Weaving is a craft shared by all cultures in the world; it can be specifically divided into knotting, tying, weaving, dyeing, and embroidery. It provides our everyday needs, and can add colors in our lives with its creative designs.
Founded in 1990, the Weaving Arts Museum, a division of Taichung County Cultural Center, originally featured natural rush hats and mats made in Tachia and traditional Atayal weaving, where the collection has expanded to 869 pieces of weaving over the years. As a small-sized local cultural center that connects domestic weaving talents, it has published book series, held exhibitions, conducted exchanges with other museums and global partners, and put in efforts in talent training. From 2015 onward, the Cultural Affairs Bureau of Taichung City Government started to formulate a plan that promotes the Weaving Arts Museum to become Taichung’s first public municipal museum, as a way to respond to the promulgation of the Museum Act and pursue sustainable development.
The missions of MOFiA can be recapitulated in three dimensions: fiber, fashion, and green craft, which also point to the future direction of this museum. The aims of this museum are to incorporate Central Taiwan’s natural and human resources, based upon the richly diversified research results, thus progressing toward a professional organization that boasts lifestyle, culture, fashion, design, and eco-friendly ideas. With its integration of exchange platforms of fiber arts industries domestically and internationally, it is expected to become a new landmark of the cultural developments in Taichung City in the near future.
The installation art serves as a landmark at the bus stop near the building entrance. To attract passersby and reduce damage from touching and collision, the fine installation art is being placed at the bus stop. The work piece is modelled after a butterfly, symbolizing the fluttering butterfly of Taichung, a flower city. It is created using Taiwan bamboo weaving method. Butterfly is a symbol of Taiwan, and the installation art is placed at the bus shelter near the building entrance along Shengli 2nd Road as a landmark, coinciding with Taichung World Flora Exposition.
In line with the mission of Taichung English and Art Museum, this installation art uses the natural bamboo fiber, retains the single stem, and incorporates weaving concept into the structure, forming a two-layer bamboo column. They are interwoven in opposite direction to form a net. The three bamboo works are arranged to create a shady recreational area on the square, for the public to learn about the green craft of bamboo and beauty of weaving at a close distance.
Materials: 9m moso bamboo, stone foundation.
The hexagon frame uses traditional weaving technique, and triangular weaving with transparent ribbon. The main colors are blue, green and orange, representing the logo of the flora exposition. The transparent materials are able to penetrate and stack to create different depths. It is suspended from the towering space to represent our sky and world formed by different faces.
This exhibition is co-organized by the National Taiwan Craft Research and Development Institute and Taichung English and Art Museum. The theme of the exhibition is “Weaving Emotions”, showcasing modern and eco-friendly local and overseas bamboo crafts.
The woven flowers in “Weaving Emotions – Taiwan’s Contemporary Bambooware and Bamboo Art Exhibition” mark the grand event of Taichung World Flora Exposition, conveying the concept of endless life of flowers and resource sustainability. Visitors are guided through a bamboo corridor to learn about bamboo. From the sound of bamboo grove, they can listen and appreciate how the craftsmen prepare the materials and their hand movement and posture at work. This is the foundation and starting point of creation for all designers. Such exhibition is also a form of appreciation for Taiwan craftsmen.
The exhibition is split into 7 areas: guide, weave, see, light, begin, carry and turn; where visitors can learn about the beauty of Taiwan’s bamboo art.
Bamboo is the main materials for Taiwan’s traditional and modern bamboo art. In this section, visitors are guided into the makino bamboo trail, where chairs are provided for them to enjoy the visual and sound experience. As they walk, visitors gradually discover the light and faintly visible works from the exhibition area.
Makino bamboo is an endemic species of Taiwan, mainly found in mountainous region in northern and central Taiwan of altitude 150 meters to 1500 meters. It has a height of 6 meters to 16 meters, diameter of 2 to 10 centimeters, and knot length of 12 to 40 centimeters. During the agricultural period, it was commonly used for making tools for farming and fishing, as well as daily tools such as cradle, bamboo door and chair, sedan, big basket, grocery basket, etc. Today, it has many usages, such as in construction and making bamboo sword, bamboo furniture, weaving art, bamboo mat, bamboo curtain, bamboo charcoal, etc.
