陶瓷設計師張玉：“突破工藝侷限，用金與瓷鑄就傣陶新生”｜Craft＋勐巴娜西

作者：由 CraftPlus 發表于舞蹈時間：2017-10-28

金屬也能做瓷器？石器時代的工藝在海龜設計師手中重獲新生_“視中華魂，聽民族魄”——小人物大夢想_騰訊影片

https：//v。qq。com/x/cover/ssv8mu2z6yrfs3b/y0537abgcab。html

張玉｜陶瓷設計師

Yu ZHANG｜Ceramic Designer

英國中央聖馬丁學院

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陶瓷設計

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學士

英國中央聖馬丁學院

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珠寶設計

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預科

實地調研 Primary Research

傣陶的工藝與器形都繼承了千年以前石器時代的陶器精華。但其器形從石器時代至今，並未作出太多的改變。雖然傣陶的外形簡單質樸，卻有著歷史沉澱的張力。

The craft and shape of Dai Ceramics has inherited its traditional essence from Stone Age， throughout thousands of years of change。 While its shape hasn’t changed much。 Though it looks simple and plain， it has a historical precipitation。

其功用主要滿足於日常使用和宗教需要。發展至現代，因為傣陶的實用性，在當地甚至可以看到不同材料所演繹的“傣陶”器皿。

It mostly suits for daily and religious need。 Until currently， due to its practicability， we could still see local Dai Ceramics made by different materials。

創作靈感 Inspiration

傣族是一個崇敬自然的民族。在一次採訪中，一位當地人和我說到，自然給了我們豐厚的物資，甚至是生命。我們所能做的就是懷著虔誠的心，用自然的饋贈，也就是泥土，經過我們的雙手做成花瓶，再裝滿最美的鮮花，去供奉我們的神，我們的自然。

Dai people admire nature。 A local person once told me during an interview， nature has provided abundant materials， even including life。 All we could do is to keep a sincere heart， use nature’s offerings， mud， to make vase， and decorate with the most beautiful flowerto serve our god and nature。

他們將天地萬物融入親手製作的供品，剪入紙張、織入經幡、編入竹器，用於表達自己的虔誠。這種取自自然用之自然的供養方式，以及這份以小見大，崇敬自然的精神，令我為之所動。

They put nature and everything into their handmade tributes， into paper-cut， prayer flags， bamboo ware for expressing their devotion。 What we use from nature， we return to it， Such a design idea and an admiration towards nature touches me deeply。

在勐巴娜西，傣家人喜歡將金屬與其他材料結合使用，比如將金線織入傣錦，用剪金來供佛或裝飾建築。傣族這種對金屬材料的大膽運用，給了我一些靈感。由於傣陶自身泥料的侷限性，當地人無法將其與金屬結合，這是一個遺憾，也是一個契機。

In Mengbanaxi， Dai people enjoys mixing metal with other materials。 They use gold thread in brocade， gold paint on Buddha Statue or architecture decoration。 Their fascinating combination with metals has offered me some inspiration。 Since the limitation of local mud， they are unable to mix metals with ceramic， it has become a pity and an opportunity。

設計思維 Design Method

作為一個設計師，我想在保留傣陶傳統外形的基礎上，將它推向現代化並將傣族人們以小見大的世界觀融入進去。我使用更符合現代審美的瓷泥來詮釋傣陶，並嘗試融入金屬元素，用傣家人喜愛的方式——將陶瓷與金屬相結合。

As a designer， I would like to maintain the traditional shape， convey their way of seeing nature in everything， and make it fit into modern aesthetics。 And I manage to use metal by what Dai people love， mixing ceramic with metal。

所以在這次設計中，我採用了傣陶的三個基本器型，用瓷泥完成了器皿的下半部分，然後用金屬線條勾勒出上半部分的器型。

In this design， I chose three common utensil shapes， used porcelain clay to complete lower half and metal lines to simply draw out upper half of the design。

設計發展 Design Development

勐巴娜西被綿延群山所包圍，得天獨厚的自然景觀浸潤了這裡獨特的自然崇拜。最令我難忘的是每日早起，遠眺過去，群巒疊嶂的包圍下，整個勐巴娜西宛如世外桃源，令人沉醉不知歸返。

Mengbanaxi is surrounded with endless mountains， naturally endowed landscape has enriched an unique local worship towards nature。 The most unforgettable scene is its overlook during sunrise。 Waking up early， we could see it as a land of idyllic beauty that makes us intoxicated and wish we may never leave。

所以在陶瓷的表面，我運用了雲南獨特的陶瓷工藝“刻線填泥”，來描繪當地群巒疊嶂的自然景觀，並將起伏的山脈延續到陶瓷與金屬的交界處，甚至延續到金屬部分來加強“自然”這一元素。

As for the surface of the ceramic， I chose the special local craft from Yunnan to draw the natural scenery of layers upon layers of mountains across the edge between ceramic and metal part。 So it could enhance natural element。

在主體色上我選擇了灰白兩色，灰色系列延續了原始傣陶的顏色與質感，代表了傳統審美。而白色系列則與灰色形成對比，表面也更為細膩光滑，代表了現代審美。兩個系列在觸感和色彩上有著強烈的對比，又相互呼應，像在訴說傣陶的過去與未來。

I use grey and white as main colors。 The grey series maintains the color and texture of original local ceramic， which represents traditional aesthetic。 White series is used as a comparison， since its smooth， delicate surface shows modern aesthetic。 These two sets have a strong comparison on texture and color， but echo harmoniously， sharing us the past and present of Dai Ceramics。

以往作品 Previous Work

在以往作品中，我一直在探討人與自然的關係，作品也多為日常實用的餐具與花器。我追求的是透過設計，去構建器物與使用者之間的情感聯絡，讓有情感的設計，喚起人們的惜物心。

My previous designs have been discussing the relationship between human and nature， Mostly they are daily and practical dinnerware and vases。 What I pursue， is to build up emotional links between utensil and user， I believe only a design with emotion can truly touch the heart of the user。

這次勐巴娜西的設計，是我以往作品的一個延伸，不僅融入了當地的世界觀，還在傳統器形上做了一個突破，也是第一次大膽運用了材料結合的方式來展現成品。

This design is an extension of my previous works， not only mixing with local worldviews， but making a breakthrough in traditional utensil， which is the first-time mixing materials to express finished product。

專案感受 Program Experience

傳統民藝往往給現代人“過時”的直觀感受，卻很少有人去注重他們的內在與發展。設計來源於生活，生活離不開工藝，正是Craft＋給了這一個溯本回源的機會，去探索設計的起源——民藝。我希望透過對民藝的再設計，使得傳統能以現代的審美來落戶於人們的日常生活。

In people’s eyes， traditional folk art is obsolete， Only a few would look inside it and see its development。 Design comes from and interwined with life。 Craft＋ has just offered such a chance to look back， and discover the original of design – folk art。 I’d like to make it fit into people’s daily life by redesigning folk art with modern aesthetics。