珠寶設計師 梁天怡：「我的期望設計與失望哲學。」
「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
梁天怡｜珠寶設計師
Tianyi LIANG｜Jewellery Designer
德國伊達爾·奧伯施泰因｜首飾與寶石專業｜研究生
英國中央聖馬丁學院｜珠寶設計｜學士
創作靈感 Inspiration
在很長一段時間裡，我都在掙扎，到底怎樣的出品，才可以兼顧傳統藝術的推廣和當代設計的思維。調研時拍的圖片看起來越來越薄，背後的細節不能因為放大功能變得立體，反而因為像素點的放大而越發模糊。圖片，終究不過就是圖片罷了。
記憶放大會悵然若失，文化呢，文明呢？
I had pondered for a long time over products that could promote traditional art while expressing contemporary ideas of design.
The pictures taken during my research looked 『thinner』: the details of the craft, when amplified, are not well-rounded and telling as expected. On the contrary, the more you zoom in on the pixels, the hazier they become. Pictures are just pictures.
設計思維 Design Method
我並不能解決文化隨時間消逝的必然，不知道有多少人會看過這個項目最後的設計成品，有多少人會購買，日後會佩戴，甚至不會相信這批作品會批量生產。大概大多數人都會跟正在閱讀的你一樣，在網路平台上，用最短的時間，捕捉你最喜歡的信息，對，就是你。今天你看了多少推送？你記住了多少？
圖片就是圖片，你的興趣控制你去放大細節，但結局可能是一片虛。這便是我的設計。我要讓觀者記住他的失望，比讓傳統民藝變得時尚更有力。
You are tempted to seek details but eventually get blurs. Thus such is my design: I want the viewers to remember their disappointment, which can be more powerful than turning traditional craft fashionable.
設計發展 Design Development
最開始，我結合傳統手工雕蠟工藝一比一複製，利用微型樂高的塑料材質可以類似失蠟法澆鑄的工藝，將細節模塊化、幾何化，想法積極但是效果不喜，添加的馬賽克效果猶如原作品的血栓。
傣族銀匠往往通過掐絲鏨刻等工藝力求金屬工藝的極致，最後鑲嵌色彩明麗的塑料球代以寶石，觀者驚嘆繁複的工藝，「代寶石」讓珠寶更加平易近人，可以拋開價值的固有判斷，貼近美的真意。
I found that the Dai people pursue extreme delicacy with their traditional filigree and engraving techniques, and then set vibrant plastic balls in place of gems. Complicated as the craft is, the 『gem substituents』 render jewellery more approachable, breaking from its pricing and getting closer to the truth of beauty.
設計發展 Design Development
這與當代珠寶的審美架構不謀而合。在設計中，我讓原有紅綠「寶石」的部分兩點一線呈現視覺動勢，運用色彩豐富、單位統一、體量輕巧的微型樂高來詮釋放大的像素點。材質選擇上回歸本源，再現銀鍍金嵌彩色塑料。
In my design, the original two dots of red and green 『gems』 form a line to realize a optical kinetic potential. I utilized brilliant, light mini Legos of identical size to represent amplified pixels. In terms of materials, I followed the original work to choose gold-plated silver set with colored plastics.
設計發展 Design Development
在金屬主體部分，蝕刻工藝讓平面化的定格法更貼近原作，從某種程度上來說，記錄者的筆觸比複製原件更加生動。
而胸針背面同樣有耐人尋味的工藝細節，首飾藝術不僅需要正面的視覺效果，也要兼顧背後的實用美學。
On the metal main body, the two-dimensional etchings are similar to the methods used in the original work. On the back of the brooch are also thought-provoking details, which show that the art of jewellery not only creates visional effects on the front side but also applies pragmatic aesthetics on the back side.
設計發展 Design Development
景頗族最傳統的銀飾莫過於縫在衣飾上的極簡幾何的半球體，這也和當代設計「少即是多」的審美異曲同工，我運用相同規格的半球體演變成耳飾，加上同樣半球體的耳壁，使這件作品正面、側面、背面都達到形態飽和。
The most typical silver jewelsof theJingpopeopleare the geometrical hemispheres sewed onto their clothing, its minimalist styleechoing the contemporary concept 『Less is more』. I used hemispheres of the samesize in my design of earrings. In harmony with the hemispheric shape of earwalls, this piece looks well-rounded from all perspectives.
