慧 杨

Category: Accessories

Competitions: China Mainland

设计作品的灵感来源于鸮型青铜器，从鸮的信仰来源出发，天命玄鸟，降而生商，这是商对于鸟文化的信仰，鸮的形象作为“战神”、“神鸟”，却因为周对殷商文化的推倒洗牌，鸮的形象一落千丈，甚至加上“食母”的恶名，其影响一直持续到现代，猫头鹰“夜猫子”都是不好的印象。将其捧上神坛，而又诋毁造谣它，鸮本身无过错，它不会说话，不会表达，却被卷入人类的战争、政权更迭，经历战争的中心环节，当成文化抛弃品。被人过分关注，不如放任其自然养育、循环往复。笔者想通过皮雕立体化表现与箱包结合的方式，以另一种语言来呈现鸮这一形象。 同时采用传统皮雕工艺和现代皮雕工艺作为实现方式，对箱包皮革表面进行探索创新，做出立体化效果，探索传统与现代皮雕工艺的平衡点，突破传统皮雕作品风格，创新皮雕图案纹样，加以抽象化设计皮雕图案，以更加现代化的审美呈现箱包。 The inspiration of the design works comes from the owl-shaped bronzes, starting from the source of the owl's faith, the Mandate of Heaven Xuanniao, descending to give birth to Shang, which is Shang's belief in bird culture, the image of the owl as the "God of War" and "Divine Bird", but because of Zhou's reshuffle of Yin Shang culture, the image of the owl plummeted, and even added the notoriety of "mother-eating", its influence has continued to modern times, and the owl "night owl" is a bad impression. Holding it up to the altar and slandering it, the owl itself is not at fault, it cannot speak, it cannot express, but it is involved in human wars, regime changes, and the central link of the war, and is regarded as a cultural discard. If you are overly concerned, it is better to let it be nurtured naturally and repeat the cycle. The author wants to present the image of the owl in another language through the combination of three-dimensional expression of leather carving and luggage. At the same time, the traditional leather carving technology and modern leather carving technology are used as the way to realize the exploration and innovation of the leather surface of the luggage, make three-dimensional effects, explore the balance between traditional and modern leather carving technology, break through the traditional leather carving style, innovate the leather carving pattern, and abstract the design of the leather carving pattern, so as to present the luggage with a more modern aesthetics.

Category: Accessories

Competitions: China Mainland, International

从新中式的中式神秘美学出发，落在民俗文化蛊术中五毒元素，以皮雕和皮塑两个工艺来具体表现。以红黑为主色调，主题定为红彤彤也是暗又有点斑驳的红色带给人禁忌、危险而又神秘的感觉。两款包表示中国鬼神民俗文化独有的一种敬畏和恐惧，表达对未知事物的诡异而又神秘的感觉。两款都基于五毒中蛤蟆为设计元素，一个是前片红黑皮雕，中式繁复美学和蛤蟆纹彩贴剪纸结合，以一种围绕中心一圈一圈规律的规则图形，形成诡异美感图样，另一个用皮塑作为包体亮点，以商周时代青铜器的一个立体形象装饰蛤蟆纹来设计变化，考虑到包体线条圆润，突出皮塑效果，采用通体红色。 Starting from the mysterious aesthetics of the new Chinese style, the five poisonous elements fall on the magic of folk culture, and the two processes of leather carving and leather molding are used to specifically express. With red and black as the main color, the theme is set as red, and it is also dark and a little mottled red, which gives people a taboo, dangerous and mysterious feeling. The two bags represent a kind of awe and fear unique to Chinese ghosts and gods folk culture, expressing a strange and mysterious feeling of unknown things. Both are based on the five poisons in the toad as the design element, one is the front piece of red and black leather carving, Chinese complex aesthetics and toad pattern color sticker paper cut combination, a circle around the center of the regular pattern, the formation of a weird beauty pattern, the other with leather plastic as the highlight of the package, with a three-dimensional image of the bronze of the Shang and Zhou Dynasty decorative toad pattern to design changes, considering the rounded lines of the bag, highlighting the effect of leather plastic, using red throughout.