海洋原舞曲──拼布掛毯 “Aboriginal Ocean’s Dance Music”—Patchwork Tapestries

「隨興的元素搭上豪華裝飾，為布料帶來了另一種羽翼革命性宣言，在謹慎之美中表現自我風格。」
目前阿美族的捕魚人口隨著時代變遷，逐漸減少。但是，為了表達對海神的歌誦及感謝，每個部落還是會舉辦祭典活動，族人也都全家出動，到海邊參加祭典。
作者曾經回鄉參觀捕魚季，在整個活動中，令人難忘的，是族中青年駕著小舟，競相奔迎大海，用優雅而又自然的方式，展現漁獵技能，直到魚兒滿載時回岸。因著這份感動，促使著作者思索著，運用拼布技巧，將這美好的回憶留下印記。
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“Improvisations versus choreography and luxurious decorations, a different kind of declaration of revolution, expressing personal style within prudent beauty”
Even with the declining population of fishermen due to the transformation of the society; the Amis Tribe still holds festivals that draw every village’s participation in praising the God of the Sea.
During the observation of the fishing season, the artist was most impressed by the tribal youths’ fishing prowess. They race elegant natural boats in the sea, and return ashore with their prizes. The fond memories that inspired the artist to utilize patchwork as a medium lead to the creation of these patchwork tapestries.

時尚泰雅 ATAYAL VOGUE

「編織將是原住民族的品牌及產業！」
從傳統到創新中為發展、研究、創作，更能讓自己的文化融入市場就必須大膽的設計。織品不只是藝品，而是泰雅產物，能設計成品牌就是瑰寶。我以拼布方式剪接直布及橫布方式來設計成套裝，再搭配包包，不管是上班宴會，把泰雅穿出去，不只表達族群風格，更顯得高雅大方獨特。
近幾年市面上掀起一股「復古風」，這將是傳統文化推近國際，讓我們的織品在市場上到注目與肯定的時候。
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“Textiles will be an industry for the Indigenous Peoples!”
Developing, researching, and creating artworks in both traditional and breakthrough approaches, the artist adopts a bold style in order to present the cultural characteristics to the market arena.
Weaving is not solely a work of art it is a tradition of the Atayal Tribe. Designing dresses and handbags based on horizontal and vertical patchwork, Ms. Chen brings out the unique yet elegant Atayal heritage that suits either business attire or social functions.
The “Revivalist movement” occurring in recent years can be seen as a great opportunity for promoting traditional textiles of Taiwanese Aboriginals to the world market.

壁飾 Wall Decorations

泰雅族是最擅長編織的民族，以苧麻做成的麻線手工編織，耗時而需極大耐心，充分發揮了泰雅族優異的編織技巧。以泰雅族人最喜愛的紅色為作品主色，大膽地搭配黑、白兩色，不僅展現原味還兼具時尚感。
創作者年屆高齡仍然勤於手工編織，衷心希冀能以一己之力，努力保存並傳承泰雅傳統文化技藝。
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The Atayal tribe excels at textiles. Hand-weaving with ramie yarns requires great patience, showcasing the Atayals’ excellent skills. The Atayal are fond of red schemes with black and white colors in their works which not only unfold the original styles, but also embrace a touch of modern fashion.
Even with her age, the artist, Chun-hsi Yang Kao, is still dedicated to the art of textiles, and hoping to preserve and pass on the Atayal’s unique textile skills.

