Nien Pi-hua’s Jewellery Design
by
Vivian Chu
(Vivian
Chu (2000). Nien Bi-hua [Unpublished bachelor’s thesis]. UNITEC
Institute of Technology Te Kura Puukenga o Wairaka)
Born in 1947 in Taipei, Taiwan Nien Pi-Hua (粘碧華) has long-been interested in Chinese paintings and wanted to be a painter. She started to have contact with western literature in University, she was major in foreign language course in Ching-I University (Providence University) in Taiwan, and after graduating she operated a clothing trading company. It was during this time she developed her organisational and her attitude towards work. Working with the ever changing colours and designs of garments, she also developed an interest in design.
After
marriage, even though her job as wife and mother had taken up most of her time,
she was still very fond of design and found herself doing embroidery in her
spare time. She began learning from well-known embroidery master Chen Si Xue (陳嗣雪), where she learnt
various ways of traditional Chinese embroidery, one piece of work usually takes
up one to two years to complete, and works were mostly focussed on the display
of nature. However, this kind of representational image did not satisfy her
creative mind and after discussing with her husband, well-known Chinese poet/ painter
Lo Ching, she incorporated wearable functions with the embroidery and slowly
developed embroidery jewellery.
Gold
was the main material for jewellery design, in order to make her own designs
more complete and rich, in 1989 Nien Pi-Hua enrolled herself in the Royal
Technology Institution in England and studied goldsmith as major. It was the
first time the faculty gave Chinese students this opportunity. During her
course of studying, she was taught by many well-known designers, many of which
even supplied one-on-one tutoring. One of them being jewellery designer,
William Harper, who at the time was teaching in England, and was invited to the
institute to tutor her.
During
the one year in England, she learned about Western design techniques, from materials
to making and designing. She also tried to incorporate traditional Chinese
features into her designs. Apart from this, she observed that most Western
jewellery designers liked to work on and master one particular techniques,
creating an unique style, most of which consists of geometric, bold and
exaggerated designs.
After
she went back to Taiwan, she tried to create similar styles of jewellery, but
these were not successful on the market. This led her to investigate the
Taiwanese market. Then she created a series of works which were modern looking
yet have a Chinese influence and was awarded with praise after her exhibitions.
In one of the interviews with Nien, she said, “Chinese goldsmith techniques has
already been developed quite fully in the Han dynasty, but materials were
scarce then, now days materials are easy to get, my personal goal is to combine
both Eastern and Western elements into my designs.”
In
1992, Nien Pi-Hua established the ‘Metal Mesh Coral Jewellery Gallery’, to
promote jewellery design and interactions between artists. The name ‘Metal Mesh
Coral’ (鐵網珊瑚) comes from an ancient
Chinese coral collecting technique. During the Tang dynasty people place metal
mesh in the sea which attract corals and pearls to attach onto the mesh, this
way people get precious treasures easily. Since the Tang dynasty, literatures
from the Yuan, Ming and Ching dynasties have also mentioned the term ‘Metal
Mesh Coral’, meaning ‘collecting precious jewels’. Nien hopes that people who
have an interest in creative jewellery don't need to look else where, the ‘Metal
Mesh Coral Jewellery Gallery’ will provide a satisfying selection.
After
years of development and improvement, Nien Pi-Hua's works have roughly two
styles. One is targeted at the younger generation, designs are more modern, and
they have individual characteristics, using silver as the main material.
Simple, delightful, these designs have a sculpture—like three dimensional
quality which is influenced by simplified modern designs in the western
culture. The other style is more traditional, using rare jewels but combining
with modern techniques, creating a more complex design, glamorous and
decorative. These designs are popular among the more mature woman. Nien has
mentioned in the interview, “Now days in Taiwan, people dress more
provocatively, but accessories still remain conservative, with emphasis on gold
jewellery with value.” This she did not understand at first, but after learning
more, she adjusted and accepted this. While during this period she continued to
share her knowledge and views with her students, colleagues and clients, Slowly
influencing and changing the way of looking at jewellery in Taiwan.