This section exhibits the different types of bamboos, tools and bamboo weaving techniques in bamboo art. Theses weaving techniques present the beauty of lines and structures in bamboo art. The bamboo materials are obtained through complex processes, and then weaved into the desired items. Tool making plays an important role in linking the processes. Weaving the base is the first step in making utensils. It normally starts from a flat surface, and weaved using various methods, where the common ones are square weaving, hexagon weaving, twill weaving, ladder weaving, cross weaving, wavy weaving, wheel weaving, etc.
Craftsman Li, Rong-Lie, specializes in incorporating bamboo weaving with lacquer art, creating unique lacquered bamboowares. Lacquered bambooware refers to utensils weaved from bamboo to form the structure and then coated with lacquer. The weaving pattern can still be seen on the exterior of the utensil, different from the traditional method of lacquer which first requires having the body before being able to paint and finish. This technique breaks through the limitation of bamboo weaving of not being able to hold liquid. It combines bamboo weaving with lacquer, creating the artistry of bamboo craft, allowing the work to be preserved forever, creating art value.
Craftsman Li, Rong-Lie came in first in the 12th National Art Exhibition Craft Category, won the 10th Folk Art Heritage Awards by the Ministry of Education, and won 2013 Crafts Achievement Award. In 2016, he was appointed by the Ministry of Culture as a Preserver of Important Traditional Arts. Commonly known as a “Living Human Treasure”, bamboo art master Li, Rong-Lie, is one of the few craftsmen in the country that incorporates bamboo, wood and lacquer.
Bamboo weaving by Chang, Hsien-Ping. The inner body is made with bamboo strip using hexagon weaving and pasted with bamboo leaves. The body is decorated with the dense pattern of ancient coin and small hook patterns. It has a handle, and is coated with paint. The overall symmetrical shape is based on the design of ancient object, expressing artistic creativity on traditional design, and incorporating the indigenous people’s weaving technique. The firm handle is a contrast with the hexagon body shape. It has a quaint color, elegant pattern, and strong coating and inner body.
The work has a simple design and solid technique. It uses high quality Taiwan makino bamboo after going through processes such as cutting, weaving, winding, securing, paint scarping, painting, etc.
One set consists of three different sizes, which can be easily stacked. They can be used based on different requirements, and as vase, container or even as decoration.
Single Wheeled Plun-Blossom Pattern Flower Vase
Most vases only have one opening, but for this creative piece, it has two matching openings, where the flower can extend out from both left and right. For the body, hexagon weaving is adopted for the base, and then uses bamboo strip for freestyle weaving. It leaves some slits so that when one view from the interior of the vase, random small holes can be seen, resembling the beautiful stars.
This section exhibits the various forms of Taiwan’s modern art. The National Taiwan Craft Research and Development Institute has been working with “Hand in Hand” from France in organizing international programs from 2010 to 2018. From an international design perspective, it incorporates with Taiwan art technique, with the objective of natural and symbiotic relationship, creating fine bamboo crafts of international design standards. This is the first time that such a large-scale exhibition of high quality work is held in Taiwan. It presents the various forms of bamboo weaving, the results of cooperation between the French designers, Taiwan designers and Taiwanese craftsmen.
It was my aim to combine traditional handicraft and western garments in a way that highlights the difference of the oriental and western cultures. Thus, audiences can see the regional flavors of the oriental world, and admire the elegance of a slim and graceful lady who exhibits the mysterious style in a silent manner.
Circle And Square
The concept of this handicraft was originally derived from the bamboo weaving skill, which is seen as the basic form of bamboo weaving and can convey a visually simple beauty. The overlapping of bamboo batten will later be thermoplastically molded into a curving surface, so as to render more space and bring more change into this artwork.
Lai, Yi-Ju /
The bamboo tube was first longitudinally cut and then molded in a grinder. The bamboo film inside was removed and covered with paint, before the bamboo tube was weaved with a bamboo stick and leather.
