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An Interpretation Case Study of Cultural Creativity in Design
Exhibition of “Taiwan Artisan”
Jun-Liang Chen 1,5
, Yu-Ju Lin 2,5
, Jui-Ping Ma 3,5
, Mei-Ting Lin 4,5
1 Freeimage Design Studio, Taiwan.
2 Department of Visual Communication Design, Taipei College of Maritime Technology Taipei 25172,
Taiwan. 3 Graduate School of Creative Industry Design, National Taiwan University of Arts New Taipei City 22058,
Taiwan. 4 Department of Commercial Design, Design College, Hsing Wu University, Taipei, Taiwan.
5 Graduate School of Creative Industry Design, National Taiwan University of Arts Ban Ciao City, Taipei
22058, Taiwan.
Abstract. The Executive Yuan in Taiwan began promoting the Challenge 2008 - The New Six-Year
National Development Plan of the Republic of China (Taiwan), the goals of which are to nurture creative
skills and promote the combination of culture with entrepreneurship to develop cultural industries. If the
“Craft” is derived from the practical needs of human life, then every country and ethnic groups will develop
its own unique craft culture. The craft culture is reflecting the local economic status, social customs and the
natural environment status of each ethnic group. Thus also reflects the residents’ attitude in life, their ideal
and visions. These are some the reason why local ethnic craft culture is extremely precious and also valuable
cultural assets. The domain of Taiwan’s crafts creation has expanded, but the type of exhibition still cannot
break through tradition. Ever since the concept of curatorship was introduced to Taiwan in the 90’s, it
developed rapidly and quickly became a popular trend. This study tries to explore how Taiwan Artisan
viewpoint is shaped in the process of collaborative curating and in the presentation of the final exhibition.
This thesis Carried out those Taiwan craft artists and from their perspective to focus on topics of artisan
contemporary art, to address important information that an exhibitor may need, and planning exhibition
methods in hopes to bring out artisan contemporary art through proper exhibition to entertain the spectators.
Keywords: Cultural and Creative; Design Exhibition; Taiwan Artisan.
1. Introduction
Taiwan has gradually become more industrialized. This change to the industrial structure has caused the
rapid demise of various local and uniquely Taiwanese industries that relied primarily on selling traditional
handicrafts. Local industries gave rise to creative cultural industries and, thus, the preservation of local
industries has become a crucial process in the strengthening of creative cultural industries and the unification
of national identity. In response to this trend, college-level design students have become increasingly focused
on learning and implementing the information provided in cultural creativity courses. This trend has been
proven by the increasing number of award-winning Taiwanese students at international competitions in
recent years. By contrast, studying traditional handicrafts has become unattractive and outdated to them and
their familiarity with local traditional culture has dwindled. To address this discovery, the Taiwanese
government has continually promoted the transformation of local industries into local creative cultural
industries in an attempt to create an image of a “Cultural Taiwan” and a “Creative Taiwan.”The forefathers
of Taiwan created handmade traditional handicrafts that are rich in character and regionally diverse. The
Corresponding author.
E-mail address: [email protected].
2014 4th International Conference on Education, Research and Innovation
IPEDR vol.81 (2014) © (2014) IACSIT Press, Singapore
DOI: 10.7763/IPEDR.2014.V81.1
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creation of these crafts, however, largely depended upon master tradesmen who verbally and physically
passed on their skills to the next generation. Without successors, these crafts are lost to history with the death
of each master. In this study, the “Taiwan Artisan” exhibition content was used as the research sample. It is
hoped to examine the concept, and the pros and cons of the current exhibition system, so as to propose
adjustments in response to the changes in time and compile issues worth reviewing in contemporary craft
creation and exhibition interpretation, ultimately provide exhibition organizers and the audience with more
diverse clues when contemplating the subject of viewing exhibitions.
2. Literature Review
2.1. Experience
Experience is obtained from the interaction between the mentality of a person with a certain event.
During the process of gaining experience, the senses, feelings, mentality, and behavior of a person constantly
interact with the surrounding environment. People feel emotions and gain empirical knowledge from these
interactions, thus creating personal experiences. Pine II and Gilmore (1999) proposed a construct for
consumer experience: (a) consumer participation—divided into active and passive participants; (b) the
correlation between consumer status and environmental status—divided into absorption and immersion.