In
this exhibition, fourteen of Nien Pi-Hua's work was chosen because of their
traditional Chinese characteristics. One of two reasons for having this
exhibition is to show New Zealand, a country under influence of mainly European
Culture, a chance to see works of an Eastern designer with traditional values
and a modern design concept. Recently, Chinese influence can be seen all over
the world, Chinese characteristics are seen as 'fashionable' and have been
taken seriously.
Over
the last one hundred years, Chinese artists, literary authors and philosophers
have been trying to combine both Eastern and Western elements and ideas in
order to create works that show off eastern features, at the same time have an
international quality. Nien has a strong and rich Chinese background plus her
later contact with Western literature and art. Her achievement in Taiwanese
jewellery design is outstanding, make her more determined and skill-fully make
works that have both qualities.
The
second reason for this exhibition is to communicate Taiwanese culture. Taiwan
is an island, during the past few hundred years have been interacting with
foreign cultures on regular basis, plus the economic success during the last
century has made Taiwan an international outlook society.
Jewellery
design in Taiwan before the 1990’s was poor, even though jewellery design has
had about ten years of history, there was a lack in designers and did not have
a emphasis on ‘original’ pieces, most were copied. There was not a big demand
for new styles on the market, so most jewellery then was alike, conservative
and lacked in new designs.
After
the 1990s things started to change, first with political change in Taiwan.
Also, Fu-Jen University in Taiwan established a gold smith course, planning to
train people in this area. Numbers of people going overseas to study jewellery
design gradually increase, and also some jewellery companies started to provide
basis design classes for the public to learn. Jewellery design slowly gets
recognized and different styles and designs are starting to appear on the
market. Due to the changing society, people are more open to and start to
embrace this change, therefore Men's work, containing both traditional and
modern elements, satisfied people's needs.
In
this exhibition, works are divided into sections by the material, coral, jade,
gold and Tibetan bead, in each section works are then divided by dates they
were made.
Coral
(1)
Pair of red coral earrings, 1994
It
was mentioned before that the Chinese are very fond of the usage of pattern,
but they are even fonder of the usage of Chinese characters. Calligraphy is an
important art form in China, appliances and utensils that have words engraved
will be more precious. Among the entire brilliant, numerous bronze implements,
the two most well known pieces are the simple and ordinary looking ‘Mao-kung
ting’ (illustration 1) and ‘San-shih pan’ (illustration 2), because they have
the most inscription. Words function as a pattern for decoration purposes.
After
the Ming and Ching dynasties, China developed more characters with the meaning ‘prosperity’;
‘One Hundred longevity motif’ is one of them (illustration 3). The picture
consists of one hundred ways of writing the character meaning “longevity”
(Illustration 4). The Chinese revere and respect the elderly and aspire long
life, therefore “One hundred longevity” meaning there are also individual “longevity”
characters either on paper or embroideries, also meaning 'presently' or ‘luck’.
Apart
from the character “longevity” on the coral bead in this piece, there are also
patterns symbolizing clouds, which are very oriental. The plain coral tube on
the bead, which lays within the gold edge, is a modern combination,
1.
‘Mao-Kung Ting’ 53.8cm high, 34.5 kg weight
‘毛公鼎’ 高53.8公分，重34.5公斤
2.
‘San-Shin Pan’ diameter 54.6cm
‘散氏盤’ 口徑54.6公分
3.
‘One Hundred Longevity Motif’
‘百壽圖’
4.
Qing (c.1644-1911) ‘Longevity’ embroidery, 2O8cm X 132.6cm
‘清大緙絲壽字軸’
(2)
Plain surface red coral jewellery set, 1994
The
way the material has been strung together came from the ancient period when
people wore animal teeth, bones (illustration 5). In fact, this style has been
seen in other ancient cultures around the world as well.