The climbing plants can invade any place they are planted. They can easily multi-cover a space with their hooked tips.
The main material is makino bamboo strips. The texture and color can be seen on one side of the thin bamboo strip, while the other side presents the characteristics of bamboo fiber. Multiple rectangular bamboo strips are bundled together with cotton thread to form an empty circle, and then into soft sculpture. The shape, light and spacing of the bamboo strips change with the body, and give off a sound. The decorative threads penetrate through the slits of the bamboo strips and can be easily adjusted.
Hsu, Hsueh-Hui /
Wings Of Light Ⅰ,Ⅱ
The body of this artwork was made out of bamboo tube, which exhibits simplicity to anyone who sees it. Then mixed materials are twisted in a plain, quiet fashion, with the straight fiber fo bamboo and the fiber of threads are braided into one, which resembles a pair of glittering wings that look very surreal and outworldly.
Designer、Bamboo weaving Artist/Kang, Chin-Chuang
Craft Artist/Chen, Mao-Hui
This was designed for night exercisers who can bring this with them so they would be more easily recognized. This safety-enhancing item is measured at 6cm in the width of the tube, which best suits women to hold in the palms, and can be used as an accessory for their clothes, or even put on the nightstand as a decoration.
This artwork mimics the interplay of light and shadow observed by a person sitting under a tree. As the size and density of leaves of a tree may differ, so do their colors, this piece of work is presented in a gradient colors and symmetry.
Using simple and original method to grind the bamboo material, it uncovers the beauty of the changing texture of the natural bamboo layers. Human builds in nature, and nature exhibits its essence of life by going along with human behavior and environment. We have a mutually dependent relationship, creating a landscape of various layers. With the endless dialogue between nature and human, the art piece symbolizes the embraces with each other.
I tried to employ the diagonally bamboo tube, which has hollow structure and is light as a feather, and weld it with metal that is in the shape of a bamboo leaf. By combining the warm bamboo and the very cold metal, I intended to explore the symmetrical beauty of artworks.
The farmers in Taiwan have long been at the mercy of weather, when drought and too much rain sometimes take turns to spoil the crops. A belated spring rain this year has caused water scarcity nationwide. The populace and every industry of this island can only wait for the “life-saving” rain. This also reminds us of the divine power of Nature.
The design was inspired by the phenomenon of spring rain. With the mechanism of the rainstick, a traditional musical instrument, the shape and structure were altered to be a bracelet, in which a large amount of beads clash against each other in the bamboo tube. The wearer might hear the sound of flowing water, which evokes the image of a never-ending river.
The two-colored bamboo tube was first annexed by lathing and then shaped into various shapes. The wearer may have the fun of wearing a small statue.
Floating Clouds And Flowing Water
Made by different bamboo mateirals, the three pieces of work are radially overlapped aftert they were twisted, crossed, and expanded, since the bamboo itself could be highly elastic and ductile. I made an attempt to use the thinnest material in order to alter the bamboo comb’s unrestrainable shape as much as possible. It is essentially like floating clouds and flowing water.
The exquisiteness of bamboo fiber was heightened by cutting half the bamboo for multiple times. The long, slim fiber (less than 1mm in width) was plastic. In order to exhibit the abovementioned characteristics of fiber, I made a metal component, which was added to the bamboo fiber and served as the outer part of the ring, as the long fiber sways back and forth with every action of the wearer.
Designer/Chen, Chun-Tai Producer/Lin, Mei Ju/Chen, Chun-Tai
The detachable jewelry design makes a wearer easily put the bamboo ring into the cord, so it can be worn as a necklace.
