The National Taiwan Craft Research and Development Institute (hereafter referred to as "the Institute"), under the Ministry of Culture, is dedicated to promoting craft culture and supporting the craft industry. Its core responsibilities include craft research and innovation, talent cultivation, craft testing, publications and exhibitions, collection and value-added applications, local craft development, craft aesthetics education, industry guidance, brand development, product certification, and international cooperation.


Craft is deeply embedded in everyday life and centered around people. Taiwan boasts a rich and diverse craft culture that continuously evolves in response to a changing world. While the spirit of craftsmanship must be preserved, it must also adapt to modern times. The core values of perseverance, dedication, and the pursuit of excellence remain unchanged. These values reflect the collective effort of the Taiwanese people, who have worked tirelessly to build a thriving and prosperous Taiwan.


The Institute’s philosophy is centered on "living"—advocating for the idea of "living crafts and crafts in living." This approach encourages the integration of craftsmanship into daily life, revitalizing its essence. It embodies the "SLOHAS" spirit of craftsmanship, promoting a joyous lifestyle that aligns with contemporary values through both simplicity and depth. “SLOHAS” — an acronym for Simplicity, Lifestyle, Originality, Health, Aesthetics, and Sustainability— seeks to uncover opportunities for creativity while offering individuals a healthy and aesthetically enriching way of life. In essence, the “SLOHAS” spirit represents a virtuous artistic cycle, progressing from S to S — from simplicity to sustainability.

National Taiwan Craft Research and Development Institute

Gesture

Rabbit of Golden Sprout / Fortune-Chasing Cat

Tea Warrior / Oriental Beauty / The Sprouting General

Myriad Forms

Tea Guardian / White-Feathered Whisperer

Three Guardians of Tea Ceremony: Sage of Scents, Lion of Tastes, Knight of Serenity

Three Emissaries of the Tea Galaxy Eloi / Cha-Fist / Miiro

Evolution

Sit-ups

The Cascade Stir: The Pointed Stir, The Upturned Stir

Three Fish

Born for Tea (Welcome His Majesty the Cockroach King)

Livia & Little Fucha: Tea Guardians

The Language of Wavy Forms

Listening to the Sea

Childhood

A Collection of Dining Vessels

Three in the Afternoon

Potori Taking shelter from the rain. Tea for one, listening to the rain under the eaves.

Feathering Tea Time

Dance - Cloud Afternoon Tea

Embroidered Whispers on a Flowered Branch: Morning Dew/Night Mist

River Snow

Enveloping Mist

Offering for the Soul

Phoenix Egg

An Image Within the Breath

Quiet Fire

Whale's Breath

Sacred Tree, Starry Mist

Moon, Tide, Scented Breath

A Framed View

Shimmering Scales

Study Piece

Between the Nodes

Night Lighthouse

A Snack Cat's Everyday Life

Heavenly Path

Stepping into a Spring Forest

Starry Sky Reverie

Doctor's Bag with a Bamboo Frame

Blossoming

Cluster

Elegant Encounter of Bamboo and Clay

The Abandoned Light

Clouds

Finding Things Among the Bamboo

The Creative Tea Cloth

▶ Loading ◀

Living in Ease

Mend

Life's Trajectory

Blank

NOISE

Dreams and Longings

Acceptance and Gratitude

Scale

The Fading Echo

Savoring • Composition

Suppression_Freedom

Evasion

Shedding

Love? Yes, It’s Love.

Brewing Seasons, Turning Time

Connecting Ripples

Welcome~ Welcome!

The Little Den of Woven Dreams

A Haven for Homecoming

Lacquerware

Woodworking

Ceramics

Bamboo Craft

Metalwork

Fiber Arts

Starting from “perspective” as the point of departure, this exhibition explores a new dialogue between the self and objects through observation and design thinking. The new generation of craft creators express this exploration through objects, visual narratives, and installation art—embodying the Craft Research and Development Institute’s philosophy of “SLOHAS – Slow Living, Happy Crafting.”
Their works bring forth a new language and experience of craft:
 “Craft — a gentle rhythm of happiness in everyday life.”
At the same time, the exhibition poses an open-ended question to its audience:
 “What does the state of sensing tea in daily life mean to you?”
Here, tea is no longer just a noun—it becomes an action, a way of seeing the world, sparking creativity, and connecting emotions. Each creator breaks free from convention, viewing, sensing, and engaging with tea from different perspectives, offering their unique observations and responses to the notion of tea living.
“Teaware as a medium for tea”—the exhibition traces the relationship between humans and objects, senses and memories. Teaware is redefined, not merely as an object of function or form, but as a cultural language that responds to the rhythm of life. Through interaction with the works, visitors are invited to open their imagination and senses to a renewed experience of tea.
This is a collective creation of innovation and inheritance, of searching and responding. It not only presents a contemporary interpretation of tea culture but also leads us to reflect:
When tea meets imagination, and objects begin to tell stories—
 what will the future of tea look like?
We sincerely invite every visitor to see, through the eyes of the creators,
 the tea life of the future—and the world built together with tea.

Tea－Here's How I See It

工藝游於藝－茶．觀世界：2025 臺灣工藝學院 暑期人才培訓營成果展

The entangled metal wires symbolize confused and chaotic thoughts. The gold foil lining the interior represents the defensive and distant posture of the insecure, whose true self can only be seen by peeking through a small opening.