The plain face of the ring and the plain, wide fourteen carat gold inlays have the simplicity, which looks like jewellery from Ancient Rome. Similarly, the pair of earrings in this set, apart from the coral bead at the top. The main reason being the importance of pattern in ancient China, this simplicity in the design is rare. Also, the edge of the earrings uses wide, horse shoe shaped fourteen carat gold, with comma-like patterns distributed around the textured surface. This simple and elegant design is very different from the complex style of the ancient China, but can be seen in the designs of Ancient Egypt (illustration 6), but the use of the coral bead in the piece gives it a sense of the Oriental, so it does not seem too Western.
5.
‘Liang-Chu Culture’ tube set
‘史前良渚文化’ 管珠一組
6.
A gold signet-ring with a green glazed scarab (18th dynasty c.1500-1450 BC)
古埃及 鑲蟻螂金戒指
(3)
Cloud pattern carved coral bead hair clasp, 1995
This
kind of hair clasp has added a hanging part on the head, as the wearer moves,
it sways. In tradition, it was used to remind women not to be too active. This
piece made by Nien, has clipped the hanging part onto the lower part of the
pin, it is made to fix the hair clasp in the hair, as a functional part. It is
totally different to the traditional hair clasps with a hanging part for
decoration. The most important part of this hair clasp is on the head, which is
made of a plain surface coral bead, and some gold flowers and cloud patterns.
Cloud
patterns have been commonly used since the New Stone Age on bronze vessels and
jade articles. It is one of the most popular patterns. The Cloud pattern in
this piece is not similar to the traditional cloud pattern it has been changed
by Nien. The style of the flower in this piece has been influenced by the
ribbon made flowers of western jewellery (illustration 7). This kind of flower
pattern is very different from traditional Chinese flower patterns.
The
hanging part is a phoenix. The phoenix (illustration8) and dragon patterns are
the two most popular animal patterns commonly used in traditional Chinese
culture. Phoenix in Chinese culture represents women, and dragon represents
men. Therefore, most things for women are only allowed to have the phoenix
pattern on it. Nien uses phoenix as the main pattern of the hanging part
because the hair clasp is a kind of ornament for women, and also, the flying
phoenix suits the movement of the hanging part.
7. The
English Ribbon-bow, brooch of the Belle Epoque (c.1837-1914)
英 貝里伊柏格時期緞帶花胸針
8.
Yuan (1271-1368) Embroidery of Phoenix 53.5cm x 548cm
元 織成儀鳳圖
(4)
Peony flower carved red coral brooch, 1995
In
China, the peony is seen as the ‘King of flowers’, nowadays is a symbol of
wealth, particularly for wealthy woman wearing peony patterned jewellery
conforms to their social status.
The
use of peony was often seen on various Sui and Tang dynasty (6th-10th century)
objects in China.
‘Pao-hsiang
flower’, (illustration 9) features flowers with different shapes, sizes mounted
in the middle, the design is elegant and poised. The main flowers featured in
these designs were the Peony and the Lotus. The Peony symbolizes fortune and
luck.
During
the Sui and Tang era, and even during the Ming and Qing dynasties (14th-19th
century), peonies were used on objects often appear stylised, unlike the peony
in paintings which took realistic. In fact, most art that appears on Chinese
implements, especially subjects such as animals and plants, often do not take a
realistic approach, rather the distinguishing characteristics are represented
in a new style, these are not realistic, but not as stylised either.
In
this work of Nien’s, the traditional peony pattern was used, but at the same
time the style of peony seems realistic. The layers of petal curving freely,
each different in size and show different views. The curve was taken to
represent this as closely to the real thing as possible, so it appears lively.
This red peony's linear pattern is an ark shape, towards inwards the leaves
surrounding it branches outward, this is contrast with the flower gives a
movement forwards outwards still effect. The complex design of the leaves is
similar to the leaves on the ‘Hua-szu’ jewelleries of Ming dynasty.
