Zhu’s treasure decoration” tells the Chinese jewellery vocabulary

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Peony rich point green pendant

In December last year, Lin Fangzhu, the founder of "Zhu's Treasure Chullery", brought the modern jewellery art with classical spirit to the modern Bund 18, building a modern collection in Shanghai's landmark buildings. A private jewellery museum with elements, Chinese culture and the essence of jewellery. Lin Fangzhu is good at telling stories with jewels. His works are based on China's long history and culture and life art. They extract ancient royal aesthetic elements and present a strong designer style of forest jewellery through delicate but natural design lines. . Lin Fangzhu, who studies history, loves Chinese art, and is fascinated by the various elements of the palace, tells the Chinese jewellery art with contemporary design vocabulary, and displays the artistic jewellery creativity with various colors of jade, once again awakening the public's cherished Chinese art and culture.

"Zhu's treasure decoration" is not the first store in the mainland. What is the consideration based on the selection of the Bund 18?

Lin Fangzhu: "Bhu's treasure decoration" The Bund 18 is our first brand store to enter the mainland market, and it is also the first "close contact" with Shanghai. The choice of "Zhu's treasure decoration" on the outdoor beach No. 18 is due to the recognition of the unique historical and cultural significance of the Shanghai Bund. The Bund 18 is a 100-year-old historically preserved building in the 100-year-old Western-style building complex along the Huangpu River. After the restoration, the Bund 18 has preserved the original four ancient Greek marble columns. The interior is decorated with two custom-made three-meter-high red glass chandeliers and twenty-four K-brick Masek murals in the lobby. . The quaint externality forms a sharp contrast with the modern interior.

My work belongs to cultural jewellery art. It is characterized by ancient and modern, trendy and classical. It is good at injecting the essence of history and culture into fashionable jewelry design. This coincides with the architectural style of the Bund 18th.

What is the concept of “Zhu’s Treasures” in the design and style of materials?

Lin Fangzhu: I majored in history during my university, and the blood of Chinese art and culture flowed through the bone marrow. Out of my passion for jewellery, I was initially addicted to antique collections and gradually learned to make antique designs. I have collected many precious old waxes, white jade seeds and other raw materials. I am retouching and transforming them on the basis of old materials. In the design process, I retain the historical charm of the materials to the greatest extent, and create a contemporary style through modern techniques. Antique jewelry that people accept and love. As I learned more about antique jewellery, I tried jewellery design across the field. Since I have not received training and study in professional jewelry design, I follow the inner beauty of the beauty of oriental culture. I have extracted the ancient royal aesthetic elements from the perspective of history and culture, and applied modern ingenuity to produce ancient palace beauty elements and contemporary design. The language is one of the "Zhu's treasure ornaments."

Excavating historical connotations and showing cultural heritage is the main line of my jewelry design philosophy. Compared to other jewellery designers, I have a deeper understanding of antiques, culture and history. Therefore, I tend to draw from the cultural and historical perspectives, let the fashionable jewelry jewellery reveal the charm of traditional culture, and show the symbols of Chinese culture through the way of jewelry art. I hope that the work will present a Chinese style and a modern sense, forming a unique jewellery design feature, and allowing viewers to understand Chinese art culture through the jewels I design.

In your opinion, what are the current trends in international jewelry trends?

Lin Fangzhu: I believe that the future jewelry design will be more applied to the elements of the East. Looking back at the international fashion week in recent years, more and more oriental elements have become the inspiration for the major brand designers. Looking at the global luxury consumer market, the strong overseas luxury consumption power of the Chinese has made the West pay more attention to the Asian market. Nurturing; more statistics show that the consumption growth rate of the diamond market in China in 2013 was as high as 20%, surpassing Japan to become the world's second largest diamond consumer. From various cultural and economic phenomena, we can see that the future trend of jewelry will follow the changes of economic development, and the rise of China's economy will lead the dissemination and promotion of oriental culture. Eastern culture has also been accepted more and more widely. I predict that the future of oriental style jewelry will have a pivotal position on the international stage.

"Zhu's Jewelry" reveals a lot of Chinese elements in terms of materials, style and aesthetics. Does this appeal have international recognition?

Lin Fangzhu: This kind of identity is a matter of opinion, but I think the international recognition of Chinese elements will be an inevitable trend. When China's cheongsam is regarded as a cultural symbol of China by the world, when China's Zhang Yimou is recognized by the world as a communicator of Chinese culture, when Chinese Confucian culture has a great cultural resonance on a global scale, I realize that Chinese jewelry Art also needs to gain international recognition through a medium to let the world know the real Chinese jewelry.

Since I started my career, I have been promoting Chinese elements in the jewelry field for 20 years. He has published a special book entitled "Art of Jewelry of Antique Jewelry", which spreads the characteristics of the braiding of his jewelry through self-analysis, thus affecting the development of jewelry knitting. In 2003, I was invited to Shanghai to share my jewelry concept. At that time, the mainland had very limited knowledge of jewelry, and even the materials could not be distinguished. The following year, I went to Beijing to tour the exhibition. What I was not interested in was that my jewelry was very warmly welcomed. The viewers were amazed at the re-design of the original jewels that they were familiar with, and they were presented in different forms to illustrate Chinese jewellery art from a new perspective. This makes them feel both familiar and unfamiliar. Visitors have a keen interest in the historical origins and cultural connotations of these works, and they have been pleasantly surprised by the beauty and practicality they have given them. Antiques have become a living art that can be decorated on the body. Although jewellery that used this expression to show Chinese elements has never appeared in the mainland, it has been recognized by cultural circles from all walks of life and has received enthusiastic response from the audience.

In 1998, my work was on the Sotheby's auction in Hong Kong, and the work was called "Blessed from generation to generation." This is a Chinese jewelry, which has been sought after by Chinese and foreign people. In 2004, the work was featured on the cover of Jiadechun. In 22011, "Zhu's Treasures" was a foreign gift for the Boao Forum. In May 2012, the Beijing Poly page was introduced, and many works such as the Jade Suite and the Spring Biscuits were all sold at high prices. In September last year, the "Royal Fashion: Qing Dynasty Court and Western Aristocratic Jewelry" special exhibition held at the National Palace Museum, launched a number of fashion court jewels in the Qing Dynasty court jewels, but also won the collectors. In my opinion, these achievements may be explained by one side that the art jewelry concept of "Zhu's treasure decoration" is recognized and accepted by the market.

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