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“Bamboo Traces +”Exhibition: Discovering bamboo craft art’s past, present and the future

There is a huge event happening in Taiwan in 2024, Expo of bamboo, also known as forum of bamboo. National Taiwan Craft Research and Development Institute (hereinafter referred to as NTCRI) is the main venue of Nantou County. NTCRI has been founded for 70 years and this is very meaningful. Therefore, NTCRI curated the “Bamboo Traces +” Exhibition to demonstrate NTCRI 's key contribution to the development of bamboo crafts in Taiwan. The history of NTCRI can be traced back to 1954. There was the iconic organization’ Craft Arts Institute of Nantou County’ founded by Shui-Long Yen. Shui-Long Yen is an important promoter of Taiwan's bamboo craft industry. He has passed down the essence of craftsmanship to this day and has had an inevitable impact on bamboo craft culture. “Bamboo Traces +”Exhibition is divided into three major exhibition areas, each of which highlights the unique features of bamboo craftsmanship: First Exhibition Area: Dialogues between crafts – Light of bamboo arts This part of the exhibition brings together the ingenuity of Taiwanese bamboo art masters and shows the history and culture of Taiwanese bamboo art. Meanwhile, it also explores the dialogue between contemporary and future bamboo art inheritance, leading the audience to the stories and values behind bamboo art. Second Exhibition Area: International Collaboration – Contemporary Resonance This exhibition area highlights the results of NTCRI’s collaborations with national and international designers. NTCRI has cooperated with diverse designs and materials long-term, integrating bamboo craftsmanship into contemporary elements, breaking traditional limitations, and creating works that combine Eastern tradition and Western modernity. Third Exhibition Area: Cross-domain science and technology - future dimension This area shows the perspective of science, technology and experimentation, and also re-explores the potential of bamboo. Through scientific and technological means, the audience will see the diversity and potential of bamboo, at the same time looking forward to the future development direction of bamboo products. “Bamboo Traces +”Exhibition will lead audiences to understand the history of bamboo culture deeply, also discovering its contemporary innovation and the potential for future development. This is not only a tribute to Taiwanese craftsmanship, but also a continuation and exploration of bamboo culture, demonstrating NTCRI’s achievements and contributions over the past seventy years. Exhibition Information Exhibition Dates: 2024.4.16 - 2024.12.20 Exhibition Hours: 09:00 AM - 05:00 PM Exhibition Venue: National Taiwan Craft Research and Development Institute — Craft Design Gallery, 1st, 2ed and B1 Floors


"Living Crafts and Revitalizing Crafts" Exhibition

The Blessings in Three Perspective of Life- Reciprocal Generation between Crafts and Life Exhibition employs the concept of the "root of family heirloom" as a gateway to people's hearts in an attempt to bring craft art back to the essence of existence and to provide people with an opportunity to appreciate the beauty of life and to pursue life value in the realm of "three perspectives of life"; in the process of life development and growth, by creating things with our own hands, we bring the craftwork to life establishing a lasting bond between us and our crafts and at the same time, contribute to cultivation of a thriving crafts ecosystem. The relationship between craft life and living crafts is cyclical and interdependent. Through the lens of co-creation, co-benefit, and co-prosperity, the harmony and resonance between crafts and life are achieved, generating the power to stabilize the hearts of individuals and allow us to bring our focus back to the meaning of life and value. The epitome of Taiwanese craftsmanship across seven decades. Within the context of the "New Crafts Movement" based on the spirit of "root of family heirlooms," the evolution of style across three spans of life and three generations unfolds in the awakening of the times. Craftsmanship has played an indispensable role in human history, from meeting basic survival needs in the early days to pursuing aesthetic literacy in life as technology and civilization advanced. Today, craftsmanship is not just about spiritual growth and art appreciation; it has become a fundamental aspect of human progression as craftsmanship and social evolution are interrelated and crucial to each other's development. Exhibition Information Exhibition Dates: 2024.02.01 - 2024.08.04 Exhibition Hours: 09:00 AM - 05:00 PM Exhibition Venue: National Taiwan Craft Research and Development Institute — Craft Exhibition Hall 3F、4F