(illustration 10).
Apart
from this, the mounted diamonds and emeralds on the leaves created interesting
contrast of texture and goes well with the complexity of the peony flower.
9.
Song, Yuan and Ming (c.960-1644) Pao-hsiang flower
宋, 元, 明 寶相花
10.
Qing (c.1644-1911) Chinese ‘Hua-szu’ ornament
清 ‘花絲首飾’
Jade
(1)
Cloud patterned carved jade pi bracelet, 1992
The
style and material of this piece is very simple, a jade pendant on a girdle and
a simple gold smith.
Jade
pendants, ‘P1’ (illustration 11) were largely seen in the Old Stone Age (before
c. 6000 BC) in Ancient China, in the New Stone Age (c. 6000-5000 BC) it became
a symbol of wealth. The pendants came in different sizes, after the Ming and
Qing dynasties (c.1368-1911), the small pendants ‘pi’ seen in this piece
(2.5cm) gradually became common. The main feature of this design is converting
the form of a necklace — a chain and a pendent, into a bracelet. The main body
of the bracelet has an added piece of jade pendant ‘pi’. There is a golden curve
in between the bracelet part and the jade pendant. The style of this curve has
traditional cloud patterns and also has modern qualities. The wriggling curve
suits two circle shapes of the bracelet and pendant.
This kind of bracelet, with the hanging jade pendant will be easily damaged; therefore, it is only for special occasions.
11.
New Stone Age (c.6000-5000 BC) Pi, diameter 12.8cm, diameter of the hole is
5.9cm 新石器時代玉璧 徑12.8公分
孔徑5.9公分
(2)
Cloud pattern carved jade chip pendant. 1992
This
piece is conservative using antique jade with goldsmithing and the design is
more traditional. The piece of jade is antique jade, which is a curved jade
plate with a plain surface.
This
kind of jade piece is very rare in traditional jade article, and it does not
have any special cultural background meaning. It might be one piece from a set
or apart of a ring for a man,
The
jade chip is inlaid within a thick wire frame. The style of the frame is like a
pair of arch doorways. This form is very rare in Chinese tradition; western
architecture and Renaissance Christian Paintings informed this kind of style
for the frame, In addition, the texture of the frame has used both smooth and
textured surfaces, creating an interesting contrasting visual image.
(3)
Lion pattern jade stamp pendant, 1993
A
chain and a jade, with gold to connect, the design concept and the use of
material of this piece is completely the same as the last piece, except the
chosen jade piece is a stamp. The jade pendant of the last piece is a ring
shaped jade. The ring shaped jade has been used for ornaments for thousands of
years in China, However, the stamp is a credible, functional thing, it was
never used as an ornament,
This
piece has converted the original use of the material into a brand new function.
For the last ten years, converting Asian antiques has been very popular. Many
pieces of furniture are converted for a new function, for example, legs of beds
become lamp stands, window lattices become decoration for walls (illustration
12), etc. The antique jade has also been converted very often, many of them
become jewellery.
The
antique jade of this piece is a good quality jade stamp; it is more precious if
the whole jade is green. Jade is very hard (moss 7), it requires many kinds of
tools to carve, the lion part of this stamp is in a small area, thus it is
difficult to carve the delicate pattern. The form of this piece of jade is
simple and furthermore, Wien connects the goldsmithing to the chain with simple
curves. The design of the whole piece is perfectly matched and elegant.
12.
A scene of ‘Kao-I’ Antique Store in Taipei
台北 ‘高藝傢俬’ 店內一景
(4)
Melon jadeite pendant, 1994
Most
commonly used patterns in China have cultural meanings, and those meanings all
represent auspicious or to bless etc. This piece of melon pendant blesses the
wearer to have a big family, as melons will grow easily every year. The main
body of the pendant is a big melon with a small melon, and added on the head of
the big melon is a “Ju-I” pattern.
