平面設計師王呂齊眺：「我嚮往民間神話里的日月星辰，用畫筆讓神靈鬼怪在指尖復甦。」

最新 10-16

「當設計遇見民藝，一切景語皆情語。

所有打動人心的設計，其實都來自人對自然的感觸。」

Design Inspired by Craft Nurtured by Design

王呂齊眺｜平面設計師

Lüqitiao WANG｜ Graphic Designer

英國中央聖馬丁學院｜平面設計｜學士

英國中央聖馬丁學院｜預科

實地調研 Primary Research

德宏，位於祖國西南邊陲，與緬甸接壤。異國風情與當地的少數民族文化相互交融，孕育出這裡獨特的人文風情。在此次的調研過程中，我們拜訪了多位民藝傳承人，純手工的打磨和塑造，與現代機械化的批量生產截然不同。

Dehong is located in the southeastern boundary of China, where besides Burma. The blending of multi-culture background breeds the unique atmosphere of Dehong. We have visited many local craftsmen during the research journey. The procedure of pure handmade create completely different touch from industry producing.

實地調研 Primary Research

調研途中亦有許多意外之喜，最難忘的是能親身經歷，當地原生態的祭祀活動。黑夜裡眾人點亮蠟燭，成千上萬的燭光從平地漫延至遠方的山坡，人們身著華衣，在跳動的火光里虔誠地向上蒼祈福，這一切使我見證了信仰的力量。

I also discovered a lot of surprises during the trip, the most unforgettable moment was while we were experiencing the local ceremony. Thousands of candle illuminate a dark night, the lights converge a long river and flow into the far end. The locals with ceremonial dressing, pray for love and happiness through the glaring lights. Everything has proved the evidence of the strength of belief.

創作靈感 Inspiration

我一直對神話傳說中描繪的世界充滿嚮往。因德宏州深受小乘佛教信仰的浸潤，加上其獨特的地理位置和異國文化的滲透，使德宏州成為一塊沃饒的土地，滋生了許許多多在中原不曾聽過的故事。

I have long sought in the world of myths and legends. Dehong is deeply impacted by Hinayana, multi-culture influence with the particular location of Dehong, have turned it into a rich ground, where nurtured a lot of stories that I have ever heard in Central China.

創作靈感 Inspiration

當地的神話傳說以不同的形式被記錄創作，有的刻在木雕板上，有的畫在卷宗里，更有塑成泥像供奉於奘房。這些誕生於日月星河的人物使我著迷，手藝人以虔誠和質樸的手法描繪眾神，也寄託了他們的精神嚮往。

The local myths and legends were recorded in different forms: wood carving, scroll painting and clay figurines. I am fascinated by those imagined figures, which illustrated with craftsmen』s deepest piety, and their hope and faith.

設計思維 Design Method

調研過程中，我在當地收集了大量的信息，由於和平日里所接觸到的人文氣息截然不同，一切事物在我眼中都格外新鮮。這些信息在我腦中形成了許多朦朧的輪廓，轉而又化作獨立的影像。於是我將這些刪選過的影像，以繪畫的方式直接進行了第一輪創作，用直白寫實的手法把印象最為深刻的建築，人物進行描繪。

Huge amount of informations where collected through the trip. Everything is fresh and attractive to me, because of the exotic touch and unfamiliarity. Those informations created blur outlines in my mind, and those outlines assemble some individual ideas. Through selecting of those ideas in my mind, I chose to draw the elements which I had almost impressions, such as sculptures and characters, for the first creation.

設計發展 Design Development

在繪製過程中我遇到很多意想不到的困難，對於元素篩選以及重組上，令我頭疼許久。隨著創作深入，一些畫面使我感到疲倦，於是我推翻了之前的框架，並開始考慮畫面的故事性，敘述性。最終，我融合了當地建築，紡織，首飾等元素，並將這些元素與畫面相匹配。

I met a lot of unexpected challenges through the first creation, the process of choosing and re-organising elements bothered me mostly. With the time I spent of drawing, some images made me tried, and I have decided to recreate the original structure of the idea, and bring narrative into drawings. Finally, I combined the elements of local architecture, fabric pattern, silver accessories, etc., to draw pictures.

設計發展 Design Development

第一輪創作後，我回歸到設計師的本質，把所繪的圖像進行提取，開始二次創作。二次創作的發展不再拘泥於視覺上的體驗，而是將繪圖結合設計，創作一系列的周邊，變成一些可以把玩在手中，或是便於攜帶流通的產品。

After the first creation, I decided to combine the drawings with design, and started the second creation. The development of second creation was no longer focus on the visual experience, choosing parts of drawing, through the method of graphic design, transformed into diversity products, which are portable and playful.

以往作品 Previous Work

以往的作品常以攝影，攝像以及繪畫等形式進行創作。我將自身文化背景投入到創作中去，一直試圖在傳統與現代之間尋找切合點，並著重於對「美」的視覺傳達。作品中經常使用「圓」這個符號，它既符合我對「美」最直觀的感受，又符合我心中，對於傳統文化最直接的概括。

In my previous works, I often work in photography, moving image and drawing. And regularly combine my own culture background with design, looking for the balance between tradition and contemporary, and focus on the point of visual communication of 『 aesthetics』. The shape of roundness always appears in my works, because I believe it is the symbol of 『aesthetics』, and also summarise the meaning of Chinese traditional art.

項目感受 Program Experience

隨著時代的高速發展，傳統工藝逐漸遠離了我們的生活。每每提及傳統手藝人們的憂慮，總是重複著同一個問題：年輕人不再願意學，手藝即將面臨失傳。

As the rapid development of modern society, traditional craft arts have gradually left our life. The same problem that always be mentioned, which is worrying the craftsmen mostly: the young group is no longer willing to inherit craftsmanships, and the all the skills might be disappeared soon.

項目感受 Program Experience

旅途的最終，我不得不承認，它們或多或少會因其本身的劣勢，而被時代淘汰。歷史長河漫漫，千年傳承或流輾坊間，或封於玻璃高台供人膜拜，亦或止步於科技的洪潮，成為記錄在案的文冊。我們無法阻止時代更替下，那些終將消亡的藝術，而活在當下，親眼目睹著人類文明閃過的波痕，便足以使我釋懷。

By the end of the trip, I have to admit the fact, craft arts may be obsoleted by its weakness in the future. Craft art has existing over thousand years in the history, some are spread between locals and waiting to be discovered, some are exhibited in museums and galleries, some are replace by modern technologies and only can be found in books. Eventually, nobody is able to stop the obsolescing fate of craft art under the generation replacing. Be present, appreciate the treasure which is left from the ancient past, makes me feel satisfied.

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