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    Folk Art Meets Fashion

    Folk art has lived on exquisitely amidst the folk religions in piety on the land named Taiwan for a century. Fashion shines brilliantly for fierce competitions over the catwalk on the international stage. In particular, when the world started turning into introspection, the culture of our own serving as nutrients for creativity has become an international trend, and local culture makes the best business card for the fashion in Taiwan to introduce itself to the world. 7 marvelous, iconic traditional arts of Taiwan, such as temple painting, lacquer art, knot weaving, paper art as well as the Ten Generals, shadow puppetry, and Taiwanese Opera of traditional performing arts, crystalized, with which 7 designers in collaborative creation extracted the intrinsic professionalism and extrinsic aesthetic symbols born from the legacy, locality, rituality, and artisanship in the folk art. Furthermore, they delved into the arts and crafts of rarity and transformed them into nutrients of fashion for experimentation, in which the most brilliant forms for the future of Taiwanese folk art came into being. Folk art and fashion, two art forms on opposite sides of the spectrum, went through brainstorming without boundary, giving birth to seven wonderful dialogues of creativity! Seven experiments of audacity, of which the results cannot be predicted, were accomplished! By walking into this experimental venue, you shall find that the more traditional turns out to be more fashionable! Only through translate the old can we innovate for the new! ▌Exhibition Information Exhibition Dates: August 17, 2023 (Thursday) - October 20, 2023 (Friday) Exhibition Hours: 09:00 AM - 05:00 PM Exhibition Venue: National Taiwan Craft Research and Development Institute — Craft Design Gallery, 1st and B1 Floors Vedio: Temple Painting: Teenagers Possessed by Deities Inspired by the personal experience of Justin Chou witnessing baseball players possessed by deities in his years of middle school, the student uniform shirts, lantern skirts, sports shirts, and baseball jackets are transformed and fused with the iconic lines of sky lanterns and temple architecture, presenting striking designs like the trench coats with sky lantern silhouettes and the baseball caps with deities. The collection fuses temple paintings, such as the Door Gods, temple dragons, Chihu patterns, and gourd calligraphy, with manga elements fond by teenagers like screentone, radial lines, wave patterns, and checkerboard grids. Mimicking the 2D world in 3D, the collection featuring street punk styles rich in folk art amusement, presenting a harmonious fusion of sports fashion and temple art. Soul Catching: The Ten Generals The traditional spirits of the Ten Generals vital in the performing arts of temples in Taiwan (in the rituals, symbols, forms, colors, etc.) are translated into garments of tomorrow. By studying the history, characters, choreography, costume embroidery, facial makeup, headwear, and instruments of the Ten Generals, the designer reinterprets the traditional art like embroidery and metal headwear with the modern fashion design techniques. The lotus pattern is integrated with sleek suits, along with cotton infills to stand out the facial patterns. With the “fashion wear,” “haute couture,” and “installation art” combined with the stage costumes and the avant-garde, futuristic interpretation the designer masters, the power of new generation is derived from the mighty force of the Ten Generals to captivate your soul. Faith in the Lacquer Art The faith sowed in a century carved out the artisanship beyond time. The lacquer art comes with the duality of painting art and craftsmanship that demands a perfect balance between aesthetics and techniques. It takes dozens of delicate work and unceasing production in repetition graphically, just so to lay out the thickness and height of the subject in the work that attains agility in