**Title: How Does “Eastern Essence” Shine in the World of Jewelry?**
**An Interview with Contemporary Chinese Jewelry Artist Chen Shiying**
**By Wang Ji, China News Service**
As an influential figure in contemporary jewelry design, Chen Shiying integrates the essence of Chinese landscapes into his creations, melding traditional culture, philosophy, and wisdom. His innovative perspective has made a notable impact on the global jewelry scene.
From July 3 to October 7, the East Hall of the Shanghai Museum hosted the exhibition “Millennia of Reflection: Half a Century of Jewelry Art by Chen Shiying,” featuring over 200 of his masterpieces, including notable works like “Understanding Zen Through Jade” and “The Return of the King.” This exhibition stands as the largest solo showcase of his work worldwide.
What is it that makes “Eastern essence” stand out in the international jewelry art landscape? How can East and West collaborate to create an exciting future through a blend of styles? During a recent interview in Shanghai, Chen Shiying shared his thoughts on these questions with China News Service.
Here are the key takeaways from the conversation:
**China News Service:** Your pieces prominently display a rich Eastern essence alongside advancements in traditional craftsmanship. “Understanding Zen Through Jade,” one of your hallmark works, has received international acclaim. How do you explain this success?
**Chen Shiying:** My journey began with the “Jade Cicada,” a significant challenge during my apprenticeship in jade carving. After 40 years of dedication, I finally completed “Understanding Zen Through Jade.”
In traditional Chinese culture, both “cicadas” and “jade” hold deep symbolic meaning. The cicada embodies purity and rebirth, while its name resonates with “zen,” highlighting the idea of enlightenment. Jade signifies noble virtue, reflecting the attributes of a refined gentleman. In “Understanding Zen Through Jade,” the cicada holds onto an “imperial” jade piece, representing a profound appreciation for the essence of a gentleman and the pursuit of a higher existence.
The cicada’s green color symbolizes tranquility, while the blood-red ruby serves as its “eye,” representing the distractions of the world. Together, they suggest that navigating worldly matters requires wisdom and discernment.
The jade beads on the cicada are crafted using a traditional Chinese “tenon and mortise” technique, ensuring a secure fit without claws. This practice draws inspiration from the craftsmanship of Ming dynasty furniture and fuses with my learning from contemporary techniques.
To achieve the visual effect reminiscent of “translucent cicada wings,” I developed specific cutting and polishing techniques for jade. Typically, jade loses its saturation when cut too thin, so I focused on understanding the “key angles” that allow light to enter, enhancing the jade’s color through interaction and layering.
When I first showcased “Understanding Zen Through Jade” at the Grand Palais in Paris in 2012, a visitor asked me, “All the other exhibitors have long histories or strong backgrounds; what do you have?” I confidently replied, “I have 5,000 years!” My work is a testament to the rich cultural heritage of China spanning millennia.
Having grown up immersed in this culture, I build the framework of my pieces using modern techniques while embedding them with the spirit of ancient Chinese traditions.
**China News Service:** The highlight of your exhibition, “The Return of the King,” has been acquired by the Shanghai Museum, reinforcing your commitment to “East-West Fusion.” Why is this fusion critical to your design philosophy?
**Chen Shiying:** “The Return of the King” is a perfect representation of this fusion. The phoenix motif featured on the white jade is inspired by jade carving techniques from China’s Warring States period, while the surrounding diamonds are arranged in a flowing pattern reminiscent of the swirling stars in Van Gogh’s works.
The warmth and modesty of the white jade evoke nostalgia, contrasting with the dazzling vibrancy of the diamonds that convey power. This dichotomy of stillness and motion reflects the ancient Chinese philosophy of harmony between yin and yang.
Jewelry designers constantly explore the dualities of existence. The “yin and yang” in jewelry can symbolize contrasts such as cold and warm, blue and red, stillness and motion, or the rich warmth of jade against the brilliance of diamonds. Striking a balance among these contrasting elements is central to my creative process.
My upbringing allows me to intertwine “Eastern essence” with “Western brilliance.” In the 1970s, I established a solid foundation in traditional Chinese carving. Later, I studied in Europe, drawing inspiration from contemporary artistic movements. My ongoing curiosity pushes me to explore diverse fields, striving to elevate my creations at every opportunity.
These experiences have shaped my current style, which embraces freedom and transcends cultural boundaries.
**China News Service:** What distinctions do you see between Eastern and Western approaches to jewelry? How can the jewelry communities of both cultures collaborate for a shared future?
**Chen Shiying:** Western jewelry design often focuses on blueprints and creative concepts, while many Chinese jewelers begin as carving apprentices, developing a close relationship with the materials.
As a novice, I often carved malachite and jade. Malachite is opaque and patterned, requiring precision to avoid certain lines for a flawless finish. In contrast, jade is semi-transparent, necessitating careful thickness to attain its characteristic warmth. It’s about “communicating” with the light.
The techniques used in Eastern jade crafting differ significantly from those in Western gemstone work. To achieve an effective fusion, designers need to understand both traditions deeply. We also see distinct styles, as evidenced by the varying representations of the “dragon” in each culture.
Today, there’s an increasing mutual interest between the jewelry communities of East and West. Many Western designers are researching Chinese traditions, delving into Eastern carving techniques and philosophies; even prominent jewelry and watch brands are beginning to incorporate Chinese auspicious symbols and zodiac cultures. Conversely, Eastern designers often find inspiration in Western themes like Greek mythology.
To truly present the essence of jewelry, artisans should be well-versed in gemology, structural studies, anthropology, sociology, philosophy, and psychology. Pursuing “East-West Fusion” while absorbing knowledge from various domains is crucial for both Eastern and Western jewelry industries in overcoming creative challenges. This approach fosters deeper, more meaningful designs for the future of jewelry.
**China News Service:** What are your thoughts on the evolution of the Chinese jewelry market?
**Chen Shiying:** In the 1970s and ’80s, Hong Kong’s jewelry manufacturing industry flourished and played a pivotal role in its economy. When I first exhibited at the Capital Museum in Beijing 14 years ago, audiences had limited awareness of jewelry, often associating it primarily with gold ornaments and jade carvings.
Fast-forward to today, and during my recent personal exhibition in Shanghai, it’s clear that public awareness of jewelry has greatly expanded. Audiences are now knowledgeable and even discerning about the materials used in the pieces.
This growth can be attributed to the significant investments made by international jewelry brands in the Chinese market in recent years. An increase in domestic promotional events and museum exhibitions has sparked public interest in the cultural aspects of jewelry, enhancing appreciation levels.
Gemstones are nature’s gifts to humanity, each a living entity that calls for attentive interaction to fully “awaken” into a wearable piece of art. For creators, jewelry serves as a medium for cultural expression; for collectors, it represents an elevation of life and a lasting legacy.
**Interviewee Profile:**
Chen Shiying (Wallace Chan) is recognized as one of the most significant contemporary jewelry artists of the 21st century. He was the first Chinese jewelry artist invited to showcase at prestigious events like the Paris Biennale des Antiquaires and TEFAF Europe, and his works are part of permanent collections in institutions such as the Shanghai Museum, Boston Museum of Fine Arts, and the British Museum.
