moved to Puli with his father, Hsu A-Long, to engage in lacquer art work. Influenced from a young age, he had a deep understanding of lacquer art early on, and later apprenticed under Masters Wang Ching-Shuang and Huang Li-Shu. Coupled with the hardworking and persevering spirit of the Hakka people, he developed a solid foundation. His works are often awarded in exhibitions and are highly recognized in the lacquer art community. Hsu Yu-Ming said, "When making things, you must invest your feelings; you cannot treat it carelessly." This embodies the central philosophy of his lacquer art creation. Hsu Yu-Ming is particularly adamant that all his works are made with traditional natural lacquer and refuses to mix in chemical lacquers, as chemical lacquers are prone to deterioration. He confidently claims that his lacquer works will not spoil even after a hundred years, continuing the legacy of the "Dragon" brand established by his father while building his own reputation and credibility. Hsu Yu-Ming and his brother Hsu Yu-Fu share a common goal to realize their dream of preserving lacquer culture, leading them to establish the Longnan Natural Lacquer Museum in 1996. Apart from their personal collection, the brothers have diligently gathered data and artifacts related to lacquer art in Taiwan, resulting in a substantial collection over several decades. However, the journey to fulfill their dream has been fraught with challenges. The 1986 Wayne Typhoon and the 1999 Jiji Earthquake caused significant damage, destroying over ten million worth of lacquer art collections in the Hsu family museum, and the building was nearly collapsed. After several years of dealing with the aftermath, a fire in August 2007 nearly consumed the factory, and Hsu Yu-Ming couldn't bear the thought of ending the family's business. After overcoming the sadness, Hsu Yu-Ming and his brother decided to embody the tenacious spirit of the Hakka people and start afresh, believing that as long as they are alive, there is hope. Hsu Yu-Ming said, "I am waiting for my second spring. Many elders say this; it does not mean sitting and waiting, but constantly working and looking for opportunities to seize." He is already adept in lacquer techniques, whether it’s in gold-leaf lacquer painting (also known as "maki-e"), de-bossing, basketry, or lacquer carving, all of which have captivated Japanese customers. Particularly, the "lacquer carving" technique, which is nearly lost in Taiwan, requires not only carving skills but also a combination of effort and patience in creating natural lacquer sheets and blocks. A lacquer sheet about 5 cm thick and 20 square cm wide takes a year to complete using a stacking method; without strong perseverance, it cannot be finished. As a lacquer artist, Hsu Yu-Ming embraces this challenge. Hsu Yu-Ming's creations are not limited to wood; fabrics are also extensively used, and even hemp ropes can be materials. The hemp rope lacquer hat he produces is not only flexible and safe but also tested to have far-infrared functionality that benefits health, making it an additional gain. With his dedication to lacquer art, Hsu Yu-Ming has traversed nearly half a century, witnessing the gradual attention given to lacquer culture and an increase in learners, which he considers a positive development. However, some people aim too high without solid skills, resorting to chemical lacquers for convenience in creation. In time, chemical lacquers are prone to cracking, which would negatively impact the development of lacquer art. Hsu Yu-Ming hopes that lacquer artists can operate with a concept of sustainability, actively using natural lacquer to avoid future troubles and harm. "Tai Yu Piao," one of Hsu Yu-Ming's important works, was selected for the National Art Exhibition. In this piece, he opted for a natural presentation of lacquer's rustic texture using a stacking method, discarding the more flamboyant gold leaf and maki-e techniques to interpret the beauty of the vast universe. Hsu Yu-Ming has always insisted that creation must have vitality, and this piece reflects that, embodying the essence of life much like the movement of Tai Chi, making it a rare masterpiece.