hue and lighting. Either the aesthetics that translates 2D into 3D dynamics, or the textures, lighting, and coloring in the layers of lacquer of taka maki-e, constitutes the source of imagination for fashion. The artistic conception of taka maki-e and mother-of-pearl-inlaid lacquer are showcased via the textures and layering of fabrics. Through experimentation with boutique wear in variety, the collection engages in an aesthetic dialogue with the lacquer art in depth. The Knot Weaving Art beyond Spirituality Humans used to keep records by weaving knots before words came along. The thoughts of humanity to date weave out and intertwine into knots of abstractive forms, giving rise to symbols of wisdom and aesthetics beyond the shackle of reincarnation. With spiritual transcendence as the subject-matter of fantasy, the designer emulates the infinite creativity close to divinity. Sustainable cords made from recycled plastic bottles and cotton twines are employed to weave out works of knots. With knots as nodes, and rope as lines, the woven surface constitutes a dreamlike bond. The dreamcatcher woven with cotton yarn, ethereal tulle, and round beads transforms into an immortal body, becoming the vessel for clothing that appears authentic yet illusory as a mimicry of the magnificent beauty in the Taiwanese culture and religion. The Art of Paper Sculpture: The Dance of the Dragon The artisanship in the exquisite art of paper sculpting, the paper sculpture textures, the delicate hollows, and even scrap paper are all sources of inspiration. The cross-disciplinary creation of paper sculpture and fashion design translates materially with pen cutters on paper and scissors on fabric to reinterpret the cultural symbol of “dragon” in the manner of simulation. The soaring dragon turns into a dynamic silhouette. The scales and paper sculpture stand out from the flat surface vividly through the unique fabrics that dance to the wind. The overall power is preserved in the delicate twists of the work thanks to the collage and engraving to emulate paper sculpture. It is a fusion of folk art and fashion that lives out the experience of faithful spirituality amidst the ritual-like process in pursuit of perfection. Shadow Play Representation Inspired by the 80-year-old plays of the TUNG-HUA Shadow Puppet Theater (Journey to the West: Trouble in Heaven and The Jade Unicorn on Mount Jindou), characters such as Sheng (male), Dan (female), Jing (painted face), Muo (old man), and Chou (jester), as well as the carving techniques, coloring, and performance images are employed as the elements, which are deconstructed, arranged, and reassembled through the contemporary garment design. Also, with the beige from cowhide oxidized in time as well as red, green, and black as the primary hues, the visual wonder of lighting, shading, and smudging is presented. Combined with digital printing technology and pure handmade sewing to denote the shadow dynamics and character postures, the collection reinterprets the legacy, stories, nostalgia, childlike amusement, and impression of simplicity in the shadow puppetry art. Opera Inspired & Interwoven The collection draws its inspiration from the essence of Taiwanese Opera. Popular in the society through changes for centuries, Taiwanese Opera fuses the commoner’s culture with history, literature, and mythology, evolving into different stages. Aside from the distinctive characters, it presents artful postures and tunes as well. The rhythms, styling, coloring, and patterns unique to Taiwanese Opera are fused into fashion design. With her strength in knitted patterns, the designer created fashion wear bearing unique cultural features. The combination of traditional opera with fashion is an innovative experimentation. With fashion as the vessel, the exquisite artistry in the costumes and accessories of Taiwanese Opera is incorporated. Riding on the melodic dynamics, this collection conveys the visual art and fashion experience of civilization.