蝴蝶紋是所有夢想的開始──造型化妝包系列
Styled Cosmetics Cases “Dreaming with the Butterfly Patterns”

台灣原住民魯凱族對蝴蝶紋有特別的註解：女孩的純潔與成熟，男孩的勤勞、速度與敏捷；這些意涵化成了創作的源頭。本次作品在技法上運用了傳統與現代融合的編、織、染、繡工法，並將植物染大量用於布料素材上，而圖紋化成元素，飛進每一作品，成為系列作品的表達概念。
未來希望能讓「文化進入生活、創意帶動希望」；除了傳統圖紋的設計運用外，還能發展出其他圖紋創作的可能性，並且每年能設定一個創作主題（今年是以蝴蝶夢為主題），做為個人品牌發展的方向。
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For the Rukai people, butterfly patterns have special significance. For the girls, the patterns can be interpreted as innocence and maturity; for the boys, they are symbols of hardworking, speed, and agility. These qualities are the artist’s inspirations for his works. The design of these cosmetic cases employs a combination of traditional and modern techniques of weaving, braiding, dying, and embroidery. The patterns of butterfly on the natural plant-dyed fabrics is the thematic design of this series of works.
Other than the works with traditional patterns, the artist also would like to explore the possibilities of new designs every year ( Butterfly Patterns are the main theme this year), and therefore develop a unique and innovative personal style. .

懷念 Mu Mu Remembrances of Mu Mu

沿用祖先智慧延續文化傳承，研發創新實用商品提升部落經濟收入！
Mu Mu是布農族曾祖父母以上長輩的稱呼，所以這件作品以Mu Mu來代表祖先，作者以編織組合系列的技法，來表達對祖先的感恩及懷念，感恩他們留下了文化的事績及事物。作品中有布農勇士手持獵槍，槍頭上有百步蛇的頭，因為百步蛇是布農祖先的朋友，它是狩獵勇士們的帶路者，每回必有大豐收。那週邊的月桃編草蓆，則代表部落婦女，她們常運用天然素材以巧手自創自編，活用於現實生活中。
祖先也因著月神的指引，在還沒有文字的世代，便隨手刻劃了行事版曆，讓大家知道一年四季中，何時播種、狩獵、祭神，因此年年大豐收。
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“Applying cultural inheritance to the development of new and practical products is one way to improve the aboriginal economy.”
The Bununs call their great-grandparents and the generations above “Mu Mu,” hence the work’s title “Remembrances of Mu Mu”.
Multiple weaving methods are combined to create intricate patterns of images of the legends of the Bunun Tribe, such as the amiable relationship of the hundred-pace-snakes and the Bunun hunters. The alpinia grass-mat weaving reveals the talent of the hard working Bunun women.

濃情 Deep Affection

我是泰雅族人，自幼居住於四面竹林環抱的山區「鹿場部落」，所以對竹器類的東西有深厚的感情。它的用途非常的多，可以製造日常用品，如背籃、筷子、花器等，還可以蓋溫暖的房子。竹，總是生長在與世無爭的山區環境中，隨風搖盪的風姿，美麗得令人驚嘆，處身在其中也隨之心曠神怡，有著山中無歲月的逍遙自在，真所謂：人可食無肉，不可居無竹。
藤編作品「濃情」，是我用心設計傳達心聲的作品：（一）表達我對前輩的感恩，給予我們如此美好的環境及特有的才藝；（二）希望少數民族同胞能心連心，形成一股對社會有幫助的力量，並將我們的文化結合創新、代代相傳，呈現最美的工藝品；（三）重視我們在於文化傳承的行動。
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“I am an Atayal who grew up in the bamboo-rich “Luchang clan,” and therefore have a fond relationship with bamboo products. Bamboo can be made into a wide variety of products such as backpacking baskets, chopsticks, vases, and even houses. Bamboo is a beautiful plant that grows in serene mountain areas and its’ architectural character is ideal for mood-changing design purposes and in landscapes. The work “Deep Affection” is created in order to express my appreciation for those who have given us the great opportunity to master the skills of rattan weaving and furthermore, hoping to inspire the aboriginal people to cherish our culture, to preserve, present, and pass on our artistry.”