Chang, Shou-Tuan/Tseng, Yu/
This work is inspired by paramecium, a hydro-plankton. As paramecium is an independent one celled organism, its shape can be changed, symbolizing that every person is born as an independent individual, and changes with the changing environment and interaction with the surrounding. The only unchanged factor is the heart, which is not affected by the environment, as represented by the emptiness of the body of the art work, presenting the artistic conception of indifference, loneliness, emptiness and standstill. The work adopts Japanese craftsman Hajime Nakatomi’s bamboo ball freestyle weaving. Wheel weaving technique is used on the two sides, which are then tied two times with dyed bamboo skin, forming its shape. The work uses composite material consisting of bamboo strip and cotton thread. It makes use of techniques such as forging, cold joining and rivets to combine the bamboo strip with the cotton thread.
The petals were made by bamboo sheath and then baked into a curved form, before they were put together as big or small flowers. The buds were made by bamboo chips. These two different techniques were dyed with gradient colors, thus making the artwork even more 3-dimensional. The rose stones were added because of their identical hues with the flowers, and because they were natural materials. They were stringed together like flowering shrubs overhanging in a vigorous way.
The bamboo forest reaching out into the sky shades the scorching sunlight from passersby who may feel the coolness when they’re walking. The bamboo leaves are the theme of this series. When a breeze blows through the forest, the shadows of bamboo leaves over the path accompanied by the rustling sound are so fascinating that it makes ramblers peaceful and happy.
Countless threads gradually fall into order. Simple or complicated depends on how you perceive it.
The Bamboo Weaving Workshop 2018 was featured with bamboo-weaving skills and called attention to the creation of the latest accessories and trinkets. The exhibits shown in the D’Days 2016 and the weaving items that were created with the help of Hajime Nakatomi are also included in the exhibition of this workshop.
Designer/ Samuel Misslen, atelier[jes]
Craft Artist/Lin Jian-Cheng /
In 2011, the National Taiwan Craft Research and Development Institute made a cooperative effort with Hand in Hand (a French-based association), inviting the world-renowned designer, Samuel Misslen, to Taiwan. He employed bamboo, an environmentally friendly material, as the main material for an artwork with an extremely simple style. Four bamboo tubes were used to serve as chair feet, while Taiwanese designer, Lin Jian-Cheng, added a cross-shape bamboo tube. Then Samuel Misslen proceeded to design the chair base made from coiled bamboo and create a 1:1 card model. Lin Jian-Cheng later divided the bamboo tube up into four bamboo sheaths, which made up the seat that could support the human weight. This can be regarded as the best performance presented by Misslen’s finesse in design and Taiwanese designer Lin Jian-Cheng’s superb bamboo weaving skills.
1. This artwork was made from simple components, and could be seen as a new product in accordance with the “Use and Dvelopment of Bamboo Weaving in Handicrafts 2016.”
2. The artwork’s components were made with the baking techniques taught in the abovesaid course.
3. The bamboo batten has been ensured to keep an identical bending angle.
4. The freely assembled arrangement of various components.
1. This artwork was made from simple components, and could be seen as a new product in accordance with the “Use and Dvelopment of Bamboo Weaving in Handicrafts 2016.”
2. The artwork’s single component was arranged in very irregular ways.
3. The dynamic of this work was created through the density of lines, curving and deliberate arrangements.
4. When the work is put in an upright position, it looks like smoke from a kitchen chimney; when it’s put horizontally, it looks like a curving path.
The bamboo batten coiled, the bamboo was baked into a curving shape, the rattan peel twisted into a cord, and hot dyed in worm-shape, and lastly wiped by raw lacquer.
This course gives me a lot of challenges and an opportunity to learn. The bamboo batten was freely twisted into any shape that you’d like—such unrestrained style may be even more challenging than it originally seemed. The natural materials have their qualities or features, whilst the bamboo batten is made of various width and thickness, which brings even more changes into this art creation. It would be rather difficult to create what’s in my mind. In the freely coiling process, I’d made numerous attempts to adjust or alter the location, direction, radian, and angle. This brought me immense joy, as I came to know more about the bamboo material and create a pliable form out of the bamboo.
Designer：Patricio Sarmiento & Dimitry Hlinka. /
Laminated smoked and natural bamboo
This electronic bamboo bicycle expresses a common ambition of the two designers and the NTCRI; on the one hand, to propose a responsible solution for urban mobility and on the other hand to challenge the mechanical properties of bamboo, a material of the future, ecological and sustainable.