These two major dimensions form four types of experiences: (a)aesthetically pleasing experiences that
compel consumers to enter a space, sit down, and fully appreciate the surroundings; (b) an escape from
reality that allows consumers to become immersed in specific activities; (c)educational experiences that
require active participation from the consumers similar to the level of participation involved in escape-from-
reality experiences; (d)similar to aesthetics, entertainment is a passive experience. When customers are
happy, they are not required to be active, but are merely responsive to the experience.
2.2. Knowledge and attitude
Cognition refers to the understanding of human behavior and the analysis of mental processes and
memory structure. Therefore, cognition is the knowledge and opinions that people have and form following
internal information processing that analyzes the stimulations resulting from the messages conveyed by
external events and objects. Cognition is a process where people attach meaning to the environment,
organize and interpret objects and events, and obtain information by using the senses. Cultural awareness is a
psychological process where humans, through the use of their senses, create various spiritual and material
activities for a particular survival mode or lifestyle and subsequently develop recognition and understanding.
In people’s recollection, the context of culture has become interpreted lifestyles, cognitive experiences
derived from surrounding cultures, self-interpretation, and an extended worldview.
Attitude directly affects how experiences are conveyed. Therefore, regarding the exhibition, the attitude
of the audience must be understood. The message conveyed through the contents of the exhibition illicit a
certain response from the audience. Through the rationalization and emotional recognition processes
undertaken by the audience, an attitude toward the viewing is evoked. Specifically, the cognition aspect
refers to the understanding and evaluation of the audience regarding the content of the viewing experience,
and the emotional aspect signifies the degree to which the audience enjoyed the viewing experience.
2.3. Cultural identity
Cognition is an evolving behavior and a phenomenon that can be elicited through only explicit
participation in events and an implicit feeling of actual experience to create a goal or value that becomes
internalized by an individual or a group. Cultural recognition or awareness is typically related to cultural
activities. During the course of an activity, the transfer of information and emotions, and thus an increase in
cultural recognition, can be achieved through the means of observation, experience, bonding, and
enhancement. A lively viewing experience also assists in developing a sense of recognition.
2.4. Cultural exhibition and curatorial
Cultural demonstrations, such as craft exhibitions, often involve the collective demonstration and display
of craft objects or non-art objects. The purpose of these demonstrations is orientated toward knowledge
building and the collection of research. Burcaw (1987) stated that a display is where objects are arranged in a
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designated fashion with explanatory details to achieve the purpose of communicating with the viewer
through a public exhibition. Therefore, display is an art form and interpretation outcome, where objective
display skills are used to enable the communication between the audience and the implications and charm of
ancient artifacts.
In Taiwan, independent exhibitors are required to be proficient in various areas. They must possess
qualities such as strong organizational and social skills, an understanding of current trends and contexts in
society, and grasp the underlying functional operations conducted in the art industry. The exhibitor must
have professional and technical knowledge regarding the designation of a theme, the presentation method of
an exhibition, media promotion and application, and marketing strategies. Cultural exhibitions are an
ongoing process. During the process of cultural participation, people internalize particular cultural objectives
and values. Subsequently, the cultural similarities between individual people are emphasized, and a sense of
belonging to a certain cultural group is instilled. Regarding the curatorial tasks of creating a modern
exhibition, how an exhibitor should present an exhibition has become the most critical topic in the discussion
of cultural curatorial activities.
3. Artisan Taiwan-Curatorial Research & Analysis for Cultural and Creative Exhibitions
The term “artisan” in Japanese meant craftsmen or technicians in old times, and is now broadly used to
indicate “professionals”. The artisans usually possess of sufficient skills for occupations in all sorts of
industries and fields. Artisans are those who refine their outstanding skill by time and devote their lives in
one art as artists. Therefore, the primary spirit of “Artisan Taiwan” exhibition is: Spirit of Artisan, Soul of
Taiwan Cultural and Creative Activities. For the five elements-metal, wood, water, fire and earth-the
exhibition invited local craft artisans of bamboo weaving, dyeing, jade carvings, silver art and solid
sculptures to participate in the event, as well as design elites of the 50s to the 80s to spark new creativities,
presenting the extraordinary skills of the intergenerational artisans refined by time and their lifetime devotion
and passing on the artisan spirit of tradition inheritance.