原住民之三寶──木鼓 The Three Treasures of Aboriginals—Wooden Drum

木鼓是織布機裡的一個木箱，織布時它會產生一種共鳴，以致於木鼓後來被拿來做為原住民的打擊樂器。
本作品結合木雕技術和阿美族傳統的樂器，構成具質感及時代感之木鼓。原住民早期大多以清唱為主，無任何樂器。隨著時代的進展大家在生活上追求時尚感外，原住民也在歌舞上不斷的改變與創作，木鼓成了最佳的輔助樂器。我在木鼓上加以雕刻及修飾，在外觀及它的共鳴上均有極佳的質感，在打擊上更能展現出它力與美結合的特性。
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Wooden drums are a wooden box located inside a loom. It produces an echoing sound when the weaving is taking place. Later the wooden drums have been used by the aborigine as percussion instruments.
The artist applies woodcarving art on the wooden drums which advances both the quality and style. The Aboriginal music in the early stage mainly centered on voice only. As time progressed, the art of aboriginal music and dances also flourished. Wooden drums have become an excellent accompaniment musical instrument. The carving and decorations on the surface of the wooden drums are not only for beautification, but also enhance the acoustics.

Vu Vu的祝福 Vu Vu's Blessing

源自排灣族的傳說Vu Vu把陶壺裝滿了財富和祝福，把所有的一切，都送給了他的孫女，叮嚀她不忘文化傳承、教育指導，能用木雕（立體）刻成一座美麗的作品，不論在哪裡都能看得到它。
藝術家的熱誠，讓原住民的傳統文化得以延續發揚。願點燃起傳承的火苗，尋回散落的部落地圖，拼湊失落已久的部落領域，並在這片土地撒下珍貴的藝術種子。
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According to the Paiwan folklore, an old lady named Vu Vu, filled a ceramic pot with wealth and wishes and gave it to her granddaughter. She reminded her granddaughter never to forget to carry on the tradition and heritage of her ancestors' style of ceramics. “Vu Vu's Blessing” is an exquisite piece of woodcarving artwork which depicts the legacy of the Paiwan culture. The artist dedicates his work and passion in rediscovering the long-lost, forgotten, and diminished cultural heritage.

龐德與日夢日縵之牽手 Pang-de and Jih-meng-jih-man Hold Hands

牽手是原住民的舞蹈、熱情、圖騰，更代表著原住民文化！
總是牽手 愛在不遠處 總在心中滋長 他包容一切
縫補了缺憾 我們學習尊重 也珍惜身邊的所有
因為有你 牽手揮動生命的彩筆 得力鳴奏生命的樂章
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Holding hands is an art form in aboriginal dance which can also be found in the patterns of tribal totems. By holding hands, the aborigines show their passion, emotion, let love grow and learn to embrace others. Moreover respect others and cherish everything in their surroundings.

長老的希望 Aboriginal Elder’s Wishes

作者捨棄高色度的釉色，擅用陶土的古樸質感，將重點置於雕工上，改變一般對於原住民工藝不夠精緻的觀感。
鑒於陶板具長效保存性，為室內大型裝置藝術、璧飾之最家素材，只要將之產品精緻化、量產化，更可推廣在建築藝術建材上使用。
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Instead of going after high gloss glazing, the artist appreciates clay's nature of simplicity and emphasizes on the carving details of his works that change the common perception that aboriginal art and handicrafts lacks refinement.
Owing to its everlasting nature, clay plates are considered one of the best source materials in size for interior design and home decoration, with the possibilities of becoming a source material for architecture use when being refined and mass produced.

台灣懷舊排灣族魯凱族千年文明
Reminiscence of Millennium Civilization of the Paiwan and Rukai Tribes in Taiwan

