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“发现即创造。” 是「大好设计河山」创始人刘云龙认可的设计创作理念。Space of Time 时空间携手刘云龙呈现特展「 寻物记｜Held In Time」，梳理展出这位集民艺研究者及藏家于一身的设计师，以其敏锐的洞察力所收藏多年的古陶器。每一件古物在讲述自己跨越百年经历的同时，也链接于当下，链接于其收藏者的发现与创作旅途。
刘云龙自述，从对古器物的关注跟研究开始，才开启真正属于他自己的设计之道。形成自己的认知和审美，从而收藏古器物和民艺，这本身就是一种创作行为。无论对于古物的选择，还是设计灵感的产生，都在考古，宗教，建筑，民艺等这些跨领域的探索过程中不断深入，形成潜意识和直觉，创作也应然而生。传统有的不仅仅是遗产，它是流动的基因。许多有趣的事物往往在传统的褶皱中被遗忘，真正的创新，或许正是对历史的回望。
作为产品设计师，刘云龙最初从传统产业寻找材料和工艺出发，再通过创新设计开发有情感和意味的产品。而后开始接触中国古代民窑，跑遍山西、福建窑址集中区，对各地古陶瓷考察学习，从古器物中获取到器物背后的人文、美学，以及物与人之间更为重要的情感联系。古物的力量，给予刘云龙更多设计技术和形式层面之外的思考，并逐渐形成自己的创作及手工艺项目体系。此次展览，刘云龙梳理其近年来的一系列对自身创作有启发且引起思考的古陶器，其中多为孤品，或带有独特个体性的民艺品类。刘云龙谈到古陶器收藏与创作的影响：“在学习的过程中不断了解古人的智慧，锻炼自己的眼力，这些力量和经验又不断反馈到器物的设计上。”或许，我们收藏古物的意义不只是了解并拥有一个历史的瞬间，而是一个探索自我从而更清晰前进方向的创造之旅。
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Discovering is creating —the creative philosophy embraced by Liu Yunlong, founder of designer studio Dahao. In collaboration with Liu, Space of Time Gallery presents the special exhibition Held in Time, showcasing a survey of antique ceramics collected by the designer over the years—a testament to his multiple roles as both a Chinese folk art researcher and collector. Each piece in this exhibition tells an ancient story, they also connecting to the present, reflecting the collector’s own journey of discovery and creation.
Liu describes how his focus on studying ancient objects led him to develop his own distinctive design approach. For him, forming personal perspectives and aesthetics—and through them, collecting antique folk art—is itself an act of creation. Whether selecting artefacts or drawing design inspiration, his process is deepened by cross-disciplinary exploration of archaeology, religion, architecture, and folk traditions. These influences gradually sharpen his subconscious and intuition, giving rise to his own design practice. Tradition is more than heritage, it’s a living DNA. Much of the tradition have been forgotten in the folds of history, and true innovation may begin with looking back.
As a product designer, Liu started his design practice by searching materials and techniques from traditional industries, to create meaningful design that resonates in contemporary living. Later, his fascination with China’s ancient folk kilns took him across Shanxi and Fujian regions, where he studied the well known regional ceramics, uncovering their cultural narratives, aesthetics, and most importantly, the emotional ties between objects and people. The power of these artefacts pushed Liu to think beyond technical and formal design constraints, helping him build his own creative methodology and craft-based practice.
This exhibition features a series of ancient ceramics that have inspired Liu’s recent work—many of them rare or uniquely expressive folk art pieces. On the relationship between collecting and creating, Liu reflects: Studying these objects teaches me about the wisdom of past craftsmen and hones my discernment. These lessons continually feed back into my own designs. Perhaps, then, collecting antique isn’t just about preserving a moment in history, for a creative, it can be the torch of light to point towards a clear journey of innovation.