Despite of accumulated cultural and creative events in Taiwan, changes in school system has caused a 15
to 20-year gap in fundamental professional subjects and craft skills. As much as a civilized and mature
community cannot sustain without artisans, it is worried that the lack of artisan skills are harming the cultural
inheritance. In order to inherit and preserve the skills and to retain the wisdom and dignity of our
predecessors, the imperative curatorial of "Artisan Taiwan" aims to emphasize a new era of "More Local,
More International".
3.1. Exhibition content display and design considerations
The curator Jun-Liang Chen selected for the exhibition the hundred nearly lost craft arts which have
undergone changes in the past decades in Taiwan, and made each change visible by the staunch of "craft
artisans" and the insistence of "design artisans". The philosophy to influence the times by wills and realize
the future by time has created the contemporary and classic Taiwan culture and ceaseless homogeneous
beliefs. The exhibition venue is divided into two major blocks, namely:
3.1.1. Five-element categorized craft arts
(Metal) Silver Helmet─Jian-an Su, (Wood) Bamboo Weaving─Jin-duan Chiu, (Water) Fabric and
Dyeing─Da-lu Yo-ma, (Fire) Solid Sculpture─Ang-Fu Huang and (Earth) Jade Carving─Yi-Sheng Wu.
Silver helmet artisan: Jian-an Su, a four time winner of National Crafts Awards who devoted himself
in the long tradition of silver helmet crafts for holy statues; he is specializes in the flexible use of
silver plating and bicolor paintings which decorate the silverware a colorful look.
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Fig. 1: Silver helmet artisan─Jian-an Su
Bamboo weaving artisan: With the superb bamboo weaving techniques, Jin-duan Chiu utilizes a
variety of weaving techniques in her creations. In recent years, she also actively cooperates with
designers, in order to break through the restrictions of traditional bamboo weaving techniques. The
"Carbon Bamboo Chair" comprises a body of carbon fiber wrapped by laminated bamboo and flora
decoration on the hexagon socket, presenting a trendy and retro bamboo pattern; the carbon fiber is
elastic and weight resistant thus the chair is light, pretty and practical.
Fig. 2: Bamboo weaving artisan─Jin-duan Chiu
Atayal weaving artisan: Ms. Yo-ma devotes her life to the promotion of Taiwan's Atayal weaving
skills and has created Beishih bridal gown, tiara and portable weaving tools. In her thirties, she
planned a 50-year vision for the tribes, visiting every corner of the world to investigate nearly a
hundred Atayal tribes and domestic and to conduct researches and analysis on foreign and domestic
Atayal artifacts; finally she completed the organization and categorizing of traditional Atayal fabrics
and costumes, expecting to piece together the Atayal weaving culture, train young weaver girls
through education of ethnic dyeing and weaving culture, and root the cultures skills through
preschool education, in order to continue and promote the Atayal weaving skills.
Fig. 3: Atayal weaving artisan─Da-lu Yo-ma
Solid sculpture artisan: Ang-Fu Huang specializes in the solid sculpturing method and creates works
of five topics, including animals, plants, ocean, insects, myths and characters. His new creations
include Taiwan orchid, focusing on the "local Taiwan culture".
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Fig. 4: Solid sculpture artisan─Ang-Fu Huang
Jade artisan: Yi-Sheng Wu has delved into jade carving for a long time and is known for his
impressive carving techniques. It took nearly three months to complete the exhibition original black
jade stone "Flora Smoke".
Fig. 5: Jade artisan─Yi-Sheng Wu
In addition to the top skills of the craft artisans, design artisans of different generations also show their
creative energy refined in time.
3.1.2. Five generations of design elites
Xing-Gong Wang, Pang-Xong Lin, Ching-Yang Hsiao, Chia-Hsing Ho, Jing-Yi Huang and Zhi-Jieh Yen.
Xing-gong Wang: The exhibition presents the "clay movable types" collected long time ago in Hong
Kong, showing the declined clay movable types industry after lead types was introduced to China in
the 19th century. The 1800 clay movable types displayed in a cross layout in the exhibition is the first
exhibition of his private collection.
Fig. 6: Design Elites─Xing-Gong Wang
The creative theme of "Family Letter to Taiwan" is based on Taiwan, an island shaped into infinite
styles, to have the beauty of Taiwan seen in the "Family Letter to Taiwan", hoping to attract more
people to see Taiwan, cherish Taiwan and care for Taiwan.