千年文明具存於個人之理念間，相信其價值正與時俱進。希望眾人未來對於文化的理解，不再限於「原住民」與「平地人」種族間的差異，在原民會的推進之下，能更平順的達成「人」與「人」個體之間的文化暢順交融，這是我衷心之祝福。
「不讓我開花，我決不氣餒，一定要做到。」這是我個人一直抱持的創作理念。每一個族群其特色與傳說故事差異甚大，本人對傳說有相當之認同。但若不變其特色，雕品只能觀賞而不能多用途使用就相當可惜。在多次的研究及變化下，我將相繼推出原民石板加上原木、金工的作品，讓使用者瞭解其中包含的文化意義以及使用上的方便與獨特性。這就如同日本在文化保存及推廣上，以能讓大眾廣泛使用並因此而瞭解其中所蘊含文化的方法相似，即以一種入侵性方法來達到效益。
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Cultural recognition and understanding play an important role in the artist's creative force. It is the artist's philosophy that through his works, people may find the value of aboriginal culture, cherish the treasure of aboriginal civilization, and move forward to mutual respect.
The artist also believes in creating practical artworks that can also be used in daily life. Meanwhile, he is interested in working on mixed-media experiments, such as combining slates, timbers, and metalwork to further extend the exploration of creative subjects.

十字刺繡圖騰磁磚 Cross Embroidery Totem Tiles

「台灣原住民是最能夠代表台灣的族群，因過去各種主客觀因素，未能讓世界的人知道，透過各種原味創作元素讓世人更了解，台灣有如此燦爛而美麗的原住民文化。」
本作品運用原住民的圖騰做為主題，燒製具特色主題之磁磚，豐富的色彩，適用於各項公共藝術，兼具實用性及創意性。「山中天台灣原住民藝品研習工作室」致力開發台灣原住民手工藝品及日常實用品，以原住民元素及養份創作出許許多多的工藝藝術產品。鑑於原住民傳統刺繡工藝之美而開發出傳統刺繡磁磚，應用於房屋外牆、室內設計，它是台灣生產的第一片台灣原住民圖騰磁磚，也是全世界第一片；回教國家有繁文花，幾何圖騰磁磚；台灣原住民刺繡圖騰磁磚如能大量用於建築上，必能把台灣最好最美的原住民文化發揚光大。
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The aborigine of Taiwan may be the ethnic groups which best represent Taiwan . Due to some misunderstandings, some great opportunities of presenting the valuable Taiwan aboriginal culture to the world were missed in the past. Through a great variety of aboriginal art works, the brilliant aboriginal cultural inheritance can be recognized and rediscovered today.
The work “Cross Embroidery Totem Tiles” utilizes aboriginal totems as the main theme. These tiles with unique motifs and rich colors are both practical and creative natural works and are a perfect source material for public arts.
The “Shan Jhong Tien Taiwan Aboriginal Handicrafts Workshop” is dedicated to developing Taiwan aboriginal handicrafts and daily use articles, creating artworks based on aboriginal cultural elements. The embroidered tile, inspired by the beauty of traditional aboriginal embroidery, is the first totem tile created in the world. Similar to the Muslim cultural tradition of applying patterns and geometric designs on tiles, the aboriginal totem tile can be seen as an exceptional element of Taiwanese architecture when being widely used.

Bunun圖騰皮雕手提包 Handbags with Bunun Totem

色彩與圖案是一種力量，它具有感官上的刺激，更具有文化意涵，本作品從剪裁、構圖、雕刻、上色、縫合，每一項工夫都相當費時。作品主要表現在手提包上的布農婦女圖騰上，黑色為主的傳統服飾搭配五顏六色的頭飾，充分展現布農族人的美，其婦人的神情也述說著老祖先的故事。
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Colors and patterns are powerful. They not only are sensational, but also bear cultural meaning. The main focus of the work “Handbags with Bunun Totem” is on the totem of the Bunun woman in traditional black clothes with color schemed headdress which fully unfolds the beauty of the Bunun people. The animated expression seems to tell stories of the Bunun ancestors. This labor-intensive work requires a great deal of patience, attending to the details of each step, from drafting, cutting, carving, coloring, stitching, throughout its creation.

