In 2025, as the National Taiwan Craft Research and Development Institute enters its 71st year, this exhibition embraces “SLOHAS Living” as its central vision—highlighting craft as a joyful rhythm that flows gently, woven into the art of living. Introducing the attitude of SLOW living and LOHAS (Lifestyles of Health and Sustainability), it frames craft as a medium for responding to future social challenges and cultural practice. More than a lifestyle, it is a heartfelt movement—one that begins with sensory experience, inspires social action, and ultimately leads to cultural resonance. Structured through the trilogy of Flow, Spread, and Slow, the exhibition echoes six core values: Simplicity, Lifestyle, Originality, Health, Aesthetics, and Sustainability. From the sensory awakening of Flow, through the expanding practice of Spread, to the co-created contemplation of Slow, the exhibition spreads out how craft moves from individual perception to collective creation, then ultimately returning to a deeper reflection on daily rhythms. This journey mirrors a three-stage progression—from ideals, to attitudes, to styles—unfolding as an active composition for the future of craft and forming a holistic philosophy of SLOHAS in Craft. No longer just a presentation of static objects, this exhibition becomes a dynamic platform—integrating curation, advocacy, and practice, as three main leading directions. It stimulates all five senses, fosters reflection and participation, and outlines a portrait of contemporary Taiwanese craft in transformation. —from traditional craftsmanship to everyday practice and cultural movement. It affirms SLOHAS Living lifestyle as a kind and well cycle of sustainability and kindness—from S to S, infinite and alive.
Go deep into the scene to directly understand the craft creation journey of needle embroidery workers Xiang-Hua Shi and Chen-Chun Xu in Lugang, Changhua.

Artisan Li Song-Lin grew up in a family of woodcarvers. His works are extensive and widely acclaimed, dedicating his life to traditional woodcarving art. His creations deeply embody the essence of traditional art, holding a leading position in domestic woodcarving artistry. This Guanyin Bodhisattva is depicted bare-chested and barefoot, wearing a jeweled crown, a draped scarf over the shoulders, and a chest adorned with tassels. She sits on a sea rock base, with her right leg bent high, her right hand resting on her knee, her left leg hanging down, and her left hand supporting the side of the seat. The folds of her garments flow naturally, exuding a relaxed and leisurely posture, modeled after the Song Dynasty Guanyin style. Additionally, the Bodhisattva's face is serene and elegant, her eyes gazing downward, with an expression that is both reserved and introspective. She embodies a human-like character while maintaining the dignity of a Bodhisattva, making this a masterpiece among contemporary woodcarving works.