“Ju-I”
pattern is a very commonly used pattern is China. “Ju-I” was a tool for scratch
(illustration 13), which can adjust to the users wish. The name in Chinese
means “greeting”, and after many years, the tools are converted to be an
ornament for decoration and a gift for people. The shape of the head of the
tool became the commonly used “Ju-I” pattern.
The
material of this piece is a carved jadeite. Jadeite with a lot of red colouring
is rare. The carved melon jadeite is full of traditional Chinese style, but
Nien has added two elements of gold with one diamond and created a brand new
design.
13.
Qing (c.1644-1911) “Ju-I”
清
‘灑如意’
(5)
Chinese Garden hair clasp, 1995
Chinese
hairpins are of two different sorts, the hairpin and the hair clasp.
Since
ancient times, the Chinese people have used hair ornaments, presently; there is
some unearthed hair ornaments made with animal teeth from the Shang dynasty
(c.16th-11th century BC). Traditionally, men and women all wear hairpins, men
use hairpins to fix hats, women use hairpins to fix their hair, mostly
functional usage.
The
form of hairpins or hair clasps have two parts, the head and the pin, the head
often decorated with some jewels, and the pin is the part that grips into the
hair. The hairpin has one pin and the hair clasp has two pins. In Chinese
history, the style of the hair clasp is very changeable. It is an important
item of traditional jewellery.
The
design of this Chinese Garden hair clasp is brilliant. The Garden in Chinese
architecture has cultural significance, the development of gardens generally
followed popular literature. The spirit of Chinese garden is “to use the
artificial to represent the natural”, and this piece follows this principle.
The
elements of this piece are two pins with a beautiful jade bracelet; Nien has
converted the bracelet into the hair clasp. The antique jade used on flower
buds was two pieces of the pendant. The green jade in this piece reminds of the
plants in the garden. The area surrounded by the jade bracelet is full of
platinum wire and diamonds, representing the glistening of waves. The water is a
necessary ingredient of a Chinese garden.
The
whole piece ignores the traditional Chinese patterns, using modern lines to
create flower, trunk and water patterns. Nien has used interesting design to
recompose these elements in a new way to create a sense of Chinese culture, in
a 30 cm diameter.
Goldsmith
(1)
Plum
tree gold pendant, 1991
The
making of jewellery in Nien’s life began with embroidery jewellery. Therefore
her early works are influenced very much by embroidery. For example, in this
necklace, with a cautious and conservative style, the layout of pattern is on a
flat surface, very two-dimensional. The basic form of the piece is a segment of
a circle; this is a common form in Chinese jade articles. However, traditional
jade normally has a flat surface, whereas this piece has a curved surface.
The
surface is full of plum tree branches. The plum flower is one of the
traditional Chinese patterns, because since plum trees can grow buds on old
trunks and bloom in cold weather, the Chinese use plum flowers to represent
agelessness since the ancient period. Since the Ming and Ching dynasties
(c.1368-1911), plum flower patterns have been used a lot.
The
engraved style is similar to window lattices of Fu Jian architecture. Fu Jian
window lattices (illustration 14) have many engraved flower and bird patterns,
and are painted gold over the original wood texture, similar to this piece.
14.
Fu-Chou Wood Craft “Spring Scene”
福州木雕 ‘梅雀爭春’
(2)
Mawangdui platinum brooch, 1991
Mawangdui
(馬王堆) is the name of tombs
of a feudatory, his wife and his son, which are the Mawangdui number two, Mawangdui
number one and Mawangdui number three. These three tombs were excavated at
Chang Sha, Hu Nan in 1971. Number two and number three tombs are in bad
condition, and most of the articles in the tombs were destroyed. However, the
number one tomb is in very good condition. The most significant discovery is
the master of the tomb — the body of Madame of Feudatory was found. The body
lasted two thousand years in a very moist archaeological environment.