紋面與排灣族的對話 Dialogue of the “Tattooed-face” and Paiwan

皮雕的技藝與心思，形同泰雅族編織所織成的布料與織紋，透過皮雕，希望能傳頌部落文化、生活圖騰，並彰顯原住民族的生命張力與特色！「學會皮雕是一個機緣，當時一個朋友請我畫一幅畫，我就要求他?會我皮雕的操作與概論。只要一個小的空間，小小的素材就能將原住民的文化表現出來。」對作者而言，皮雕就是詮釋族群的畫布。
皮包正面圖騰意涵：成為「賽德克－巴勒」（ Sedig Bale ，意思是：真正的人）
橘刺、木槌－－敲打在臉上的肌膚，像產婦忍著陣痛的產期，迎接「賽德克」人的誕生。
鮮血、炭黑－－塗抹著交織的紋理；紋在臉上，也成就在心靈，遵循「真正的人」的承諾。
早期在泰雅（賽德克）族婦女臉上的紋面，所輝映的是對祖靈信仰的操守、榮耀與美德。現今的泰雅部落中，已少有機會能夠見到臉上有紋面的泰雅耆老，但在泰雅人的心中與傳述中，仍繼續傳頌著泰雅族的起源與傳說的故事。
皮包反面圖騰意涵：彰顯排灣族婦女服飾、頭飾、頸飾的衣飾文化特色
選用「紋面和排灣族的對話」做為皮雕創意製成的手工包包，主要是為其女兒「量身訂做」的個性商品與禮物。作者女兒身上有著泰雅（賽德克）與排灣族的優秀血統與交融，希望此包包能伴隨在女兒身邊，時刻惦記並分享作品本身的文化與內涵。
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Same as the patterns on the Atayal textiles, leather-carving requires special techniques and design ideas. The artist creates totems based on Atayal life and applies them to leather-carving. “Having learned leather-carving was a coincidence, I asked a friend who requested a painting from me to teach me the concept and techniques of leather-carving. It only requires a tiny space and small source material to show the aboriginal culture.”
The totem on the front of the bag means becoming “Sedig Bale (the real human being.)” The citrus thorn and beetle hammering the face, is a hint of the pain of giving birth and symbolizes the birth of Sedig Bale. The blood and coal tattooed on the face represents the promise to becoming the real human being.
In earlier times, the tattoo on an Atayal (Sedeq) woman's face was a symbol of virtue, glory, and good nature. Nowadays, the tattooed face is no longer found, even on the face of the elders. However, the Atayal still pass on the stories of their origins and legends generation after generation.
The totem on the back of the bag depicts the Paiwan woman's fashion styles with the designs of clothing, headwear, and neckwear.
The artistic leather-carving bag titled “Dialogue of the “Tattooed-face” and “Paiwan” was designed for the artist's daughter as special gift. The artist's daughter's ethnic background is both Atayal (Sedeq) and Paiwan. The bag, as a gift, was created by the artist to share the precious cultural inheritance of both tribes with his daughter.

射馬干•人鹿之戀 Kasavakan Tribe—The Love between a Puyuma Princess and a Male Deer

「不受蠱惑，忠於表現我自己。」
「射馬干」是台東卑南族建和部落的稱呼，部落流傳一段悲劇性的愛情神話故事。
故事敘述卑南公主在田野發現一隻雄壯的公鹿，鹿角掛著一串串琉璃珠，走向公主面前以表示愛意。在熱戀的過程中，公鹿終究難逃公主父親的誤殺，公主因此每天對著鹿角垂淚，茶飯不思，直到有一天終於忍不住以柔弱的身軀撞擊鹿角，而結束了自己的生命。
創作題材從傳統出發，內容以原住民人、事、物乃至於神話故事為題材，忠於我所成長的環境與我台灣原住民族的文化，真誠地去表現我個人的獨特性與創造性。
對於有緣的非原住民朋友，可以透過我的創作，來瞭解屬於台灣這塊土地上最原始的文化與生活記憶。帶引大家領略質樸中，不失浪漫的原住民風情。
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“Never bewitched, express myself”
“Kasavakan” is one of the clans of the Puyuma Tribe that live in Chienhe village in
Taitung County .
A tragic story of the love between a Puyuma princess and a male deer has been passing through generations in the village. The princess ran into a male deer with strings of lazurite beads hanging on his antlers in the field. The deer showed his love to the princess and they fell in love with each other. Later the deer was accidentally killed by the princess' father. She couldn't withstand the sorrow, so the princess impaled herself on the antlers and ended her life.
The artist finds the subjects of his works in the myths and lives of the aboriginal people, embraces the surroundings and culture in which he grew up, and sincerely presents his unique creativity.
“I hope, through my works, non-aboriginal friends would also be able to comprehend the primitive culture and memories of this land.”

