ᱵᱤᱥᱚᱭ ᱨᱮ ᱪᱟᱞᱟᱜ ᱢᱮ
Zehui Ni ᱨᱮᱱᱟᱜ Hmong Silver धरम लाटा

Zehui Ni ᱨᱮᱱᱟᱜ Hmong Silver धरम लाटा ᱫᱚ ᱯᱚᱥᱟᱠ ᱰᱤᱡᱟᱭᱤᱱ ᱯᱨᱚᱛᱤᱡᱚᱜᱤᱛᱟ ᱵᱷᱟᱜ ᱨᱮ 2024 A' Design Award ᱨᱩᱯᱟ ᱯᱩᱨᱚᱥᱠᱟᱨ ᱨᱮᱱᱟᱜ ᱟᱹᱰᱤ ᱢᱟᱱ ᱟᱠᱟᱱ ᱡᱤᱛᱠᱟᱨ ᱠᱟᱱᱟ᱾


ᱨᱩᱯᱟᱯᱚᱥᱟᱠ ᱰᱤᱡᱟᱭᱤᱱ· 2024

Hmong Silver धरम लाटा

Zehui Ni ᱞᱮᱠᱟᱛᱮ

ᱜᱟᱦᱟᱠ: Jing Que

ᱯᱚᱥᱟᱠ ᱰᱤᱡᱟᱭᱤᱱ ᱵᱷᱟᱜ ᱨᱮ A' Design Award ᱨᱩᱯᱟ ᱯᱩᱨᱚᱥᱠᱟᱨ ᱡᱤᱛᱠᱟᱨ

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ᱡᱟᱸᱪ ᱟᱠᱟᱱ ᱮᱣᱟᱨᱰ ᱡᱤᱛᱠᱟᱨ

#159597 ᱞᱟᱜᱤᱫ ᱮᱣᱟᱨᱰ ᱦᱟᱞᱚᱛ ᱡᱟᱸᱪ

ᱨᱚᱝ

ᱰᱤᱡᱟᱭᱤᱱ

Hmong Silver धरम लाटा ᱵᱟᱵᱚᱛ ᱛᱮ

चिं आर मिं समोय रे मान दुलाड़ आकाना, मामियान धरम लाटा को ताकात आर मजबूती रे निशान रे दुलाड़ पुराव आकाना। पूरब इतिहास रे बारिया मारांग तेकनीक: मोती रे जोड़ाव आर मोंग रुपा कामि, ओको ने नोवा डिजाइन रे बुनियाद काम आकाना। मामियान धरम लाटा राखाव मतलब दो पूरब रे राज गोप लेन लेका। ओको दो प्राकृतिक आश्चर्य, मानवीय बुधि आर सुन्दोर रे समोय बाहे बानुक उदजापोन काना, जाहांक युग आर संस्कृति लांगय आकाना।

ᱢᱟᱱᱟᱱ

A' Design Award ᱨᱩᱯᱟ ᱯᱩᱨᱚᱥᱠᱟᱨ ᱵᱟᱵᱚᱛ ᱛᱮ

Hmong Silver धरम लाटा ᱫᱚ A' Design Award ᱨᱩᱯᱟ ᱯᱩᱨᱚᱥᱠᱟᱨ ᱧᱟᱢ ᱟᱠᱟᱱᱟ, ᱱᱚᱶᱟ ᱫᱚ ᱥᱩᱱᱫᱚᱨ ᱟᱨ ᱵᱷᱟᱞᱟᱭ ᱰᱤᱡᱟᱭᱤᱱ ᱠᱚ ᱞᱟᱹᱜᱤᱫ ᱮᱢ ᱟᱠᱟᱱ ᱥᱚᱢᱟᱱ ᱠᱟᱱᱟ᱾ ᱱᱚᱶᱟ ᱠᱚ ᱫᱚ ᱰᱤᱡᱟᱭᱤᱱᱟᱨ ᱠᱚ ᱨᱮᱭᱟᱜ ᱵᱷᱟᱵᱱᱟ ᱟᱨ ᱵᱷᱟᱞᱟᱭ ᱠᱟᱢᱤ ᱡᱷᱟᱞᱠᱟᱣ ᱠᱚ᱾ Hmong Silver धरम लाटा ᱫᱚ ᱠᱚᱞᱟ, ᱣᱤᱜᱭᱟᱱ, ᱰᱤᱡᱟᱭᱤᱱ ᱟᱨ ᱴᱮᱠᱱᱚᱞᱚᱡᱤ ᱨᱮᱭᱟᱜ ᱥᱤᱢᱟ ᱵᱟᱲᱦᱟᱣ ᱟᱨ ᱫᱩᱱᱤᱭᱟ ᱵᱷᱟᱞᱟᱭ ᱞᱟᱹᱜᱤᱫ ᱜᱚᱲᱚ ᱮᱢ ᱠᱟᱱᱟ᱾

