De Shun Paper Mâché Folk Art Introduction
At the border between Changzhi and Pingtung City, there is a large temple known locally as the "Burnt Temple," which suffered a fire during the 六堆起義 (Liudui Incident). Near the temple is a family business specializing in crafting paper houses, named DeShun. The paper crafting business began with Qiu DeShun, and both local villagers and regular customers call it "DeShun Zi." Generally, Hakka paper crafting also incorporates traditional music, particularly the suona (a Chinese horn). In the past, those who played the suona also engaged in paper crafting, though that's not necessarily the case now; even if a suona master can't make paper crafts, they would still be asked to buy paper items. On the other hand, Southern Fujian suona masters do not engage in paper crafting, but work alongside a master craftsman. Qiu Fengming and Qiu Fenglin started helping their father with simple paper crafting at around ten years old. Qiu Fengming began learning to play the suona only after their father passed away. The craft has been passed down through the family for about fifty years; their father passed away two years prior. Qiu Fenglin noted that their mother married into the family ten years before their father began making paper crafts. In the past, Gangshan was a significant hub for paper crafting. When they first started their business, their father hired experienced craftsmen from Gangshan to teach them at home for two to three years. After graduating from junior high, their father asked if they wanted to continue the craft, noting that if they were serious, he would send them to Gangshan for three years and four months of apprenticeship. In the early days of their father's work, crafting required hand-drawn designs, while later it began to incorporate more printed products, which were just cut and assembled. DeShun’s paper houses are typically single-story structures designed as either three-room or five-room models, with larger houses being built by adding additional floors, resulting in western-style houses. However, due to the frugal nature of Hakka culture, custom western-style homes are rarely requested. A three-room model takes about eight hours to complete, while a five-room model is more time-consuming, taking one and a half days just for the framework, and a total of two days for the finished product. The layout of the paper house consists of a main hall at the center, extending outwards; the left side is for the master’s bedroom and bathroom, while the right side is for servant's quarters and bathroom. The eaves of the paper houses must comprise an even number of lines; a three-room house has sixteen eaves, while a five-room house has twenty-two. The materials for crafting come from places like Taichung, Tainan, and Fengshan, with varying levels of printing quality; the Qiu brothers have their preferred suppliers. The dimensions of the paper houses must adhere to traditional measurements, with the three-room house measuring 4.2 feet and the five-room house measuring 5.8 feet. They still use their father's ruler, marked according to traditional measurements, along with an old small chisel. The two brothers continue this tradition, keeping their father's legacy alive. The key to paper house crafting lies in ensuring the accuracy and flatness of the framework and the pasted paper, as any misalignment or protrusion requires considerable experience to address. The framework is made from bamboo, with approximately eighty pieces yielding enough material for two paper houses. The three-room models typically use thinner bamboo pieces, while the five-room models use thicker ones. Getting pricked by the bamboo’s fibers is common during the crafting process. The framework is fixed with rolled-up plastic wrapped, whereas previously, it was done with strips of paper known as "paper nails." The four main pillars use thicker bamboo, while the remaining parts use thinner bamboo strips. The brothers mention that the roof is the most challenging part to craft. Once the framework is finished, floral paper is glued on, along with windows and flooring, all of which have specific patterns that cannot be mismatched. Initially, the paper appears uneven after applying glue, but Qiu Fenglin assures that it flattens out once dried. They have also adapted traditional techniques; recalling how their father developed skin irritations from long-term use of chemical adhesives, they now create their own glue using flour, cornstarch, and alum for preservation, keeping it covered with plastic wrap to prevent drying. Nowadays, some paper houses are made using nail guns instead of adhesive, which is quicker but less stable than the traditional method of paper nails and hand-pasting. Hence, the brothers believe that nail guns cannot entirely replace the older techniques. There are also some modern houses made simply by folding printed material into shapes, which tends to be too flat and thus unpopular in the market. The brothers highlight that each family inherits different styles, and even subtle details reveal their crafting origin. Small figures made from plastic are used as "house servants" and are placed in front of the completed paper house door, with two servants for a three-room house and four to six for a five-room house. Southern Fujian people prefer having more servants for a more impressive display, while some Hakka individuals request that the servants be removed to save on costs, fearing that burning paper money for the ancestors might not be enough. Furthermore, Southern Fujian tradition uses 'Golden Boy and Jade Girl,' while Hakka culture substitutes this with 'Jinshan' and 'Yinshan' (representations of wealth). In the past, there were no cars; people relied on walking, with a few better-off families owning palanquins, so the transportation tools they burn for the deceased were also palanquins. Inside the paper palanquin is placed a doll to represent the deceased, similar to how a doll is included in a finished paper house, indicating occupancy by the deceased. The paper luggage is used for clothing, and earlier leather cases were hand-crafted. Nowadays, it is folded from printed materials for clothes, and many customers no longer require luggage. Qiu Fengming recalls that their father would also craft a "Seven Stars Bridge" used in temple fairs. Additionally, their father would measure coffins at the homes of the deceased, creating an item known as "coffin surrounds," which could only be made on-site due to the fragility of paper. The coffin surround's purpose was to shield the coffin during transportation, as leaving it exposed for an extended time was seen as disrespectful to the deceased, and passersby found it unlucky. Over time, cloth draping gradually replaced paper coffin surrounds, especially now when coffins are transported in elongated hearses, leading to the gradual phasing out of coffin surrounds. The act of burning paper for rebirth is perceived as having no distinct peak or off-peak seasons; generally, there are more deceased before the Lunar New Year, as the saying goes, "One should not eat more than during the New Year." Perhaps it’s also due to the colder weather. Qiu Fengming adds that aside from paper crafts used during funerals, another peak season is during Tomb Sweeping Day, with regular orders also coming in. He mentioned that a customer once approached him seeking to fulfill a dream request from a homeless deceased concerning a house, leading the living to burn a house for them. People value ownership of things in life, and the same is true for ancestors in the afterlife. Every paper house comes with a deed specifying the owner's identity. This clear documentation ensures peace in the afterlife, free of disputes. On the eve of burning paper houses,