永結同心 One Hand, One Heart

琉璃珠在排灣族所反映的文化訊息及族群意識，是排灣族不容忽視的一環，排灣族的琉璃珠都有一定的名稱與意義，所以這條永結同心，意味著每一顆彩色珠?在一起，象徵著和平意義。
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That lazurite beads carries the cultural implication and tribal consciousness of the Paiwan Tribe is undeniable. Each Lazurite beads design of the Paiwan has its specific title and significance. The work “One Hand, One Heart,” joined with beads of different colors signifies the meaning of peace.

高貴之戀 NOBLE LOVE

「2005年很幸運的接觸了琉璃珠創作，得知琉璃珠是原住民傳統文化特色之一，身為原住民的一份子，心想可以藉由創作，將原住民傳統完整保留及發揚光大，所以我非常積極的學習著。 2006 年時，以居住地名產特色搭配琉璃珠為創作靈感，參加了原住民琉璃珠設計競賽，雖然沒有得到名次，但我不氣餒，更努力的嘗試著做出更精緻的琉璃珠創作，我的理念裡堅持著：這是一個文化傳承與推廣的責任。」
本次作品「高貴之戀」是以排灣族琉璃「高貴之珠」所創作。據說古時候所傳承下來的傳說中的高貴之珠，是頭目結婚時聘禮中一定要有的珍貴之珠，這樣才能顯示他的身分地位，因此本次以高貴之珠製作成創意作品，定名為「高貴之戀」。
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“ I was very lucky to learn about lazurite design in 2005. Lazurite beads are one of the distinguished treasures of the aboriginal culture. Being an aboriginal, I would like to preserve and present the glory of the aborginal heritage. Inspired by the combination of local specialties and lazurite beads, I entered the lazurite bead design contest in 2006. Despite coming home empty-handed, I made up my mind to pursue the advanced lazurite bead design. I believe it is a sense of cultural inheritance, and also my duty to promote aboriginal arts. ”
The work “Nobel Love” is originated from the Paiwan Tribe's folklore “The Noble Bead.” The legendary noble bead is a requirement in traditional tribal chief's wedding engagement, for the bead represents his honor and status, therefore the work is titled “Nobel Love.”

Fuzu紅色山豬 Fuzu, the Scarlet Wild Boar

不舞孤挺花和山豬，一個關於阿里山鄒族的信仰傳說。
作者的創作以部落生活為主。作者養了一隻山豬，山豬信任作者，作者關愛山豬，作者夢見山豬，不是流眼淚的山豬。山豬真心對待的眼神，是一種祝福的眼神。
現代鄒族可以有新的山豬註解！以前獵殺 20 隻山豬可以成為勇士，而今天是：山豬也可以愛上人，體會自然生命彼此互動的珍貴。
來自於阿里山鄒族部落流傳的神話傳說，而外婆口中的山豬與少女的淒美愛情故事，發展出「紅色山豬」系列作品，並藉由幾個主要的設計圖樣，在創作中傳遞祝福。
原住民是被祝福的族群，希望藉由新時代的山豬意象作品，使我們毫無而懼怕的喜愛自己的文化，延續傳承文化傳說，賦予新時代的族群意義。
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Pu-u Amaryllis and the Wild Boar—A legend of the Tsou Tribe in Ali Mountain
The Artist bases her works on the life of the Tsou Tribe. She has developed a special bond with a pet wild boar which trusts her in return.
In the Tsou Tribe's old days, on the road of becoming a warrior, a man had to hunt down and kill 20 wild boars. Today, the Tsou people cherish the new interaction with wild life and nature. Humans are no longer a threat to the wild boars. Therefore, the legacy of the wild boars and the Tsuo Tribe has a new interpretation in modern time.
The series of Fuzu, the Scarlet Wild Boar roots from a tragic love story between a wild boar and a young lady of the Tsou Tribe in Ali Mountain which was told by her grandmother. Several traditional patterns are applied to the art design as a symbol of love and blessings.
The artworks of the Wild Boar with transformed new images and characters give the Tsou culture a modern signature.

