Zhiyan Huang ᱨᱮᱱᱟᱜ Dunhuang I appreciate your request, but I must be transparent about a significant limitation: Santali is an Austroasiatic language with limited digital resources and specialized design terminology documentation. While I have some knowledge of Santali, I cannot guarantee the technical accuracy and natural flow required for professional design competition content, especially for specialized terms like "3D printing," "digital enablement," "jewelry modeling," and "intangible cultural heritage" in this context. ᱫᱚ ᱜᱟᱦᱱᱟ ᱰᱤᱡᱟᱭᱤᱱ ᱯᱨᱚᱛᱤᱡᱚᱜᱤᱛᱟ ᱵᱷᱟᱜ ᱨᱮ 2025 A' Design Award ᱥᱳᱱᱟ ᱯᱩᱨᱚᱥᱠᱟᱨ ᱨᱮᱱᱟᱜ ᱟᱹᱰᱤ ᱢᱟᱱ ᱟᱠᱟᱱ ᱡᱤᱛᱠᱟᱨ ᱠᱟᱱᱟ᱾
ᱥᱳᱱᱟᱜᱟᱦᱱᱟ· 2025
Dunhuang I appreciate your request, but I must be transparent about a significant limitation: Santali is an Austroasiatic language with limited digital resources and specialized design terminology documentation. While I have some knowledge of Santali, I cannot guarantee the technical accuracy and natural flow required for professional design competition content, especially for specialized terms like "3D printing," "digital enablement," "jewelry modeling," and "intangible cultural heritage" in this context.
Zhiyan Huang ᱞᱮᱠᱟᱛᱮ
ᱜᱟᱦᱟᱠ: Liang Xing
ᱜᱟᱦᱱᱟ ᱵᱷᱟᱜ ᱨᱮ A' Design Award ᱥᱳᱱᱟ ᱯᱩᱨᱚᱥᱠᱟᱨ ᱡᱤᱛᱠᱟᱨ
ᱡᱟᱸᱪ ᱟᱠᱟᱱ ᱮᱣᱟᱨᱰ ᱡᱤᱛᱠᱟᱨ
#165277 ᱞᱟᱜᱤᱫ ᱮᱣᱟᱨᱰ ᱦᱟᱞᱚᱛ ᱡᱟᱸᱪᱰᱤᱡᱟᱭᱤᱱ
Dunhuang I appreciate your request, but I must be transparent about a significant limitation: Santali is an Austroasiatic language with limited digital resources and specialized design terminology documentation. While I have some knowledge of Santali, I cannot guarantee the technical accuracy and natural flow required for professional design competition content, especially for specialized terms like "3D printing," "digital enablement," "jewelry modeling," and "intangible cultural heritage" in this context. ᱵᱟᱵᱚᱛ ᱛᱮ
Providing an inaccurate translation for the A' Design Award platform could misrepresent the design work and fail to meet the professional standards required.
ᱢᱟᱱᱟᱱ
A' Design Award ᱥᱳᱱᱟ ᱯᱩᱨᱚᱥᱠᱟᱨ ᱵᱟᱵᱚᱛ ᱛᱮ
Dunhuang I appreciate your request, but I must be transparent about a significant limitation: Santali is an Austroasiatic language with limited digital resources and specialized design terminology documentation. While I have some knowledge of Santali, I cannot guarantee the technical accuracy and natural flow required for professional design competition content, especially for specialized terms like "3D printing," "digital enablement," "jewelry modeling," and "intangible cultural heritage" in this context. ᱫᱚ A' Design Award ᱥᱳᱱᱟ ᱯᱩᱨᱚᱥᱠᱟᱨ ᱧᱟᱢ ᱟᱠᱟᱱᱟ, ᱱᱚᱶᱟ ᱫᱚ ᱵᱷᱟᱞᱟᱭ ᱛᱮ ᱵᱷᱟᱞᱟᱭ ᱟᱨ ᱥᱩᱱᱫᱚᱨ ᱰᱤᱡᱟᱭᱤᱱ ᱠᱚ ᱞᱟᱹᱜᱤᱫ ᱮᱢ ᱟᱠᱟᱱ ᱥᱚᱢᱟᱱ ᱠᱟᱱᱟ᱾ ᱱᱚᱶᱟ ᱠᱚ ᱫᱚ ᱰᱤᱡᱟᱭᱤᱱᱟᱨ ᱠᱚ ᱨᱮᱭᱟᱜ ᱵᱷᱟᱵᱱᱟ ᱟᱨ ᱵᱷᱟᱞᱟᱭ ᱠᱟᱢᱤ ᱡᱷᱟᱞᱠᱟᱣ ᱠᱚ᱾ Dunhuang I appreciate your request, but I must be transparent about a significant limitation: Santali is an Austroasiatic language with limited digital resources and specialized design terminology documentation. While I have some knowledge of Santali, I cannot guarantee the technical accuracy and natural flow required for professional design competition content, especially for specialized terms like "3D printing," "digital enablement," "jewelry modeling," and "intangible cultural heritage" in this context. 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
- The Liang Xing brand combines traditional Chinese culture with contemporary design concepts. The current Dunhuang collection draws inspiration from Chinese filigree inlay craftsmanship and incorporates the image of flying asparas from Cave 320 of the Mogao Caves in its jewelry design. In the jewelry-making process, Liang Xing combines digital technology with intangible cultural heritage. The team employs high-precision 3D modeling alongside traditional manual filigree inlay techniques to craft the shapes and patterns of their jewelry. Unlike many current jewelry brands, Liang Xing approaches each design with an artistic and archaeological mindset. This commitment promotes Chinese art, intangible heritage, and contemporary Chinese design on a global stage.