The
number one tomb has yielded many lacquer wares. The biggest is the third
coffins of Madame of layers, and her body is in the smallest coffin. The first
and second layers of coffins (illustration 15 and 16) are lacquered in very
gorgeous patterned pictures. The first layer of coffin is full of simple curved
cloud patterns. (illustration 17)
The
cloud pattern on this piece was influenced by the pattern on this coffin. The
cloud pattern on the coffin has an uneven surface, as the different thickness
of lacquers. The texture of the surface of patterns of this piece is also
uneven. Some places are even engraved, and the wires are just like the piece
used on the coffin, with platinum as the main material.
The
use of platinum is very rare in Chinese traditional jewellery, however Nien
used much platinum in her works as an innovation and also brought in some
feeling of modernism. Nien has made use of the famous products of Chinese
culture, like Mawangdui, and it shows her intention of infusing Chinese style
through jewellery.
15.
Mawangdui first layer of coffins, high 114cm, long 256cm, wide 118cm
馬王堆第一層漆棺, 高114公分, 長256公分, 寬118公分
16.
Mawangdui second layer of coffins, high 89cm, long 229cm, wide 92cm
馬王堆第二層漆棺, 高89公分, 長229公分, 寬92公分
17.
Close up of the Mawangdui first layer of coffins
馬王堆第一層漆棺(局部)
(3)
Flying dragon platinum hair-clasp, 1995
The
dragon pattern (illustration 18) is the most important pattern in Chinese
culture. Many scholars think the dragon pattern of China is a cultural totem;
it might be extracted from totems of different tribes to create a new form of pattern.
Dragon
pattern has a great status in Chinese society. In history, since first century
BC, the first king of Han dynasty was the legendary son of the dragon.
Therefore, the dragon became the representation of a king, and as a pattern of
social status, This phenomenon developed until Ming and Qing dynasties (c. 1368-1911),
when the status of kings was raised, and the use of the dragon pattern has been
strictly confined. Civilisation can not use any dragon pattern on any utensil.
Therefore, most articles with dragon patterns were made delicately. In recent
Taiwan, dragon pattern is not that sublime, but in most people's mind it still
has a special place.
After
Song dynasty (10th-13th century), dragon patterns mostly appear in long body
style. However, the curve of the traditional dragon body is always a horizontal
or vertical curve, or a front style, the shape of body looks realistic. The
body of the dragon pattern of this piece is physically unrealistic, and it has
been stated within the design of the composition of the whole piece of
jewellery.
To
the empty parts of the piece have been added wings, feet, tail and cloud
patterns, so the form is a stable triangular shape. Wings on the Chinese
traditional dragon are very rare. Although there is always a “dragon always
flying in the sky” principle in Chinese society, almost every dragon pattern
uses clouds surrounding the dragon to represent the flying ability of dragon,
instead of using realistic wings.
In
addition, this piece has been made as two sides, so the wearer does not have to
worry about the front side and reverse side problems, and it shows the
designer's consideration.
18.
Qing (c.1644-1911) Five colours “Dragon Plate”, high 12cm, and diameter 10.9cm
清 康熙五彩雲龍紋盤, 高12公分, 口徑10.9公分
(4)
Dragon platinum hair bundle, 1995
This
piece is very similar to the last piece, almost seeming like a set. The hair
bundle is small; therefore Men only depicts a dragonhead and the engraved body.
The engraved effect (illustration 19) is very popular in Ching dynasty
(c.1644-1911). At that time, the material was gold and sliver wires, to weave,
knit, and fold up to make jewellery. The special feature is that they are
delicate and light in weight, called “craft of hua-szu” (illustration 20). This
piece is not made with that technique, but the engraved quality is similar.
