类别 Tags: 字体编排 Typography; 书籍设计 Book; 三维设计 3D Art; 插画设计 Illustration获奖 Awards: 2023 纽约TDC Young Ones学生奖, 2023字创未来第十二届方正奖设计大赛入围奖, 二零二三十六届中国之星设计奖全国银奖, 第八届两岸新锐设计竞赛·华灿奖全国优秀奖等
参展 Exhibition: 2023 TDC69 Winner Exhibition 全球巡展, 第八届华灿奖作品展等
收录 Publication: 《The World’s Best Typography》 纽约字体指导俱乐部年鉴44, 《绿色包装》2023(S1)
The Chuci has pioneered the poetry of Chinese romantic literature and has been a hot topic of research in the international sinology community. The Nine odes is one of the titles of the group poem, which plays an important role in Chinese literature, art and archaeology, but its dissemination form lags behind and is incompatible with the rapidly changing modern visual aesthetic and media ecosystem, which has hindered its inheritance and dissemination. At the same time, my hometown is Zigui, the hometown of Qu Yuan, and I am deeply influenced by Qu Yuan culture and Chu culture. Therefore, I decided to design a cross-media artist book for my hometown's traditional culture.
《九歌》中有《东皇太一》《云中君》《湘君》《湘夫人》《大司命》《少司命》《东君》《河伯》《山鬼》《国殇》《礼魂》共十一篇, 可分为迎神曲（天神曲）、地神曲、人鬼及国殇四部分。诗中的描述在一定程度上反映了南楚的自然风貌、社会生活 , 在民间有着较大的影响, 其内容是在巫音基础上, 依据楚国民间乐舞歌唱的形式而创作的, 诗句中详尽描述了楚声的表演及乐器、神秘的楚巫文化、楚地祭祀神灵的仪式过程。
There are eleven poems in the "Nine Odes", including "Dong Huang Tai Yi", "Yun Zhong Jun", "Xiang Jun", "Xiang Fu", "Da Si Ming", "Shao Si Ming", "Dong Jun", "He Bo", "Shan Gui", "Guo Shang" and "Li Hun". They can be divided into four parts: the songs of gods, the songs of earth deities, the songs of ghosts and the songs of national grief. The descriptions in the poems reflect the natural scenery, social life, and folk culture of the Southern Chu to a certain extent. The content is based on the folk music and dance singing of the Chu State, and the poems describe in detail the performances and instruments of Chu music, the mysterious culture of Chu wizards, and the ritual process of sacrificing gods in Chu.
据此, 本书以走出迷失、找回自我为主题, 用AR介绍神灵及祭祀用的八音, 通过跨媒体叙事表达我们无法依靠神灵, 只能相信自己, 最后将原文及翻译用工尺谱的形式排版作为附录。视觉灵感取自篆书虫鸟篆、凤鸟纹、楚声乐器及楚巫文化, 装帧灵感来自古代经折与现代锁线连册的碰撞, 同时表达探索自我的无限循环。
Based on this, the book takes the theme of getting out of the lost and finding oneself, introducing gods and eight sounds for rituals through AR, expressing that we cannot rely on gods but only ourselves through cross-media narrative, and finally arranging the original text and translation in the form of Chinese musical notation as an appendix. The visual inspiration comes from the calligraphy of insect and bird script, phoenix bird pattern, Chu sound instruments and Chu witch culture, and the binding inspiration comes from the collision of ancient folding and modern sewn-line volumes, expressing the infinite cycle of exploring oneself.