Many Taiwanese who are now in their fifties or sixties grew up with bamboo. Things like bamboo hats, baskets, chairs, and toys were common in almost every household, but the availability of such objects is now limited. The efforts of one young man, however, are ensuring that future generations can appreciate the simple pleasures of bamboo.
"I don't know how I've managed to collect all these things. It seems as though they've found me instead of the other way around," says Patrick Lee, a collector of bamboo handicrafts. "It's almost as if they've passed around the message, 'Go look for Patrick Lee, he'll clean you up and find you a good home.'" Such a perception is easy to understand upon entering Lee's Taoyuan County home in northern Taiwan. Located within is an enormous number of bamboo objects; many items bring back memories for those old enough to remember the days when this resilient material was used to make every thing from tools to toys.
"Traditional bamboo handicrafts have the ability to evoke a bygone era," the thirty-two-year-old notes. "They represent the wisdom, virtues, beliefs, and lifestyles of the people who used them. It goes without saying that they have a rich cultural significance." Lee estimates that he has collected approximately 400 objects made of bamboo that were used by people at least fifty years ago. They range from furniture, fishing rods, agricultural tools, baskets, objects used in rituals, and baby cribs. "One bamboo object may not have much meaning to most people," he says. "But when dozens or hundreds of them are put together, various facets of Taiwan's rural lifestyle are revealed."
People worked hard on the land from dawn to dusk. Their practices and beliefs were reflected in the everyday bamboo objects they used. He contends that these items are therefore a valuable source of historical and cultural heritage that should be preserved. The items in Lee's collection not only have practical function, but they also represent a simplistic beauty in their design. "There's a beautiful rhythm of nature in each of these items," he says. "They're a great source of nostalgia for old-timers. And for me, I love to look at them and imagine their history."
Lee's interest in historic items stems from the time he spent in compulsory military service. Stationed on the offshore island of Kinmen, the then twenty-one-year old discovered a place that was stuck in something of a time warp. "Being as isolated as it is, Kinmen retained much of its traditional folk customs, artifacts, and architecture," he recalls. "I was totally entranced with the abundance of these things." He began to spend his meager wages and days off in the local stores in search of interesting antiques.
After being discharged, Lee found a job promoting the sale of imported handicrafts at souvenir shops located near some of the island's tourist spots. He took advantage of the amount of traveling his job required to seek out things of interest. Before long, he discovered that his haphazard collection of items took on a life of its own. "My house turned into a warehouse for paintings, ceramics, porcelain, and sculptures," he notes. "I began to wonder what was the point of buying things without a purpose. I constantly increased the size of my collection, but there wasn't any rhyme or reason to it."
After some consideration, Lee decided to get rid of the lot and concentrate instead on a specific area of expertise. "The blind collection of things satisfied my personal curiosity and desires, but only temporarily. There wasn't any contribution to society or cultural conservation," he says. "I needed to have a clear direction, with thoughtful planning, and meaning."
He decided to only collect items that were handmade, somewhat old, related to Taiwan's culture, affordable, and not too difficult to find and conserve. Given this criteria, he settled on bamboo objects. "Since bamboo naturally thrives in warm, wet climates, the subtropical heat and rain of Taiwan make it the perfect environment for growing bamboo," Lee indicates. "This rich resource became a part of every facet of life--farming, fishing, food storage, clothing, housing, transportation, child-rearing, and music."
Peng Ting-sung, technical consultant for the National Palace Museum, agrees with Lee's assessment of the value of bamboo-made objects. Peng, who has conducted comprehensive research on the different varieties of bamboo, and their ecology and construction, commends the young man for having the foresight to begin such a collection. "Bamboo objects that were once closely related to everyday life, particularly in our generation, have suffered from neglect," the fifty-one-year -old notes. "Lee's move to collect and preserve these artifacts is significant in reminding people of the role they played in traditional agricultural society, and how they could effectively be used in daily life."
Despite being commonplace in most households in the past, traditional bamboo handicrafts have become increasingly rare. The shift from bamboo to plastic or electronic tools, particularly in fishing and farming equipment, was accelerated by government measures in the 1960s to modernize. And bamboo objects disappeared virtually overnight. The thought that these beautiful items would fade into history further motivated Lee to collect them. "The virtues of our ancestors, who led spare but content lives, are worth not only our respect but also our efforts to preserve them," he continues. "Therefore, preserving these old handicrafts and histories for future generations is an urgent task."
Lee says he is lucky to have decided to collect bamboo artifacts four years ago. Many of the items he values may have been lost forever if he did not intervene. He has bought many handicrafts from antique stores, dealers, and individuals, but some of his more unique finds have been in rural villages. "Some things were tossed aside and covered with dirt. But I knew that they were treasures in disguise," he says with a sparkle in his eyes. "After cleaning and a bit of care, these objects retained their natural hue. It always amazes me how beautiful these things are."
In the process of expanding his collection, Lee has come to believe in fate. He says he is not as stubborn as he used to be and has learned to let things go. "Sure I get disappointed when I see something I like but can't have because the owner is unwilling to sell it," he says. "But I'm comforted with the knowledge that someone else cherishes the item as much as I do." He recalls the time when he spotted an old bamboo baby chair in the corner of a small noodle shop, and approached the owner about a price. The owner refused to sell the chair, but Lee continued to visit the noodle shop for two years until he decided to give up the thought of buying it. Some time later, he found a similar one by chance while on a business trip. "I've learned that if it's yours, it will be yours eventually," he notes. "You can't take it by force."
