Today, with the rapid development of digital technology, traditional handicrafts are gradually declining. In order to find, help and support more craftsmen, Chen Xiangjing launched the “Return of Craftsmanship†and “Growing in Beijing†programs. In order to make the craft products more market-oriented, he integrated traditional crafts into contemporary furniture design. In 2016, he brought these furniture to the international stage. Foreign art critics said that this is the original design of China.
Design story:
I think that if you change some of the traditional things to a color, you may change your feelings, so at first I just wanted to make red, or green, yellow. I want them to be in color, to leave a little bit with tradition, and to be closer to modern life. And the best lacquer in China is red. Now there are very few real lacquers. I think it is already a decline. There are only small workshops scattered around. We hope that in this way, these intangible cultural heritage processes can be continued.
Nowadays, there are not many materials for ship wood. It is very expensive to make furniture with such very coarse materials, and it is difficult to match modern decoration. So I told the cooperating manufacturer that he would help him to do it in another way, so that these furniture can be closer to modern life. This approach is relatively modern and very personal, and young people will like it.
Because I am doing space, it is related to architecture, so I am very concerned about the structure, structure and shape are good-looking and simple, I think it will be ideal. For example, this chair, on the back of the chair, I used the outline of Chinese Ming furniture. I chose plexiglass as the seating surface, which actually exposed the structure of the whole chair. The glass is flat and uncomfortable. I dug a circular concave shape on it, and you know it is comfortable as long as you sit.
When I was studying, I studied ceramics. After graduation, I participated in industrial design training. It can be said that the professional training I received was quite extensive, which is very conducive to my continued development from space to product. I think that craftsmanship and products are not contradictory. If handicrafts are not mass-produced, they can be made into works of art; if they are to be circulated, they can be made into products. Handicraft products are universal, just like derivatives. I am doing design derivatives now, not art derivatives.
This year, I participated in the international exhibition of these products, I used the traditional craft, but not affected by the traditional style, such products have become a new feature. I am studying Chinese culture, but I always want people outside to realize that my products will not be very traditional, but I can't say no. Some foreign art critics say that these furniture are Chinese original things at first glance. I am very happy that he said this thing is new and Chinese.
In response to the development of traditional crafts, we have a “craft return planâ€. We organize people from different fields to participate in research and development products. They are not necessarily designers, but they can use painting and text to express their ideas. We will give them a model. Then continue to improve in the slow communication, the product will come out. The Da Lac series is the first project of the craft return plan. The “Growing in Beijing†program is to provide a workplace and display platform for young craftsmen to help them develop.
Chen Xiangjing's design point of view:
Everyone has a feeling of your product is the best evaluation
I am more mediocre. Exhibitors are never meant to declare anything, or Chinese culture. I just want to let everyone know about our products, and see how everyone reacts to these designs, and then make adjustments. In fact, we are exploring the market. . And I don't think the product needs too much publicity to speak with the work. Everyone is willing to accept, everyone has a feeling for your things, this is the best evaluation.
It doesn't have to be a designer to make a product.
When I went to Sichuan for an inspection, I conducted an in-depth search for the minority lacquerware process. But I looked very sad. Japan's lacquerware is very good, craftsmen are national treasures, and our non-genetic people, living conditions are not very good. So I think I should do something. I hope that through our product design, people can recognize traditional crafts and let everyone discover that it is not necessary for designers to make products, because this is a daily necessities, anyone who has a feeling for life. , can provide design solutions.
"Celebrity effect" will be the development resistance of young craftsmen
Recently, the whole society is advocating creativity, advocating what is lacking, just like traditional handicrafts, you will pay attention to it when you see it is lost. But now the celebrity effect makes everyone pay more attention to the name, not to the product itself. This is a great resistance to craftsmanship and products, and it may make many young people feel very difficult. His heart is calm enough to focus on the work. But I am very optimistic about the prospects of traditional crafts.
Large paint / ship wood series furniture:
Big paint design concept
From my own experience, I have always respected the Chinese cultural tradition and the things that the older generation of artists have passed down to us. When I was doing furniture design to a certain extent, I naturally paid attention to how the lifestyle brought by Chinese furniture can be reflected in Chinese furniture. I began to pay close attention to the characteristics, form, and shape of the furniture I designed. material. In China, traditional handicrafts, in addition to being practical, are actually very durable. For lacquerware, it existed more than 7,000 years ago. In the Han Dynasty, which was more than 2,000 years ago, it reached a peak period. The lacquerware of the Han Dynasty continued to the present, the color is still so bright, and it remains so good. Why is it so good to use it? This is an important reason why I first wanted to make a lacquer.
Of course, many people ask me, since it is so complicated, why do you still have to do it? Also like handmade things? Because I know that you can see the emotions that craftsmen are paying from the things in the hand. He does this thing over and over again, sometimes simply repeating it, but it must be true to those who like it. It's done, and it's this that no industrialized product can replace it. At the same time, this is a very important factor in our kindness to traditional handicrafts. The furniture made with large lacquer will make people want to touch it in the process of using it, and the more it touches, the more vivid it will be. It has been used for thousands of years, and it still retains such vivid colors. I believe that such furniture can be passed down from generation to generation, and it will give us the feelings and culture of each generation, and the way of life.
We hope that through the furniture of these large lacquers, we can convey a kind of oriental Zen with a concise mind and a life-saving philosophy, so that we can still maintain a simple initial heart in this impetuous world.
Ship wood design concept
The traditional wooden boat has been eliminated, leaving a large number of such materials, and the regeneration of this material was first thought of by a group of artists and designers. The boat wood is very hard, very good wood. They tried to get the wood to be reused, mainly in boat wood furniture.
After many years of wind and rain, its own mechanism characteristics and precipitation of the sense of time is very strong. Because it is very rough, it is far from the current family environment. If we use a new material to combine with it, not only does it have a strong contrast, but it also matches our modern living environment. So I used modern stainless steel as its structure, and the boat wood was in a place to enjoy. Let each material play its biggest benefit. Using a designer's unique aesthetic and judgmental ability to use the material is an effective match. Regardless of the aesthetic point of view and the various aspects of the structure, taking advantage of each material, I think this is the responsibility of our designers.
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