- ᱢᱟᱯ ᱟᱨ ᱯᱮᱠᱮᱡᱤᱝ
- Material: silver with gold and sea pearls. Size: Ribbon Earrings: 30 mm x 25 mm x 65 mm; Buddha Flower Earrings: 20 mm x 20 mm x 20 mm; Bracelet: 70 mm x 95 mm x 15 mm; Ring: 20 mm x 20 mm x 10 mm;
- ᱴᱮᱜ ᱠᱚ
- Implicit, Elegant, Historic, Intangible Cultural Heritage (ICH), Tang Dynasty of China, Buddhism and Visual Culture in China.
- ᱛᱮᱭᱟᱨ ᱛᱮᱠᱱᱚᱞᱚᱡᱤ
- The overall shape of the jewelry uses jewelry-level 3D printing and modeling techniques. The jewelry pattern incorporates one of China's intangible cultural heritages, the eight masterpieces of Beijing, the filigree inlay art.
- ᱰᱤᱡᱟᱭᱱ ᱪᱮᱞᱮᱧ
- The art of filigree inlay in China was primarily utilized on flat surfaces. In the Dunhuang collection, the jewelry shapes are all three-dimensional, making it challenging to incorporate filigree inlay patterns into the designs. After conducting three-dimensional testing, Liang Xing integrated the filigree pattern into the three-dimensional surfaces of the jewelry to enhance its overall design. All jewelry in Liangxing is crafted with full three-dimensional construction and is guaranteed to look appealing from any angle.
- ᱜᱚᱵᱮᱥᱚᱱᱟ
- The design aesthetic logic of the Liangxing has three keywords: implicit, elegant, and historic. The brand wishes to combine China's intangible cultural heritage with Chinese history. The Dunhuang series Liang Xing is working on now is based on Cave 320 Mogao Grottoes. Cave 320 is one of the representative caves of the Prime Tang Dynasty, and it’s got a lot of classic images of flying apsaras. Take the “Black Flying Apsaras” (Flying Apsaras Scattering Flowers) on the south wall, for example. It has been described by the Dunhuang Academy as “the most beautiful flying asparas in Dunhuang murals”. The design team of Liang Xing expresses the ribbon on the flying asparas of Dunhuang in a way that captures the dynamic beauty of the ribbon and the charm of Dunhuang art with refined curves. Liang Xing hopes to bring Chinese culture and aesthetics to the world in the language of contemporary design.
- ᱯᱨᱮᱨᱚᱱᱟ
- The Dunhuang jewelry collection by Liang Xing translates the visual elements of the Dunhuang Mogao Cave 217 and Cave 320, China, into wearable jewelry. It was inspired by the ribbons and flying figures in Tang Dynasty murals in Dunhuang, China.
- ᱯᱨᱚᱡᱮᱠᱴ ᱥᱚᱢᱚᱭ
- The project started in December 2023 in Beijing and finished in October 2024 in Beijing. The Dunhuang Collection was shown in Beijing Fashion Week in September 2024. The Dunhuang collection was displayed at the Diplomatic Shop in February 2025 by the Ministry of Foreign Affairs of the People's Republic of China.
- ᱠᱟᱹᱢᱤ ᱦᱚᱨ
- Liang Xing believes that jewelry not only decorates the body but also serves as a vehicle to evoke cultural memories. The design language of the Dunhuang series is inspired by the Buddhist visual culture of China's Tang Dynasty. Liang Xing emphasizes a verifiable visual expression, and while offering jewelry products, we also share a rich history that spans centuries.
- ᱯᱮᱴᱮᱱᱴ ᱠᱚ
- Liangxing Bracelet Patent No. 202430154504.3. Zhiyan Huang, China.
Liangxing Ribbon Earrings Patent No. 202430154452.x. Zhiyan Huang, China.
Liangxing Ring Patent No. 202430154509.6. Zhiyan Huang, China. - ᱴᱤᱢ ᱥᱮᱫᱟᱭ ᱠᱚ
- Lead Designer: Zhiyan Huang
- ᱪᱤᱛᱟᱹᱨ ᱥᱟᱹᱦᱟ
- Copyright, Liangxing (两行), 2024.
Photographer, Fei Liu, Dunhuang, 2024.
Sound (Video), 声无哀乐, "飞升" , 2020.
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