Welcome to Francis Academic Press

Frontiers in Art Research, 2022, 4(16); doi: 10.25236/FAR.2022.041606.

The Evolution of Chinese Feicui Jewelry Design and Culture

Author(s)

Xu Jingjing, Zhang Ronghong, Yang Shaowu

Corresponding Author:
Zhang Ronghong
Affiliation(s)

Institute of Jewelry, China University of Geosciences, Wuhan, China

Abstract

The introduction of western jewelry culture has a profound and lasting influence on the rise and evolution of Chinese Feicui jewelry design and culture. The evolution of Chinese Feicui jewelry culture has changed from taking the aesthetic and political needs of the imperial family in Qing dynasty as the core to taking the modern aesthetics of life and philosophy as its core. The pioneer of the local Feicui jewelry design trend is committed to finding the contemporary value of Chinese traditional culture, and actively thinking about how to complete the contemporary transformation of Chinese traditional culture and make it integrate with the international aesthetic. The emerging jewelry brand, created by Chinese jewelry designers, has successfully entered the international high-end market by relying on the independently developed Feicui jewelry products. What is important is that the power of Chinese Feicui jewelry culture has two-way potential. The research and development of Feicui jewelry products are also a long-term window for international designers and jewelry brands to enter the Chinese jewelry market, and it is the best entry point to build a close connection and emotional resonance between themselves and Chinese consumers.

Keywords

Feicui jewelry; Design; Culture integration

Cite This Paper

Xu Jingjing, Zhang Ronghong, Yang Shaowu. The Evolution of Chinese Feicui Jewelry Design and Culture. Frontiers in Art Research (2022) Vol. 4, Issue 16: 32-43. https://doi.org/10.25236/FAR.2022.041606.

References

[1] Gems and Jewelry Trade Association of China (2022) 2021 China Jewelry Industry Development Report, Gems and Jewelry Trade Association of China, April 14, http: // www. jewellery. org. cn/ news_ nr.aspx?ContentID=27540&ClassID=530&CID=5&Maticsoft=528&Ms=530 

[2] Zou H.Q., (2005). Historically, Tengchong and Myanmar have developed and traded jadeite, Academic Exploration, Vol.102; No.6, pp. 130-133.

[3] Qu Shi(2010)Jades of Ancient China, China Intercontinental Press,November 1,4pp.

[4] Ji Xiaolan, Wang X.D., (2017) Yuewei Caotang Notes, Shanghai Classics Publishing House, December 1,1012pp.

[5] Yang Xiaodan, (2016)Feicui jewelry of the court of Qing Dynasty ,Forbidden City, Vol.258, pp.128-143.

[6] Gu Xianzi., Yang P. and Qiu Z.l., (2007) The discovery and significance of Guangdong Customs "jadestone import record". Journal of Gemology and gemology, Vol.9; No.2, pp. 44-48. doi: 10.15964/j.cnki.027jgg. 

[7] Xu Qixian, (2004) Treasures Of Imperial Court, Shanghai Science and Technology Press, March 1,19pp.

[8] Andrew Lucas, Chapin M., Lin M.Q. and Jia X.D. (2015) The Chinese Soul In Contemporary Jewelry Design, Gems & Gemology, Spring 2015, Vol. 51, No. 1, pp.18-30.

[9] Wen YangYang, Zou Y.H., and Cao Y., (2021) Wu Fenghua: Contemporary transformation of traditional culture, Art and design, Vol.256, pp.90-93. doi: CNKI: SUN: YSSE.0.2021-04-019. 

[10] Xu Peijun. (2002)Mondrian on Art,People's Art Publishing House,January 1,pp90.