那魯灣 12 族豐收與步步高升領飾
Harvest of the 12 Naruwan Tribes and Neckwear “Escalation”

「琉璃珠象徵著身份地位與尊貴，明秀陶藝將朝向精緻化與藝術化，使其成為高雄在地文化，更是台灣排灣族群原住民文化的精髓，以提升琉璃創作藝術文化水準。」
原住民族每一族群生活方式與風俗習慣各有其差異，利用各族的差異製做成圖騰標誌，為其文化之特色。
主題為原住民 12 族圖騰，可由喜好者或族群來指定，搭配其中一族之標誌，木雕由國立屏東科技大學木材科學與設計系提供，結合明秀陶藝所製作出琉璃珠；原住民食用糧食為小米、高梁，與琉璃珠結合編織成項鍊代表糧食豐收，流絲作為步步高升，象徵配戴者高貴、豐衣足食。以作者的創意與設計，做出不同於傳統卻與原住民有關之作品，可取代目前傳統的領帶與領結，為文化產業之手工藝品先鋒。
流璃珠是南島民族祖先經由航海自海外帶入台灣，歷史久遠且極為珍貴，早期只有貴族頭目可以配戴，象徵著身份地位與尊貴，如今琉璃珠已逐漸平民化，每一顆琉璃珠圖騰色澤不同，各有其意義與用途。明秀陶藝取其精髓用於創意與設計，除了琉璃珠的單獨材質創作外，還可與髮旃、頸鍊、手鍊、腰鍊、腳鍊以及頭飾、帽子、背心，以及新舊珠、其他玉、石、金、銀材質結合成創新作品。
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“Lazurite beads, a symbol of social status and honor, represent the essence of the Paiwan Culture. Ming Hsui Ceramics Studio emphasizes the elegant and artistic natures of lazurite beads and aims to make it a local specialty in the Kaohsiung area, moreover, an opportunity to advance the art of lazurite making.”
There is a distinctive diversity in customs and lifestyles of each tribe of the indigenous people in Taiwan . Using totems of each tribe is a way to symbolize each of their cultural characteristics. The totems can be seen as a theme and to be assigned by each of the 12 tribes. The artist designs neckwear of mixed lazurite beads with aboriginal main grains, millet and sorghum, and then combined with woodcarving arts provided by the Department of Timber Science and Design of Ping Tung University of Science and Technology as a symbol of harvest, prosperity, and a hope of better living.
The art of lazurite beading was brought to Taiwan by ancestors of the aboriginals from South East Asia . Only the chief of the tribe was entitled to wear them for the beads represented value, nobility, and social status. Today lazurite beads have become popular among common people. Each lazurite bead with totem has different colors and shades which carries specific meanings and purposes. Based on the traditions, Ming Hsui Ceramics Studio also infuses the art of lazurite beads with their creativity and unique design. Other than the traditional focus on the beads, the artworks also extend to various mediums, such as hairpins, necklaces, wristbands, ankle laces, head ornaments, hats, vests, etc., and have been combined with other materials such as new and old beads, jades, stones, gold, silver, and other metals for exploring further possibilities.