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    Homeland - Relationship of Taiwan Green Craft @Earth @Community @Mind

    Homeland - Relationship of Taiwan Green Craft @Earth @Community @Mind As a member of the global community, Taiwan collectively grapples with the profound challenges of climate change, while the post-pandemic era has left our communities emotionally estranged. Yet, despite the fast-paced nature of our world, people are still constantly seeking a place where they can find comfort and happiness. This place, known as "homeland," exists on our planet, within our communities, and within ourselves. It is a perfect synergy that is formed when nature, society, and our inner selves intersect, coexist and reconcile, forming a feedback loop to create a balanced relationship. Taiwan, a stunning island that spans the tropics and subtropics, is a mountainous gem surrounded by water. It was named "Formosa" by Dutch explorers, which means - beautiful island. Taiwan is also home to rich biodiversity, diverse cultures and humanities, and an inclusive society with a wide range of ethnicities live in harmony. On this land, craft is an expression of life; our community and collective experiences accumulate to be the embodiment of cultures. At its core, craft is a way of interpreting the world around us, offering a unique perspective on our relationship with ourselves, others and society. It is a powerful means of expressing our individuality and finding harmony within ourselves through the process of reconciliation and coexistence. Craft continues to engage, accumulate and evolve to become a vehicle of creativity, inclusivity, diversity and vision. It is the embodiment of our rich cultural heritage and the emotional imprint of our lives. Taiwan's contemporary craft reflects the United Nations' values on sustainable development, as embodied by the "Green Craft" initiative, which emphasizes nature, circularity, balance, inclusivity and vitality. In addition, the "Craft for All" initiative highlights our belief in promoting equality and accessibility to crafts. Meanwhile, the "One Community One Craft" (OCOC) program is a decentralized social outreach initiative that offers tailored programs suitable for different age and social groups while creating a sense of community and fostering solidarity. Craft is a powerful tool for cultivating meaningful relationships between people, nature and society, and finding a sense of belonging within the inner self (the homeland). Craft is not only an expression of Taiwan's responsibilities to our Earth, communities, and minds, but also a core philosophy that embodies the aesthetics of our relationships. Exhibition Duration: 2023.5.12 - 2023.5.31 Venue: Overseas Community Affairs Council, R.O.C. (Taiwan) Address: 901 Wind River Lane Gaithersburg, MD 20878 U.S.A.

