Bronze Homeware Design · 2026
Ivory Veil Decorative Artifact
by Xiaoge Zang
- A' Design Award 2026 Bronze Winner in Homeware Design
- Awarded April 15, 2026
- CLIENT: BeiHang University
- Estimated Number of Design Views: 5,171
- Verification code EDC50F438C · Verify this award
About Ivory Veil Decorative Artifact
Ivory Veil is a decorative object made of copper and natural lacquer. The form recalls carved ivory, yet no animal material is used. A copper core is shaped, primed and then coated with about 150 thin layers of natural lacquer. Once dry, the surface is carved with dove and peony motifs and polished until smooth. The object measures 71 centimeters in length, 23 centimeters in width and 38 centimeters in height. Ivory Veil applies a traditional Chinese craft that is at risk of being lost, and offers a sustainable alternative that supports wildlife protection.
Xiaoge Zang's Ivory Veil Decorative Artifact participates in the enduring tradition of precious sculptural objects that honor material virtuosity and ornamental refinement, positioning itself within a lineage extending from ceremonial implements and scholar's desk furnishings through contemporary studio craft movements that celebrate technical mastery and aesthetic contemplation. The work demonstrates notable compositional sophistication through its asymmetrical balance, wherein the gracefully ascending crescent form establishes dynamic visual movement while remaining anchored by the stable horizontal base, creating tension and resolution simultaneously. The chromatic achievement lies in the subtle yet eloquent contrast between the cool ivory tones of the carved horn element and the warm burgundy-mahogany of the supporting structure, a pairing that enhances both materials through complementary temperature relationships while maintaining overall tonal restraint and refinement. Technical facility evidences itself throughout the intricate relief carving adorning the horn's convex surface, where flowing foliate patterns, acanthus-inspired scrollwork, and organic arabesques demonstrate controlled hand execution and deep understanding of decorative vocabularies drawn from classical ornamental traditions. The passages of carved detail reward close examination, as the interplay of light across undulating relief surfaces creates constantly shifting chiaroscuro effects that activate the static object with visual vitality and rhythmic movement. The wooden base contributes equally to the compositional achievement through its pierced and relief-carved panels featuring cloud motifs, geometric interlacing, and traditional scroll patterns that reference ceremonial furniture joinery and scholar's object display conventions, establishing cultural resonance while serving functional support requirements with structural elegance. The formal choices throughout serve expressive ends that communicate refined taste, cultural appreciation, and contemplative engagement with material beauty and craftsmanship heritage. The work appears to explore the relationship between ornamental complexity and elemental simplicity, as the elaborate surface decoration adorns a fundamentally pure and graceful curving form, suggesting meditation on how embellishment can enhance rather than obscure underlying formal clarity. Thematically, the artifact invites consideration of ceremonial objects, precious materials, cultural heritage preservation, and the human impulse to transform natural forms into art through patient craft. The crescent form itself may reference traditional horn drinking vessels, powder horns, or ceremonial tusks across numerous cultural traditions, while the ornamental vocabulary draws from pan-cultural decorative arts including foliate scrollwork found in Mediterranean, East Asian, and Islamic ornamental systems. The elevated presentation on its carved stand suggests both protective reverence and invitational display, positioning the object for contemplation while honoring its precious status. The neutral presentation context allows the work to speak across cultural boundaries, inviting viewers to engage with universal human appreciation for material beauty, skilled handwork, and objects that elevate daily existence through aesthetic refinement, prompting reflection on what we choose to preserve, display, and honor through careful making and thoughtful presentation.
Press Kit
- Unique Properties
- This is a display item made of natural lacquer crafted using ancient Chinese techniques and shaped like ivory. It is not made of real ivory, but rather a combination of copper and lacquer materials that recreate the appearance of ivory. The craftsmanship involved is complex, and even in China, it faces the risk of being lost. Its texture is close to real ivory, and the patterns also adopt traditional Chinese artistic forms.
- Dimensions & Packaging
- Its length is 71 centimeters, width is 23 centimeters, and height is 38 centimeters.
- Tags
- Traditional Chinese Culture, Carved Lacquerware, Sculpture, Decorative Object, Intangible Cultural Heritage, Artwork, Ivory Form, Wildlife Protection
- Production Technology
- First, the lacquer collected from the tree is prepared. Then, the copper material is shaped into an ivory-like form, and a layer of primer is applied to the prepared copper surface. After the primer dries, multiple layers of natural lacquer are applied, ensuring each layer is smooth and accumulating to a thickness of about 150 layers. Once the lacquer layers are dry, tools are used to carve on the lacquer surface. Finally, the surface of the workpiece is polished to ensure smoothness.
- Design Challenge
- Lacquer trees are found deep in the mountains, and only a few drops of sap can be collected from each tree. Most people are allergic to lacquer, making the collection process extremely challenging. Very few people know how to make lacquer, and there are almost no reference books available. The lacquer will not cause allergy until it is completely dry. However, lacquer dries very slowly, requiring more than a year from the time of sap collection to the completion of the artwork.
- Project Duration
- Launched in Beijing in February 2023, and completed in May 2024.
- Operation Flow
- The object is meant to be viewed closely and appreciated from different angles. As the viewer lifts or turns it gently, the carved dove and peony motifs, layered lacquer surface, and ivory-like texture become more visible. The interaction is quiet and reflective rather than mechanical. It performs better by combining symbolic imagery, rich detail, and a smooth tactile quality, creating a deeper visual and emotional experience.
- Research
- This is applied material and craft research. The objective was to recreate the beauty of ivory without using animal material. The method combined visual study, material comparison and making tests. Research tools included literature review, sketching, carving and surface-finishing trials. Prototype experiments examined form, texture and visual effect. The result showed carved lacquer could achieve an ivory-like elegance ethically. The project shows how traditional craft can support wildlife protection and inspire sustainable design.
- Inspiration
- To protect wildlife, we reject the use of real ivory. Yet ivory has long been admired for its artistic beauty, which inspired this project to recreate that elegance through a sustainable alternative. Chinese carved lacquer, made from natural lacquer resin, can be shaped freely and developed with a texture and visual softness close to ivory. This led to a carved lacquer object that echoes the form and refinement of ivory without using animal material.
- Image Credits
- Image #1: Creator Xiaoge Zang, White Carved Lacquer Artwork, 2024.
Image #2: CreatorXiaoge Zang , White Carved Lacquer Artwork, 2024.
Image #3: CreatorYutong Wang , White Carved Lacquer Artwork, 2024.
Image #4: Creator Huanxi Wang, White Carved Lacquer Artwork, 2024.
Image #5: CreatorYutong Wang, White Carved Lacquer Artwork, 2024.
Video Credits: Video Creator Xiaoge Zang ,White Carved Lacquer Artwork, 2024.