C O N C E P T
《山海經》為中國變形神話雛型的始祖，以地理觀點的角度記載種族、環境、藥學、宗教、歷史等龐大知識。而《山海經》中的變形觀點，實乃根據地理環境與民族融合，所產成的圖騰崇拜之寫照。即人與人、民族與民族之間的大熔爐，促發了圖騰神話的變形邏輯，而創作結果，主要呼應這樣的觀點，以西方技法與東方素養的兩者兼併，並將華夏民族內在剛強的情操與博大精深的歷史軌跡，展現在服裝的質感與細節上。本創作針對《山海經》圖騰變形與環境影響下的關係，進行考究與驗證，並將華夏最大變形圖騰－－龍圖騰拆解，逐一分析拆解後各個圖騰的意義，做為創作轉化的依據，進行服裝設計。
Shan-Hai Ching is a classic and a prototype of Chinese mythology on metamorphosis. With detailed descriptions, it is also a fabulous geographical and cultural account of ethnicity, medicines, plants, animals, minerals, geological features, religions, and so on. It is also considered an important reference to the field of Chinese history. I argue that, the perspective of metamorphosis epitomized by Shan Hai Ching, is the portraiture of the totem worship phenomenon that is developed from the relationship between the given geographical environments and the living of the people there and then. In other words, the logic of metamorphosis mythology illustrated in Shan Hai Ching is shaped by the philosophy regarding the harmonious coexistence of nature, people, and also species. My costume project is designed to reflect such argument—by combining Western techniques and Oriental aesthetics, I attempt to unfold the toughness of Hua-Hsia civilization with the texture of fabrics, and also to inscribe the depth of history to the details of pattern.
Shan-Hai Ching is a classic and a prototype of Chinese mythology on metamorphosis. With detailed descriptions, it is also a fabulous geographical and cultural account of ethnicity, medicines, plants, animals, minerals, geological features, religions, and so on. It is also considered an important reference to the field of Chinese history. I argue that, the perspective of metamorphosis epitomized by Shan Hai Ching, is the portraiture of the totem worship phenomenon that is developed from the relationship between the given geographical environments and the living of the people there and then. In other words, the logic of metamorphosis mythology illustrated in Shan Hai Ching is shaped by the philosophy regarding the harmonious coexistence of nature, people, and also species. My costume project is designed to reflect such argument—by combining Western techniques and Oriental aesthetics, I attempt to unfold the toughness of Hua-Hsia civilization with the texture of fabrics, and also to inscribe the depth of history to the details of pattern.
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「湯谷上有扶木，一日方至，一日方出，皆載於烏。」《山海經•大荒東經》
創作的實驗過程中，主要透過質感的處理，輔助圖騰意涵轉化的表現，舉如：以漂白水絞染搭配雷射雕刻技術，刻意處理原始壁畫的質感。其次還有透過服裝的版型結構與手工藝技法所創造出的浮雕質感，將圖騰意涵由平面轉為立體結構的表現手段。這樣的創作過程，促成了由平面過渡到半立體，再由半立體進行到服裝立體結構的漸進式創作。
My costume design project is aimed to experiment with the texture of fabrics, and the outcome of which is meant to address the marks developed through the processes of metamorphosis and to emphasize such expressions driven by the conversion of meaning. For examples, in order to delineate the pristine texture of cave paintings, I apply tie-dying technique paired with discharge printing, in the meanwhile with the assistance of laser engraving. In addition, I also intend to create the relief texture of embossment through the garment structures and patterns, as well as the handcraft skills. By doing so, I endeavor to convert the plane surface to a three-dimensional structure, which embodies my understanding of the transformation of the meaning carried by the metamorphosis of the totem. The process reflects a step-by-step transitional progress of my costume design philosophy with this project, from the flat plane, and then a relief solid, and finally to a three-dimensional structure.
My costume design project is aimed to experiment with the texture of fabrics, and the outcome of which is meant to address the marks developed through the processes of metamorphosis and to emphasize such expressions driven by the conversion of meaning. For examples, in order to delineate the pristine texture of cave paintings, I apply tie-dying technique paired with discharge printing, in the meanwhile with the assistance of laser engraving. In addition, I also intend to create the relief texture of embossment through the garment structures and patterns, as well as the handcraft skills. By doing so, I endeavor to convert the plane surface to a three-dimensional structure, which embodies my understanding of the transformation of the meaning carried by the metamorphosis of the totem. The process reflects a step-by-step transitional progress of my costume design philosophy with this project, from the flat plane, and then a relief solid, and finally to a three-dimensional structure.
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《說文解字》中記載：「羌，西戎牧羊人也，從人從羊，羊亦聲。」
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「有文馬，縞身朱鬛，目若黃金，名曰吉量，乘之壽千歲。」《山海經•海內北經》
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「神農氏，姜姓也。母曰任姒，有喬氏之女，名女登，為少典妃。
游於華陽，有神龍首感女登於常，生炎帝，人身牛首，長於姜水，有聖德。 以火承木，位在南方，主夏，故謂之炎帝。」《帝王世紀》 |
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本研究針對《山海經》圖騰變形與環境影響下的關係，進行考究與驗證，並將華夏最大變形圖騰－－龍圖騰拆解，逐一分析拆解後各個圖騰的意義，做為創作轉化的依據，進行服裝設計，並延伸出四個系列：斗篷/外套系列、鎧甲系列、天圓地方系列、劇場印象系列（紙本創作）。
This study aims to examine and investigate the relationship between the environmental impacts and the metamorphosis of totem in Shan-Hai Ching. Furthermore, by deconstructing one of the most significant totems among the Hua-Hsia (a.k.a. Hua-Xia) culture and civilization—dragon—with regards to its transformations and variations, I will analyze this totem and explore the meaning of its components. At the same time, I will practice the concept and aesthetic inspired by the Dragon totem and its metamorphosis with a costume design project. This project consists of four series: 1) cape and coat; 2) armor; 3)hemispherical dome; and 4) theatrical impressions (which is an artwork on paper).
This study aims to examine and investigate the relationship between the environmental impacts and the metamorphosis of totem in Shan-Hai Ching. Furthermore, by deconstructing one of the most significant totems among the Hua-Hsia (a.k.a. Hua-Xia) culture and civilization—dragon—with regards to its transformations and variations, I will analyze this totem and explore the meaning of its components. At the same time, I will practice the concept and aesthetic inspired by the Dragon totem and its metamorphosis with a costume design project. This project consists of four series: 1) cape and coat; 2) armor; 3)hemispherical dome; and 4) theatrical impressions (which is an artwork on paper).
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