設計發展 Design Development
同系列耳釘採用不對稱設計，樂高几何化地組合了介於2D圖片和3D實物的2.5D 架構。不同方式打磨的金屬樂高折射出不同的明度，混在不同灰度的樂高中這種拼湊的球體光影細節幫助像素化的體塊更加具象。這套耳釘，三個為一組，其一為半球耳飾，佩戴時可任取其二，加上樂高可拆卸，便生成無數組合。
The ear studs of the series are asymmetrical. Lego is a 2.5D structure geometrically combining the features of 2D pictures and 3D material objects. The metal Legos filed in varied modes will refract various degrees of brightness, and they will be mixed up with Legos of distinct grey scales. The subtle light and shadow effects will flesh out the pixel blocks. Each group consists of three ear studs, one of which is a hemisphere. The wearers could choose two from them. Since the Legos could be disassembled, they will compose numerous shapes.
以往作品 Previous Work
這個系列和我之前的作品一樣，把自己定位在一個觀察者的角色，聚焦人文矛盾，關注敏感的大多數。
Like in my previous works, in this series I positioned myself in the role of an observer, focusing on humanitarian concerns and heeding to the 『sensitive majority』.
項目感受 Program Experience
我不是少數民族，也不來自少數民族地區，但是和所有人一樣，我們的成長伴隨著對中國急速發展的見證。
I am not an ethnic minority, nor do I come from an ethnic minority zone of China. However, growing up, I witnessed China』s speedy development like everyone else.
我期望自己的這個項目可以以觀察記錄的方式，把這些改變拖得慢一點，或許真的有一人可以因為最開始的興趣點開這個視頻，放大後面的圖片，在關上這個頁面以後，做了更多。
With this project, I hope to keep a record of our cultural heritage and slow down their changes. Hopefully someone will open this video, magnify the pictures in the end, and when he or she shuts down this page, do more to help.
寫在後面
十月長假過後，項目一行人相約芒市，這是我第一次來雲南。飛機降落前空姐著傣族衣裙拍著手唱雲南的美。從機場到位於市中心的酒店不過半小時，路過的手機通訊商店連成排。這是我對芒市的第一印象。
調研的某一日和一位穿著T恤抱著懷的傣族青年聊天，她母親是當地剪紙的非物質文化傳承人，在家辦了座博物館，定期教授些剪紙技法，可他興不至此。剪紙工藝體現極致的『扎』和『幢』，附上鮮花，均用於裝點類似廟宇的奘房，準備這些的都是上了年紀的老嫗，而年輕人進奘房的次數越來越少了。傣族青年說起背後用於乘放稻草的傣寨，對比竹林那側正在興建的西式小樓，歷史每天都在必然的發生。
我們感嘆時間如同風暴掩埋了過去文明的痕迹。但是讓傳統民俗延續的任務，或許該給真正有興趣的人去做，而這個人可能就是你。強制給少數民族扣拋棄文化的帽子，是看客的自私。比起民俗消逝，有一日，村寨唯利翻建傳統建築，寨里的男女老少表演遊客想看到的傳統民俗，大概才是真正的悲哀。
從參與調研到設計再到製作歷時近四個月，我卻一直無從下手，一方面不想複製民族元素，另一方面卻又不想單單的做一套打著民族工藝牌的設計衍生品。直到我回顧了圖片里的一個背影，一位身著傳統衣飾的老婦人背著現代著裝的孫兒，手裡牽著一個，浮在光里的，熱帶魚氣球，有些刺眼。
我想，大概千錯萬錯，都不能做一個莽撞的闖入者。
The whole process from research to design and production lasted nearly four months. I had found it hard to begin with, for I had desired neither an unreflective imitation of traditional elements nor a set of design derivatives under the banner of traditional craft. I had thought, what products could promote traditional art while expressing contemporary ideas of design? The inspiration struck when I reviewed a picture on which an elderly lady in a traditional outfit is carrying on the back her grandson dressed in a contemporary fashion. She is also holding a tropic fish-shaped balloon, which is floating in the sunlight. This image is astonishing.
I thought, anyway, I oughtn』t to be a rash intruder.
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看張玉的設計靈感——傣陶
注意！！！
Craft＋平台所有作品均為原創設計，
版權歸屬Craft＋平台與合作設計師，
嚴禁以任何形式的模仿和抄襲，
違者追究法律責任。堅持對抄襲者問責到底！
"勐巴娜西 "
傣語中意為
「神奇美麗的地方」
它地處中國西南邊陲，三面接壤緬甸。
它是《史記》所載的乘象國;
它是佛陀的後花園;
它是抗戰時期滇緬公路上的重要樞紐;
它即是《有一個美麗的地方》所傳唱的——德宏州。
在這片樂土，主要生活著五個世居少數民族：
傣族，景頗族，阿昌族，傈僳族，德昂族
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