ᱰᱤᱡᱟᱭᱤᱱ ᱯᱤᱪᱷᱟ ᱨᱮ

ᱯᱨᱮᱥ ᱠᱤᱴ

ᱰᱤᱡᱟᱭᱤᱱᱟᱨ ᱧᱮᱞ ᱠᱷᱚᱱ ᱠᱨᱮᱰᱤᱴ, ᱴᱤᱢ ᱥᱫᱚᱥᱭ ᱟᱨ ᱴᱮᱠᱱᱤᱠᱮᱞ ᱵᱤᱵᱚᱨᱚᱬ ᱮᱢ ᱟᱠᱟᱱᱟ᱾

ᱟᱞᱜᱟ ᱜᱩᱱ ᱠᱚ
Popular in the Qing and Ming Dynasties, the Horse-Faced Mamian skirts are beloved for their symbolism. The stallion has long symbolized power, strength, and virility. Wearing a horse-faced skirt was a revering statement for sophistication and wealth.

The Mamian skirts were worn by Empress Dowager Cixi in the Qing Dynasty and Princess Diana. Today, they are worn as a day to day garment in Asia and a symbol of cultural pride.
ᱢᱟᱯ ᱟᱨ ᱯᱮᱠᱮᱡᱤᱝ
Length: 103 cm
Width: 45 cm
Depth: 5 cm
ᱴᱮᱜ ᱠᱚ
Hmong Silver/ Oriental / Pearl Inlay / Mamian Skirt / Horse-faced Skirts
ᱛᱮᱭᱟᱨ ᱛᱮᱠᱱᱚᱞᱚᱡᱤ
This project is utilized through fabric and woven methods to resemble the pearl inlay technique using Hmong silver designs.
ᱰᱤᱡᱟᱭᱱ ᱪᱮᱞᱮᱧ
There are myriad of stories hidden within its lustrous folds, these silver artifacts are passed down from generation to generation, linking the old with the new, the past with the future. Each intricate pattern is inspired by nature and the cosmos, a delicate dance of the earth and stars, intertwined with tales of love, resilience, and triumph.

In its gleam, we honor the hands and hearts that have breathed life into this ageless tradition through the design. Finding a reflection of humanity's eternal quest for meaning, connection, and beauty.
ᱜᱚᱵᱮᱥᱚᱱᱟ
Two exquisite techniques are used as inspiration for this design, pearl inlay and Hmong silver.

Pearl Inlay is traditionally a furniture technique made from the iridescent inner lining of pearl oysters and abalone, this meticulous technique is both a testament to artisanal skill and nature’s splendor.

The artistry of the Hmong silver knows no boundaries of time. Forged by the hands of skilled Hmong artisans, the Hmong silver work is a distinctive expression of intricate stories, myths, and aspirations, that speak of the Hmong connection to the land, ancestors, and future generations.
ᱯᱨᱮᱨᱚᱱᱟ
A brilliant dance between two exquisite techniques in oriental history : mother of pearl inlays and Hmong silver craft serves as the foundation for this design.