Fig. 7: Design Elites─Pang-Xong Lin
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Ching-yang Hsiao has designed more than 1000 music albums and is the first Chinese three times in
four years nominated for packaging award of the Grammy. To express the admiration to his father
and to memorize the family operated bakery, Mr. Ho exhibits the molds his father used to make rice
buns, and further pays tribute to the artisans who adhere to the tradition and focus on techniques.
Fig. 8: Design Elites─Ching-Yang Hsiao
Chia-hsing Ho firstly published his experimental writing of variant seal characters in 2000, and
continued to apply painting and calligraphy in art and design fields in creations including the poster
of "Taiwan Banjo Ballad Festival" which is composed of textual logic of Taiwanese temples for the
textual and image layout, attempting to provide a new look to the Taiwan Banjo and presenting a
lively atmosphere, guiding the audience to see the land they grew up on from new aspects of
reflection, groundbreaking, inheritance and innovation.
Fig. 9: Design Elites─Chia-hsing Ho
It took a year to interview 52 Taiwanese traditional craft artisans for the design of a year of "Artisan
Journal", aiming to emphasize the impressive "artisan spirit" by which they hold on to the crafts they
love.
Fig. 10: Design Elites─Jing-Yi Huang and Zhi-Jieh Yen
3.2. Space considerations for the curatorial design
Taking into account the interaction between spatial normalization and emotional aspects, the curator
shall ensure good communication between the organizer, artworks and the audience during the entire
curatorial design process. Jun-liang Chen, the curator, broke through the time and spatial restrictions with his
innovation energy as a design artisan over the past decades and gathered local craft artisans and
intergenerational design artisans for the eliciting of creativity, beautiful skills and refined values. The spatial
design of the "Artisan Taiwan" exhibition includes the three following features:
3.2.1. Promotion of artisan spirit
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The characters are a work of calligraphy master Yang-tze Tong. The ending of the word "Artisan"
supports "Taiwan", symbolizing that artisans are the supporting force behind Taiwan industries, and the
golden dot on top of "Artisan" represents the artisan spirit rising like a morning sun.
Fig. 11: Calligraphy Master─Yang-tze Tong
3.2.2. Refining artisan value
The two clocks are to express that "the life-time hard work of an artisan shall be evaluated in a life time".
In such a modern society with thriving industries and commerce, the traditional industries have declined and
handicraft industries are hidden in small alleys, no longer needed by the world. However, while unable to
activate domestic economy, such humble evening industries and those silently working on their positions
have protected their own beliefs with passion and make us understand the precious cultural assets.
Fig. 12: The two clocks─"Craft Artisans" and "Design Artisans"
3.2.3. Gathering of artisan elites
A hundred students sketched basic vertical and horizontal lines to complete the spatial concept, to create
a spatial legend of artisan wills with a three-dimensional cultural orientation. The black likes on the walls
and booths are not printed but drawn by our young students, reflect the artisan spirit of the new generation.
Fig. 13: A hundred students sketched basic vertical and horizontal lines
3.3. Considerations for time lapse record
The time-lapse photography recorded the exhibition little by little from scratch to completion. From the
aspect of time lapse photography, the record videos are composed of time-lapse photography and video
recording, by which the audience are moved by the focused expression on the staff's faces in the videos and
grasp the outline of the exhibition by the fast pace of the time-lapse photography, containing both
microscopic and macroscopic views. The exhibition is expected to serve as memorandums for our next
generation, by which they learn to take responsibilities from what they see, learn to undertake tasks through
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practices, make significant changes, and build contemporary classics by hands through eyes and minds.
Proved with concentration, only insistence can bring us closer to the dreams, and leave a piece of
wonderland for Taiwan.
Fig. 14: Considerations for Time Lapse Record
4. Conclusion
After the transition of Taiwan towards an industrial country, changes have also produced over the
societal and the business models, so traditional industries could not meet the market’s demands and would
eventually disappear. For the young learners of the latest generations, there are industries that they have not
heard neither been in touch resulting in their cognitive distancing. Through the exhibition design and
planning as well as book publishing after the exhibition, the experience of the audience from the content can
be extended as to create a resonance with them. Looking to the future, it is possible to use cultural traditional
artistry when designing exhibition to trigger emotional sympathy and to root the local consciousness.
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