Built by the island’s earliest refugees from the Chinese mainland over three hundred years ago, Hakka homesteads are especially vulnerable these days.  Designed to house many generations under "one roof", dwellings typically included living quarters, gated courtyards and ancestral altar rooms.  As families grew and finances allowed, compounds spread outward rather than upward.  Current land values have put them at risk, and many properties have been subdivided and sold leaving only a fraction of the original. Upkeep, a challenge since skills and materials used in construction are outdated, has reduced whatever remains to eyesores. 

LITTLE THINGS MEAN A LOT. Even in their dilapidated state, Hakka homesteads are rich in cultural cues to Boonky Ho, landscape artist from Ping Tung.  He zeroes in on details that are charged with meaning and memories.  Lucky papers pasted at the entry, vines encroaching brick walls, crumbling mortar and other vignettes inspire his works. "One day, I stumbled across the shadow of a couple of bamboo hats hanging from a nail on an abandoned farm house.  I imagined the owners inside…a diligent peasant couple taking a break from rigorous chores in the field….perhaps enjoying a welcome midday nap."  The association became the springboard for "Singing Husband with Dancing Wife". 

Classified as "nostalgic", or "super close-ups", Ho's signature style combines a western sense of color and a heightened reality to portray subjects.  His works, in both oil and watercolor media, are large size, and take over fifty hours to complete.  Details are meticulously rendered; the impact is immediate and expressive.  Ho admits that he invests his whole heart in painting, and he often reminds his students, "To paint with passion, you must love the land and the people.” 

IF THESE WALLS COULD TALK, they would surely speak of hopes and history, and the pride of the Hakka families.  Traditional homes were filled with good luck.  Painted inscriptions were pasted to walls and gates to promise blessings, and myriad ancestral spirits resided in central altar rooms to guide and guard the household. Worship was year round, especially in the south of Taiwan, and visitors were “introduced” first to the ancestors as a matter of course.  In fact, small holes were often placed in the walls so the ancestors could watch descendants elsewhere in the compound. 

The overall appearance of Hakka dwellings is highly textural because basic sections were composed of natural materials: a stone foundation, a bare brick middle, and upper walls of white washed mud plaster.  Ku Te-fu, a Hakka farmer from Chihshan, explains their use in symbolic terms: "White plaster represents the hair of the elders; red bricks represent the blood coursing through the veins of those in their prime; and the gray stone represents the never-ending future generations." He further states that these clear divisions reminded youngsters that even while carving a place for themselves in this world, they must remember to respect their elders and provide for future generations. 

To some degree, Boonky Ho preserves architectural traditions of the Hakka people through paintings.  But, the real value of his work is that it reminds us of the power that even the smallest fragments hold.  They distill the essence of Hakka culture that is sure to endure long after the walls have crumbled to the ground.   The artist welcomes visitors, provided confirmation is made by phone to (08) 732-5370.  Artworks are not for sale, but they do inspire good conversation and great hospitality. 

Taiwan’s Central Government has measures in place to protect notable historical landmarks. Kaohsiung’s History Museum, located in Yen Cheng district and former seat of government during Japan’s colonial rule, received careful renovation.  Since the facelift in 1998, neighborhood residents have initiated efforts to save their local heritage. Contact Dr. Steven Chi (07) 521-5455, who spearheads the group, for information on special spots to explore.