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    London Craft Week 2023 – Taiwan Pavilion

    London Craft Week 2023 – Taiwan Pavilion When Portuguese sailors first reached the Taiwanese coast in the early sixteenth century, they called the place “La Ihla Formosa – beautiful island.” Regardless of the authenticity of this anecdote, the beautiful island of Taiwan thrives on the abundance of natural resources and a long history of cultures. Taiwan is located at the junction of the subtropical and the tropical zone. It boasts a high density of mountains of more than 3000m and a body of water from the nearby Taiwan Strait that is more than 1000m deep. The beautiful island is home to a great biological diversity. Located on the northern border of Austronesian, the island’s early immigrants from Fujian and Guangdong in the 17th to 19th century joined forces and mingled with former colonial world powers from Netherlands, Portugal, Spain and Japan. In late 1940’s and 1950’s a group of Chinese immigrants, arrived with the Nationalist KMT government. In the turn of the century, new waves of Southeast Asian nationals have flocked to the island for work and for marriage. Together with other inhabitants, they all contributed to cultural diversity of the Taiwan society. Taiwan’s craft art, just like the diversity of Taiwanese culture, has come out in different styles and characteristics as well. Exhibition Duration: 2023.5.10 - 2023.5.14 Venue: Gallery 7, Cromwell Place Address: 1-5 Cromwell Place, South Kensington, London, SW7 2JE

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    Earth Speak: Giving Voice to Paper - OPEN CALL

    Earth Speak: Giving Voice to Paper - OPEN CALL Guidelines 2023/24 International Biennial of Paper Fibre Art — Call for Entries The National Taiwan Craft Research and Development Institute (NTCRI) is pleased to announce the next biennial celebration of paper art: Beginning March 1, artists around the globe can apply to be a part of this truly international exhibition that will be featured in the halls of the NTCRI Campus from November 2023 through March 2024. With the support of the NTCRI, artists are invited to re-examine historic and contemporary paper art processes, exploring the material deeply and allowing it to speak on its own terms. More information about IBPFA, please access to official website: Artists are invited to submit recent works (produced since 2021) and closely aligned with the theme, Earth Speak. What is our fragile planet telling us?What are the myths, images, and stories that will help us understand what is happening in this moment in time: good, bad, beautiful or unsightly?What messages can be revealed that can help us see things differently or inspire us to become agents of change?What are the messages we want to share with the future? 2023/24 THEME – EARTH SPEAK: Giving Voice to Paper In the 1988 groundbreaking documentary, The Power of the Myth, journalist Bill Moyers and renown mythologist Joseph Campbell explore a host of ideas related to the evolution of our human mythology on earth and the recurring patterns within it across time and cultures. As Campbell explained so eloquently, the stories and legends shared by our ancestors over the centuries help us understand our place in the universe. During these conversations, the two men viewed and discussed Earthrise, a photographic image of planet earth from space, taken on December 24, 1968 by astronaut William Anders aboard the Apollo 8 mission. As Campbell noted while viewing the iconic image, “You don’t see any divisions there of nations or states or anything of the kind. This might be the symbol, really, for the new mythology to come.” Indeed, the photo is credited with being one of the most influential images in history, inspiring a global environmental movement beginning with Earth Day in 1970 and continuing today. Accompanying this environmental movement was a renaissance of hand papermaking and fiber art, as artists sought more sustainable creative practices including a return to the use of natural and recycled materials. Since that seminal moment, paper has been pushed beyond the traditional substrate, used in sculptures, installations, films and performance art, with the pulp itself being reinvented as a painting and printing media. Revisiting centuries-old techniques and bringing ritual back into their art practice through the intimate contact with water, plant material, pulp, dirt, clay, bees wax and much more, paper and fiber artists find themselves in a unique position to give voice to the myriad cultures and habitats around the globe. Discovering a distinctive vibrancy in the materials and elements they work with, these individuals are reconnecting us with the environment in new ways, while also honoring timeless techniques of ancient makers. According to Campbell, these connections are what make today’s artists our modern-day myth makers, assimilating “the qualities of our culture, and the new things that are possible—the new vision of the universe.” Reinterpreting our current experiences through art, film, music and the written word, Campbell asserts that the artist’s function is “the mythologization of the environment and the world.” Guidelines ELIGIBILITY Eligibility: InternationalLocation: National Taiwan Craft Research and Development Institute (NTCRI) — Nantou, TaiwanAttendance: Participating artists are welcome to attend at their own expense.Travel Awards: Up to three installation or performance artists will be invited to Taiwan, sponsored by the NTCRI to install their work and organize a workshop.Activities: Proposals for research workshops and conferences encouraged. (Attach pdf of workshop application)Comprises: As host organization, the NTCRI will provided: ‣ Catalogue: Print a full-color catalogue; each participating artist will receive one copy. ‣ Shipping for invited works: NTCRI will coordinate and pay for shipment for all invited artist to and from Taiwan. Details will be supplied to upon selection. ‣ Insurance: The NTCRI will cover the costs of insuring artworks during transit (both ways) and for the duration of the exhibition. However, participating artists are strongly advised to obtain their own separate insurance as NTCRI insurance covers the COST OF MATERIALS ONLY. In the event of an insurance claim, the value of the work must be proven/well-established.VERY IMPORTANT: the NTCRI is NOT responsible for works that have been inadequately packed, incorrectly addressed or that do not fully meet customs Registration Information:

