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Hsu Yu-ming, originally a Hakka from Touwu Township, Miaoli, moved to Puli with his father, Hsu A-lung, in 1959 to work in lacquer art. Immersed in the craft since childhood, Hsu gained early familiarity with lacquer artistry. Later, he apprenticed under masters Wang Qing-shuang and Huang Li-shu, and, fortified by the Hakka traits of sincerity and diligence, built a solid foundation. Whenever his works were exhibited, they often won major awards, earning him high regard in the lacquer-art world. “When you make something, you must put emotion into it; you can’t be slipshod,” Hsu says, summing up his central philosophy of lacquer creation. ■Dedication to Heritage and Innovation Hsu insists on using only traditional, natural lacquer—never mixing in chemical lacquer, which deteriorates easily. Confidently, he declares that his pieces will remain intact even after a century, thus perpetuating the “Lung (Dragon)” brand his father founded while establishing his own reputation and credibility. Hsu and his elder brother, Hsu Yu-fu, share a common goal: to pass on lacquer culture. To realize this dream, the brothers established the “Lung-Nan Natural Lacquer Museum” in 1996. In addition to their own collection, they have spared no effort gathering Taiwan-related lacquer documents and artifacts. Decades of travel have yielded a rich trove. Yet the road has been rough. Typhoon Wayne in 1986 and the 1999 Jiji earthquake destroyed more than ten million NT dollars’ worth of lacquer pieces in the family museum and nearly toppled the building. It took years to recover, only to see a fire in August 2007 burn the factory almost to the ground. Watching century-old lacquer vats go up in flames, Hsu could not bear to let the family business die with him. ■Exquisite Lacquer-Carving Skills After the grief, the brothers resolved to muster the Hakka “hard-neck” spirit and start over. “As long as we’re alive, there’s hope,” Hsu says. “I’m waiting for my second spring. Old folks say this not to mean sitting around but to keep working and watching for the opportunity—then you can seize it.” Already a master of lacquer techniques, Hsu excels in gold-painting (maki-e), dry-lacquer, basket-core, and lacquer-carving works, all beloved by Japanese clients. Especially “lacquer carving,” nearly lost in Taiwan, demands both sculpting skill and patient preparation of natural lacquer sheets and blocks. A single sheet—five centimeters thick and twenty square centimeters wide—takes a year of layered application; without steadfast resolve it cannot be completed. As a lacquer artist, Hsu relishes the challenge. Beyond wood, Hsu uses fabric extensively—even hemp rope. His hemp-rope lacquer hats are elastic, safe, and, tests show, emit far-infrared rays beneficial to health—an unexpected bonus. ■Natural Lacquer: Simple and Enduring After nearly half a century of devotion, Hsu sees lacquer culture finally gaining attention and more learners—something he welcomes. Yet some, eager for quick results, rely on chemical lacquers that eventually crack, damaging the craft’s future. He urges artists to adopt sustainable practices and use natural lacquer to avoid future problems. “Vast Universe Drifting” was selected for the Taiwan Art Exhibition. Abandoning flashy gold or maki-e, Hsu layered natural lacquer to evoke the cosmos in all its austere grandeur. He believes creation must possess life force; like Taiji in motion, this piece quietly nurtures and releases vitality, making it a rare masterpiece. (Text excerpted from “Central Taiwan: An Artistic Tour—Eight Curated Routes for Craft Lovers,” published by the National Taiwan Craft Research Institute)