Longnan Natural Lacquer Museum - Xu Yumingsheng Introduction
Hsu Yu-Ming, originally from the Hakka town of Touhu in Miaoli, moved to Puli in 1959 with his father, Hsu A-Long, to engage in lacquer art. Growing up surrounded by this craft, Hsu became familiar with lacquer art at an early age and later studied under masters Wang Ching-Shuang and Huang Li-Shu. His dedication, combined with the Hakka spirit of hard work, allowed him to develop a solid foundation in this art form. His works often receive top awards and are well recognized in the lacquer art community. Hsu believes, "To create something, you need to invest emotions, it cannot be done carelessly," which encapsulates his core philosophy in lacquer artistry. Hsu is particularly insistent that all his works use traditional natural lacquer, refusing to mix in chemical lacquers due to their tendency to deteriorate. He confidently asserts that his lacquer artworks will last for centuries without spoiling, continuing the legacy of the "Dragon" brand established by his father while also building his own reputation and trust. Hsu and his brother, Hsu Yu-Fu, share a common goal of preserving lacquer culture, which led them to establish the Longnan Natural Lacquer Museum in 1996. In addition to their personal collection, the brothers have spent years gathering data and artifacts related to lacquer in Taiwan, resulting in a rich collection. However, their dream-building journey has been fraught with challenges. The devastation caused by Typhoon Wayne in 1986 and the 921 Earthquake in 1999 led to the destruction of millions of dollars' worth of lacquer artifacts in the Hsu family museum, nearly causing the building to collapse. After years of recovering from the trauma, a fire in August 2007 almost completely destroyed their factory. Watching his century-old lacquer barrels burn, Hsu could not bear the thought of the family business ending. After overcoming subsequent sorrow, Hsu and his brother decided to embody the Hakka spirit of resilience and start anew, believing that as long as they are alive, opportunities remain. Hsu says, "I am waiting for my second spring. Many elderly people say this, but it's not about sitting and waiting; it’s about continuously working and waiting for opportunities, which you then seize." Hsu has become adept in lacquer arts, whether in gold foil lacquer painting (also known as "shihui"), paper-cutting, weaving, or lacquer sculpture, which are greatly appreciated by Japanese customers. Particularly, his "lacquer carving" technique is almost lost in Taiwan. Beyond carving skills, the production of natural lacquer sheets and blocks is a combination of skill and patience. Creating a lacquer sheet that is about 5 centimeters thick and 20 square centimeters wide requires a year of layering lacquer, an endeavor that demands unwavering determination. As a lacquer artist, Hsu embraces this challenge wholeheartedly. Hsu's creations utilize not only wood but also fabrics and even hemp ropes as materials. His hemp rope lacquer hats are not only flexible and safe but, after testing, were found to possess far-infrared capabilities beneficial for health, representing an added bonus. With nearly half a century of dedication to lacquer art, Hsu has witnessed a growing appreciation for the culture and increasing numbers of learners, which he views positively. However, some individuals, in their ambition, lack solid skills and prefer using chemical lacquers for ease in creation; unfortunately, over time, these materials can crack, which poses a significant setback to the development of lacquer art. Hsu hopes that lacquer artists will adopt sustainable practices by relying more on natural lacquers, avoiding future troubles and damages. "Tai-Yu Piao," one of Hsu's significant works, was selected for the National Fine Arts Exhibition in Taiwan. He abandoned more flamboyant gold leaf and shihui techniques in favor of a natural presentation of lacquer’s simplistic texture through layering, interpreting the beauty of the vast universe. Hsu consistently insists that his creations must possess vitality, and this piece flows seamlessly like Tai Chi, embodying and expressing life force with just the right technique, making it a rare masterpiece.