  • Exhibition

    2022 London Craft Week "Colour Theatre: Taiwan Fiber Crafts"

    This exhibition was curated by Pi-Shan WU, the assistant professor of Tainan National University of the Arts, Graduate Institute of Applied Arts. In Colour Theatre, the concept of“colour”originates from rich natural plants in the environment of Taiwan. Each of various native plants has its own inherent personality and distinctive colour that tells its expression. Thanks to Taiwan’s unique environment and climate, natural resource abundance provides opportunities for people to take on experiments boldly and freely in the natural dyeing process. Meanwhile, natural dyeing reflects Taiwanese people’s respect for nature, sustainability, balance, diversity, circulation, tolerance, and vitality. Having more than 30 years of history, the development of natural dyeing in Taiwan initially followed a tradition of fiber crafts, that is, to use natural materials such as true indigo, turmeric, and subrostrate crape myrtle; dyes were extracted from roots, stems, fruits, peels, flowers or leaves of these local plants to produce vegetable colours that reflected their native environments. Organic substances were also extracted from animal bodies that coloured fibers and other materials. For example, the red dye extracted from cochineals produced a vibrant animal colour. In addition, particles such as mud, loess, ink, and carbon were used to make pigments, creating mineral colours that bound the features of mountains and rivers. In the process of development, people gradually had more discussions on the contemporary trends in environmental friendliness and protection, expanding influence of natural dye techniques on society. A diversity of local colours, coupled with the concept of ecological sustainability, has become important nutrients for young craftsmen in the creation and exploration of contemporary fiber art. Borrowing the imagery of theatre, Colour Theatre uses the three elements of theatre (i.e., actors, space, and audience) to interpret the overall atmosphere of the exhibition. Taking the role of actors, works shape the inner expression of natural colours; space is created with Taiwan’s landform that features a diversity of natural colours, and with the active participation of the audience in the exhibition, a perfect colour performance is achieved. The exhibition unites the interpretation of Colour Theatre with the physical routes of the theatre and the concept of space transformation. The space is designed using the three representatives of Taiwanese culture, namely, Tea Ceremony, Calligraphy and Drawing Room, and Open-air Stage, allowing the audience to follow the colours and move about in this unique U-shaped exhibition. Like roaming around frontstage and backstage in the theatre, the audience can interact with the colours of diverse species extracted from the environment of Taiwan and feel their personalities and characteristics of Taiwan they convey, enjoying the uniqueness of Taiwanese culture nourished by the natural environment. Closely linked to the display of works, the formation of Tea Ceremony, Calligraphy and Drawing Room, and Open-air Stage conveys the cultural significance of fiber crafts in Taiwan. Tea Ceremony discusses the tea-drinking culture in Taiwan. It uses aesthetic accessories such as table runners, tea mats, and tea towels to show the beauty and delicacy of natural dyeing. Calligraphy and Drawing Room visualizes the artistic conception of writing and painting with dyed paper, dyes, and pigments to show how people can live an aesthetic life with natural dye works. Open-air Stage, by playing different fiber dyeing documentaries, introduces the local strengths of natural fibers and dyes in Taiwan and how craftsmen take advantage of natural resource abundance to explore and create natural dye works. The works on display present the ample capacity for Taiwan’s natural dyeing development and its infinite possibilities from three perspectives. First, a group of Taiwanese scholars who specialize in dyeing techniques have long conducted research on the colours and dyeing of local plants and soil in Taiwan, contributing greatly to the development of natural dyeing. The second dimension of the source of works comes from brands or industries that start from the traditional craft industry by promoting natural and organic innovative concepts to pursue further breakthroughs in aesthetics or an attempt to enhance the mass production of naturally dyed products. The third dimension of the work presents a new generation of young artisan, using different media to challenge the creation of installations, sculptures, and other diverse method, showing the unique artistic practice of natural dyeing technology. Taiwan’s unique environment has nurtured a wealth of natural resources from mountains and rivers and oceans to land and vegetation. Locally sourced materials can be extracted to make vegetable colours, mineral colours, or animal colours, creating a wide spectrum of colours in natural dyeing. This gives designers, craftsmen, and scholars opportunities to create natural dye works and research freely and boldly with their creativity. In the process of passing down Taiwan fiber crafts, they incorporate contemporary issues (e.g., environmental friendliness, natural or organic lifestyle, diversity, and tolerance) and imagination of sustainable futures into the works, allowing natural dyeing to be used in people’s everyday life in various forms and with infinite possibilities. “Welcome to Colour Theatre to explore the beauty of natural dyeing performed by a group of enthusiastic designers, craftsmen, and scholars using the abundant natural resources in Taiwan.” Exhibition Dates: 7-15 May Opening Hours: 11am-6pm Exhibition and Workshop Venue: OXO Gallery (Oxo Tower Wharf Barge House Street SE1 9PH) Workshop Booking Via Email: (per workshop 15 places, FREE) 13 May, 2pm-4pm “Indigo Dyeing for Table Runner” 14 May, 2pm-4pm “Indigo Dyeing for Woven Shibori” 15 May, 2pm-4pm “Soil Dyeing for Pocket Square” 2022 London Craft Week Website:



Plant Essence- Weaving and Dyeing Nature

A short documentary film was made based on the concept of ""Plant Essence- Creating a Rustic and Fashionable Local Rural Craft Aesthetics."" The film Weaving and Dyeing Nature features the people, bringing out their daily craftsmanship, as well as the craft development and introduction of the community.

Participating Communities:

Taiwan Yuan-Li Handiwork Association, Nantou County Guoxing Township Shimen Community Development Association, Watersource Cultural and Educational Foundation, Hualien County Kavalan Development Association, Chiayi County Lunwei Township Tian She Zhuang Bamboo Weaving Development Association


Glittering Interstices in Time

Glittering Interstices in Time

Makie’ is the highest of lacquer ware technology. ‘Maki’ means to sprinkle metallic powder on still wet lacquer. ‘Chinkin’ technique is to scrape patterns on the lacquer ware and affix gold foil on the patterns. The technique has become the most representative characteristic of the Japanese people. This work is among one of the artist’s landscape series that is filled with unique personal style. An European wooden church is taken as the reference. On the surface, the ‘Lacquered Tenmoku’ technique, created by the artist, was employed. After applying the middle layer resin on the wood, the pure gold powder would be sprinkled and dripped with diluted solution for a smooth spread. This is the most modern Japanese-style lacquered work.

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