The
precious jewels and emeralds used in this piece are very rare in traditional
jewellery. In tradition, most jewellery was made of pearl, coral, and many ‘semi-precious
jewels’. This is because Chinese people like smooth and not shining surfaces,
matching the conservative culture and the principle of cultivating one's morals
and spirit. However, in contemporary Taiwan society, people's taste in
jewellery has been influenced by the West. Nien’s decision to use these
precious jewels was done after her market research.
The
function of this piece is very special, and this kind of hair bundle is never
seen in traditional jewellery. The size of the piece has to suit the wearer's
amount of hair perfectly.
19.
Close up, Qing (c.1644-1911) Gold Chinese ‘Hua-szu’ ornament
清 花絲工藝頭飾(局部)
19.
Close up, Qing (c.1644-1911) Gold Chinese ‘Hua-szu’ ornament
清 花絲工藝頭飾(局部)
Tibetan Bead
Tibetan
bead ring 1999
In
the 20th century Taiwanese society, ‘Mi-tzung’ (Tantric Buddhism) became
fashionable. ‘Mi-tzung’ is one of the sects of Buddhism, and uses many
different articles in ceremonies to cultivate. Therefore they see some articles
and special treasures as very important, and the Tibetan bead is one of them.
There
are many theories about the source of the Tibetan bead, the aerolite from the
universe, made by ancient contradictory views of people and buried in the
ground. In brief, people believe it has great power and protects the wearer,
even bringing luck. In the last ten years, the Tibetan bead has become a
popular, new jewel in Taiwan that men and women all like to wear.
This
piece is a commissioned case, to use a Tibetan bead to make a ring. Nien used
rough silver as the setting of the ring, with some ‘Mi-tzung’ pattern ‘Ju-i
knot’ on it to match the Tibetan style.
The
number of real, natural Tibetan beads is decreasing, and the price of raw
material is increasing, so the exhibition of this work gives people a precious
chance to look at a special treasure.
Conclusion
By
using materials such as gold, silver, coral, jade and jewels. Nien Pi-Hua has
transmitted the familiarization and love of the Chinese culture, and also
created her own outstanding position in Taiwanese jewellery circles, Nien
possesses an ability of combining the style of old and new, Eastern and Western
culture together. She uses the antique jade, and the Chinese traditional
patterns combined with western goldsmithing presenting the simple structure
that suits the modern society. In a number of her works, she has also tried to
use the precious jewels, which are rarely seen in the Chinese traditional
jewellery. She has bravely used the commonly used jewels of western society
with the pure eastern patterns such as dragon and phoenix, presenting a brand
new jewellery style.
Not
every Taiwanese designer has such abundant Chinese culture knowledge and not
every designer with a Chinese cultural background has the chance to absorb
different skills and ideas of western culture. Men has fully brought into play
the ability and talent, treasure and takes every opportunity of learning.
In
one of the interviews with Nien Pi-Hua, she has mentioned that the change of
society in Taiwan in last ten years has a remarkable influence to her design. “China,
has always been a matriarchal society, mother has an enormous influencial power
in a family, After the declare martial law have ended, Taiwan has hastened to a
diverse society, with strong capacity. The status of women was improving, women
became financially independent and have more freedom, can spend a great amount
of money on the body adornment. The exaggerated styles of jewellery and with
high price pieces that attracted more people in these years. People always say
that jewellery is the by-product that only appears in the rich society
environment. In the past, Taiwan has not any expansive and sumptuous jewellery,
conservative folkway and low living standard is the circumstance of the time.
After the declare martial law ended, the obtaining of many materials was much
easier, and because the Taiwan society has hasten to a more global state, the
limitation on the design can be removed. For example, the rejection was of some
patterns with religious meaning, These situations have been changed enormously.”
In
this exhibition, people in New Zealand not only get a chance to see those works
that splendidly combined Western and Eastern culture essences, also observe the
achievement of Taiwan society after positive progression and evolve.
Bibliography
Books
Liu,
L Y. Archaic Chinese Jade—A New Approach, Aries Gemini Publishing
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