This bicycle tests the limits of the unique mechanical properties of bamboo. Inspired by Taiwanese bamboo craftsmanship, the designers have use traditional and contemporary bending methods by taking advantage or the frame rigidity while retaining a slight flexibility, giving this way a smooth and confortable ride.
This project was supported by the NTCRI , (National Taiwan Craft Research and Development Institute) under the supervision of Dr. Yau.
The feet of the sun slowly move every day,
The time flees quickly.
The variety of flowers brings fragrance to the garden of ethnicity,
And the history of a century disappears into the void.
When the cocoon-like film was ground, and the thick soil was split open,
And if the seed does not die, the contemporary culture will merge with the tradition once again;
We’ll hear the sound of blossoming.
艋舺の文化・生活エリア_ガイドルート フェースブック：https://www.facebook.com/MongaQuasiMuseum/ 観光スポット： ●新富町文化市場 ●剥皮寮歴史街区 ●清水巌祖師廟 ●貴陽街(老明玉香舗) ●艋舺青山宮 ●龍山寺 ●青草巷 ●艋舺公園/龍山寺地下街商場(艋舺龍山文創B2)
臺灣戲曲中心(Taiwan Traditional Theatre Center)隸屬國立傳統藝術中心，座落於臺北市士林區，鄰近捷運芝山站。 建築師姚仁喜秉持「與自然共生」的建築美學，以「一桌二椅」作為整體發想，將戲曲藝術的寫意表演手法巧妙鑲入建築設計中。 為傳統戲曲量身打造的劇場新星 設有1,035席次的大表演廳、300席次的小表演廳、海納臺灣音樂領域重要研究文獻的臺音館、戶外廣場、多功能廳、中、小型音樂練習室以及其他空間，供各式藝文活動使用。戶外廣場另設有行動藝術舞臺，創造更貼近生活的表演空間。 基地就是舞臺，靜待表演者及觀眾賦予臺灣戲曲中心生命，共同於藝術文化殿堂留下不朽篇章。
臺灣文學館每年為響應5月18日國際博物館日舉辦「博物館日玩文學」系列活動，自2011年起已陸續舉辦「許丙丁的小封神地圖」及「葉石濤文學地景」等踏查活動，邀請民眾一同走讀府城，探訪城市的記憶，並在活動後出版專書。 2014年，臺灣文學館與台南市五條港發展協會共同策畫「穿越五條港」踏查活動，尋訪五條港幾個具有歷史記憶的景點，結合古典詩作，並由專家的古蹟導覽，帶領參與者穿越古今的五條港。同年出版《穿越五條港：府城文學踏查地圖4》專書收錄踏查地景的介紹。 「五條港」指的是臺江內海逐漸陸化浮出後的殘餘港汊水道，大致分布在今西門路以西、成功路以南、中正路以北的區域，為府城的商港區。五條港由南到北分別為安海港、南河港、北勢港（南勢港）、佛頭港、新港墘港。我們之所以選擇「五條港」做為府城文學的踏查路線，乃因「五條港」過去是府城對外貿易的轉運站，更是各種郊商店鋪、貨棧雲集之處，周邊不僅有米、糖、茶等南北雜貨，還有木材相關產業。日治市區改正後，港灣特色不再，但是該區域依然是臺南最繁華的地區。五條港豐富的民俗文化及港道地景，每成為文人創作的題材，而本區的酒樓茶肆更是文人雅士交際應酬之所，所以從清代到日治出現諸多與城西五條港相關的文學作品。 本書從《全臺詩》1-30冊及《區域與城市：臺灣古典詩選注1》中蒐集相關的作品，內容涵蓋五條港的歷史遺跡、商業經濟、姓氏宗族、生活實景四大面向。配合地景挑出淺顯易懂並能呈現昔日五條港風貌的14首詩作，邀情民眾一同神遊古人的詩文情境。 如欲購買本書者，可至臺灣文學館網站查詢販售地點：https://www.nmtl.gov.tw/content_152.html
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