The Headpiece Artistry of Puppet Master Su Jhih-rong

　As the sound of gongs and drums rises and a glove puppet moves onto the stage, the helmet or headpiece atop the character's head immediately establishes its aura and identity. In the world of Taiwanese glove puppetry, Su Jhih-rong（蘇志榮）—honored with the title “Hong Deng Master” —has elevated helmets and headpieces from mere accessories to a defining element of character creation. His works are extensively utilized by puppet troupes across Taiwan.

　In his younger years, Su founded the Jin-Wu-Zhou Hand Puppet Troupe（錦五洲掌中劇團）in Kaohsiung. At the time, puppet accessories were difficult to source consistently. When one craftsman suddenly disappeared before completing an order, Su was forced to make the pieces himself. Unexpectedly, the results received widespread praise, setting him on the path to becoming a master artisan. Drawing on his hands-on puppeteering experience, he has continuously refined his headpiece-making techniques. His gradual transformation from a performer to a creator of visual aesthetics and character identity earned him the nickname “Hong Deng Master.” His righteous personality, reminiscent of the puppet character Hong Deng, has been apparent to all throughout his career.

　Puppet headwear includes helmets, crowns, headscarves, and hats. Every stage of production—from shaping and fabric application to decorative detailing—requires meticulous craftsmanship. Su emphasizes that a headpiece must be light enough for easy manipulation while also fitting securely to withstand vigorous movement. Through careful structural design and material selection, he achieves a balance between practicality and beauty. His creations are also renowned for their durability, earning the trust of even legendary glove puppetry master Huang Hai-dai.

　With more than forty years devoted to the craft, Su has been officially recognized by Kaohsiung City Government's Department of Cultural Affairs as a preserver of the cultural heritage technique of making glove puppet helmets and headpieces. Su continues to innovate new production methods while passing on his skills to future generations. One of his apprentices, Ceng Lang-jyun（曾莨鈞）, has expanded across artistic disciplines, opening new possibilities for the craft and attracting more people to the beauty of this intangible cultural heritage.

為布袋戲偶戴上氣勢 紅燈師蘇志榮的盔帽美學
文/李曉萍  

鑼鼓聲起，布袋戲角色甫登場，頭上盔帽已先聲奪人地定調氣勢與身分。臺灣掌中戲界尊稱「紅燈師」的蘇志榮，將盔帽從配件提升為塑造角色性格的關鍵，作品廣受劇團採用。

他年輕時創立高雄「錦五洲掌中劇團」，常遇戲偶配件供應不穩。一次製作師失聯，他被迫親自製作卻受好評，意外開啟職人之路。他憑藉實際操偶經驗，精進盔帽製作技藝，逐漸從演師轉為造形美學的制定者。「紅燈師」之名，源於他個性如角色「紅燈」般正義，也伴隨其職涯至今。

盔帽分為盔、冠、巾、帽等，製作從裁型、貼布到裝飾皆需細心。蘇志榮強調，盔帽既要輕巧省力，又須穩固貼合，才能應對翻騰動作。他透過結構設計與材料選擇取得平衡，使作品兼具功能與美感，耐用度亦備受肯定，連布袋戲宗師黃海岱亦信賴其手藝。

深耕四十餘年，蘇志榮獲高雄市政府文化局授證為「布袋戲偶盔帽製作技術文化資產保存者」，並持續創新工法、傳承技藝。他的徒弟曾莨鈞更跨界創作，開拓發展空間，讓更多人看見這項無形文化資產之美。