For Lee, there is a greater power at work other than demand and supply. "In my years of collecting I've come to believe there's such a thing as natural affinity. These things have always come to me without much effort on my part." He also acknowledges the generosity of associates and strangers who have given him handicrafts after sensing his sincere affection for them. "Oftentimes, after seeing the restored item, they'll say that they gave the stuff to the right person."
The collector has conducted extensive research into bamboo. In fact, he jokes that he has completed the equivalent of a graduate degree with the amount of study he has done. "The only difference is that I don't have a formal certificate." He has identified over 1,200 varieties of bamboo, most of which are located in Southeast Asia. In China, bamboo grows mainly in areas south of the Yangzi River. And in Taiwan, bamboo is found across the island, from the low-lying coast to the 3,000-meter mountains. The island is home to more than sixty varieties of bamboo both indigenous and imported.
Bamboo has had many uses. In the past, from the moment of birth, a child had an intimate relationship with bamboo as it was used in cribs, toys, and protective bars. Later as the child grew he would become acquainted with bamboo chairs, stools, tables, cabinets, and other furniture. In kitchens, bamboo cupboards and steamers were found in almost every home. On farms, people used bamboo seedling baskets, carried water buckets across bamboo poles, and cultivated their fields with bamboo implements. Fishermen used bamboo fish traps and baskets to haul their catch. And no marriage would be complete without wedding baskets and ceremonial trappings.
Baskets were woven by artisans who learned their trade from elders. Traditions were passed down through the generations and a distinctive regional style developed. The earliest were brought over to Taiwan from southern China, and gradually as more people began to travel and marry those from different regions, there was an eventual merging of regional styles, and a distinctively Taiwanese style emerged. "Handicrafts from the mainland were quite ornate. The local style, in contrast, focused on function and are notable for their rustic, paired-down look," Lee observes. "Toward the end of Japanese rule, between the 1920s and 1940s, Taiwanese craftsmanship reached a mature stage of development. Their work was not only functional but also beautiful." Most of the smaller everyday items were made by women in the rural areas. Men tended to work on larger pieces, such as furniture.
When looking at some of these handmade artifacts, Lee feels a sense of loss particularly when confronted by items that are mass-produced. Americans eat the same hamburgers in the United States as we do here in Taiwan, he notes. And as the global economy's influence stretches further, the more similar the world is becoming. Armani suits can be bought in stores across Europe, North America, and Asia, while items that are made in Taiwan are just as easily found across the globe. "As the world becomes more homogenous, old local characteristics become more valuable. Taiwanese bamboo handicrafts are one such example."
Over the last few years, Lee has traveled to Europe and the United States, and has had the opportunity to visit a number of notable museums and exhibition halls. He admires the efforts of these institutions to catalogue and preserve cultural assets, and display them for public interest and education. Such dedication has inspired an even deeper connection to his collection. With the encouragement of friends, Lee embarked on research for a book detailing the history and development of traditional bamboo handicrafts in Taiwan.
With a subsidy from the Council for Cultural Affairs, the collector proceeded to categorize and photograph his artifacts, and gather more comprehensive information regarding their construction and use. Working with a limited budget, Lee completed the project almost entirely on his own, including the layout and design of the book. He received some assistance from Peng Ting-sung of the National Palace Museum, who helped with the categorization process and offered background information in other areas. Completing the book was only part of Lee's efforts as he had difficulty finding a publishing house that would produce his labor of love. At the end of 2000, a publisher was found and Twentieth Century Taiwanese Bamboo Crafts was made available on bookshelves across Taiwan. The book, published in both Chinese and English, serves as a catalogue illustrating a variety of bamboo handicrafts with short explanations.
The publisher of the book was won over, not by the limited marketability of the subject matter, but by Lee's own passion for the project. "By publishing this book, we hope we can help make a good record of these artifacts that are filled with historic and cultural significance," says Wang Ting-mei, managing editor of Artist Publishing Co. "We don't see many bamboo-made furniture or implements in the stores anymore, but bamboo objects are very suitable for use in Taiwan's hot and humid summers. They really shouldn't disappear."
Lee's collection is now at the stage where it is nearly complete. He has acquired items in most of the categories that are still available, and it is increasingly difficult to find new discoveries. His future efforts, therefore, will center on the conservation and promotion of these items. Plans include establishing a website and lending his collection for exhibition both locally and overseas.
Although he cannot put a price tag on his collection, Lee estimates that he has spent about NT$1 million (US$28,985) and considers it money well spent. He notes that many of his peers are buying homes and cars, but he continues to rent an apartment and drive a used car. "There are many choices in life. I feel I've chosen something meaningful, not only for my own interests, but also for society and for generations to come as well," he concludes. "Besides, it's not always an issue of money but timing. I'm glad to have been here at the right time to do this. If it had been later, I might have not had the chance to see all I've seen and do all I've done. That kind of regret can't be remedied."
Looking at the antique bamboo furniture and decorations in his house, Lee exudes an image of contentment. He is happy to find a comfortable shelter for all the folk art pieces that were once neglected and scattered across the island. They have at last found their rightful home and settled down.