Imagine the very essence of the sea - the allure of its depths, the mysteries of its shimmering inhabitants - captured and rendered into tangible, breathtaking pieces for everyday wear.
ᱯᱨᱚᱡᱮᱠᱴ ᱥᱚᱢᱚᱭ
12 Months, Changsha, China
ᱠᱟᱹᱢᱤ ᱦᱚᱨ
The Hmong Silver Heritage Skirt is designed for modern wear, from casual to ceremonial. The intricate pearl inlay and silver craft details invite closer inspection and conversation, transforms into a canvas of cultural storytelling, weaving together the past and present in its elegant folds.
ᱪᱤᱛᱟᱹᱨ ᱥᱟᱹᱦᱟ
Yuxi Li
Zehui Ni

ᱥᱯᱚᱱᱥᱚᱨᱰ

Designers.org ᱠᱷᱚᱱ ᱯᱟᱨᱚᱢ ᱛᱟᱞᱟᱥ

ᱟᱞᱮᱭᱟᱜ ᱵᱤᱜᱽᱭᱟᱯᱚᱱ ᱥᱟᱹᱜᱟᱹᱭ ᱠᱚ ᱠᱷᱚᱱ ᱯᱨᱚᱰᱟᱠᱴ, ᱥᱮᱵᱟ ᱟᱨ ᱢᱚᱠᱟ ᱩᱫᱩᱜ ᱢᱮ᱾

ᱟᱨᱦᱚᱸ ᱠᱷᱚᱡ ᱢᱮ

ᱥᱟᱹᱜᱟᱹᱭ ᱰᱤᱡᱟᱭᱤᱱ ᱠᱚ

ᱢᱤᱫ ᱞᱮᱠᱟ ᱠᱮᱴᱮᱜᱚᱨᱤ ᱠᱷᱚᱱ ᱟᱨᱦᱚᱸ ᱯᱩᱨᱥᱠᱟᱨ ᱧᱟᱢᱟᱠᱟᱱ ᱰᱤᱡᱟᱭᱤᱱ ᱠᱚ ᱧᱮᱞ ᱢᱮ, ᱡᱚᱜᱭᱟᱛᱟ ᱧᱮᱞ ᱛᱮ ᱵᱟᱪᱷᱟᱣ ᱟᱠᱟᱱᱟ᱾

ᱵᱷᱟᱞ ᱰᱤᱡᱟᱭᱱ ᱢᱟᱨᱟᱝ ᱪᱤᱱᱦᱟᱹ ᱦᱟᱛᱟᱣ ᱞᱟᱹᱠᱛᱤᱭᱟᱜᱼᱟ

A' ᱰᱤᱡᱟᱭᱱ ᱮᱣᱟᱨᱰ ᱫᱚ ᱵᱷᱟᱞ ᱰᱤᱡᱟᱭᱱ ᱞᱟᱜᱤᱫ ᱢᱤᱫ ᱟᱱᱛᱚᱨᱡᱟᱛᱤᱭ, ᱡᱩᱨᱤ ᱵᱤᱪᱟᱨ ᱠᱟᱱ ᱢᱟᱱ ᱠᱟᱱᱟ᱾ A' ᱰᱤᱡᱟᱭᱱ ᱮᱣᱟᱨᱰ ᱨᱮ ᱵᱷᱟᱜ ᱞᱮ ᱟᱢᱟᱜ ᱠᱟᱹᱢᱤ ᱞᱟᱜᱤᱫ ᱡᱚᱜᱽᱭᱟᱛᱟ ᱨᱮᱱᱟᱜ ᱪᱤᱱᱦᱟᱹ, ᱱᱟᱢ, ᱢᱟᱱ ᱟᱨ ᱯᱨᱪᱟᱨ ᱧᱟᱢ ᱞᱟᱜᱤᱫ᱾ ᱟᱢᱟᱜ ᱠᱟᱹᱢᱤ A' ᱰᱤᱡᱟᱭᱱ ᱮᱣᱟᱨᱰ ᱞᱟᱜᱤᱫ ᱱᱚᱢᱤᱱᱮᱴ ᱠᱟᱛᱮ ᱢᱟᱱ ᱟᱠᱟᱱ A' ᱰᱤᱡᱟᱭᱱ ᱯᱩᱨᱟᱥᱠᱟᱨ ᱞᱟᱜᱤᱫ ᱯᱨᱚᱛᱤᱡᱚᱜᱤᱛᱟ ᱢᱮ᱾

ᱱᱚᱢᱤᱱᱮᱴ