"Ru Hua" and “CHARLENE” intertwine through the tapestry of the meta-universe. As "Ru Hua" encounters the entirety of the "Flower Island"， and the limitless innovation of Wei Jia (KK) aligns with Charlene's serene and graceful demeanor, the intriguing fusion of perspectives between these two professionals, devoted to oriental aesthetic design, promises a captivating exploration of the aesthetics within the meta-universe. 

Within the realm of meta-universe aesthetics proposed by Wei Jia (KK), the pivotal element is the "infusion of imagination". This concept involves transforming virtualization and digitization into tangible products, enabling users to engage in immersive encounters, experience virtualized detachment, indulge in open-ended creation, and seize interactive social experience opportunities. However, even the most abundant wellspring of creative content necessitates taking measured steps towards a grand vision. Hence, at the crossroads of meta-universe concepts, trendy art, and commercial artifacts, Wei Jia(KK) opted for jewellery as an extension of the "Ru Hua Meta-Universe”, employing the emblematic "Eye of Ru Hua" to forge an entirely new jewellery concept.

The collaborative partner of "Ru Hua" is CHARLENE, a leading brand in the realm of contemporary national-style high jewellery. It stands as the first domestic high jewellery brand to coalesce with the contemporary Forbidden City, and it also garners the prestigious Milan Design Week Award. CHARLENE possesses a remarkable aptitude for encapsulating the essence of culture within the field of jewellery, and it always embodies an unmistakable oriental beauty in its presentation. This inclination perfectly resonates with the new aesthetics of the "Ru Hua Meta-Universe," which emphasizes that “beauty manifests in myriad countenances”. At the helm of CHARLENE is Charlene, a woman who seamlessly intertwines beauty and sagacity. Imbued with a deep humanistic core and a broad international outlook, Ms. Charlene has reshaped the boundaries of national style jewellery her focus is on nurturing the inherent "elegance and grace" rather than merely fixating on the external trappings of "traditional Chinese style." For Charlene, the "Oriental Aesthetics in 1cm²" she aspires to create will encompass both Chinese heritage and international sensibilities.

"Ru Hua" and CHARLENE converged within the realm of the Meta-Universe, with a serendipitous alignment to Charlene’s primary jewellery design series, "Flower Island". This collection artfully blends a delicate five-petal blossom with the grace of oriental avian and floral motifs, utilizing calligraphic strokes to summon the ethereal vision of an oriental spiritual utopia. As "Ru Hua" encounters the entirety of the "Flower Island"， and the limitless innovation of Wei Jia (KK) aligns with Charlene's serene and graceful demeanor, the intriguing fusion of perspectives between these two professionals, devoted to oriental aesthetic design, promises a captivating exploration of the aesthetics within the meta-universe. 

Question 1: According to the perspective of these two aestheticians, what is the relationship between jewellery design and Eastern & Western aesthetics?

Wei Jia (KK): “Well, you know, when it comes to Eastern and Western aesthetics, I see a few distinctions. Eastern aesthetics, it's all tied to the notions of space, time, heaven, earth, and human-beings – we like to call it the aesthetics of life. On the flip side, Western aesthetics tends to lean towards numbers and knowledge, think things like the golden section and the golden ratio – it's like a form of aesthetics rooted in knowledge.

Absolutely, it's not about ranking one above the other. What I find is that Oriental aesthetics really syncs up with our rich, thousands-of-years-old traditions. It's a beauty that's deeply entwined with life – and I mean not just human life, but the life of nature itself. It's all about this seamless blend between human-beings and the natural world, you know, this quest for that harmony between us and Mother Nature. This grand beauty doesn't come at us from just a human perspective; it's about how life presents itself.

You see, when it comes to Chinese jewellery, there's a little chat we have. Out West, they put a lot of emphasis on gemstones and diamonds, especially how they're cut to catch the most sparkle and light. But for Oriental jewellery, it's more about the spirit, you know? Take jade, for instance. We're all about nurturing and caring for it because it's not just a pretty stone. Jade's this bridge between the heavens and us, like a connection, and it's got that warmth that's kind of hard to describe. So, it's all about this unique Eastern aesthetic and philosophy that comes with it."

Charlene: "Exactly, you've got it. You see, Chinese folks adore jade precisely because of its gentle elegance. It's not about showing off; it's got this understated beauty. And you know, when we're working with diamonds over at CHARLENE, we intentionally steer clear of that overly sharp look. In our latest Flora collection, we went with something really classic and unique – the "rose cut." It's a far cry from the usual flashy cuts you might see. Instead, it's got this pure, tranquil vibe. So even if we're playing around with Western-style diamond elements, we're still infusing it with that essence of Eastern aesthetics."

Wei Jia (KK):" Yeah, so Western aesthetics sometimes come from that human angle, right? Like Picasso's idea of beauty with cubism, Van Gogh's all about those dreamy colors, and Monet's chasing that moment when light plays with shadow. But, you know, in our Chinese aesthetics, it's like we're always right there, smack in the middle of everything – that "empty valley of the orchid" idea, have you ever heard about it? It's like flowers in that valley, standing all on their own, without needing anything else. It's a whole different take on space and time, this sort of delicate sense totally stands for Eastern beauty.

As a result, when it comes to paintings, you will be able to tell the differences. If you look at Chinese paintings, you will find it interesting that the landscape is this massive canvas, and people are just these tiny specks, barely visible. But Western paintings, they flip it around – people become these big focal points, and the landscape kind of becomes the backdrop. It's all about that perspective, right? So, that's the reason why they call it "landscape painting" in China, while in the West it's simply "scenery painting." It's because we've got this deep respect for the grandeur of heaven, earth, and the natural world. We see the vast expanse of space and time, and that perspective on life as the true magnificence.”

Charlene: "Exactly! See, oriental aesthetics, it's always been centered around us humans, but humans are just beings that stand right between the sky and the ground. You can see that in our realm of art and even in the field of jewellery. Now, if we're talking visuals, Western jewellery design got more kind of punch, and It's got this boldness to it.

However, in the world of Oriental jewellery design, it's this constant search for something timeless and subtle. Thinking of calligraphy and brush painting – it's all about these intricate lines crafted with diverse strokes. Time and space, they kind of merge into this single thread. It's not like that Western style, all in-your-face and shiny. Instead, it's this kind of lasting beauty that grows on you.

I've been talking to the designers, please really drilling into them to capture those lines, to feel the ebb and flow of thickness and thinness. It's like taking the rhythm of the heavens and turning it into calligraphy, to be like the Flying Apsaras in the Dunhuang Murals – always being alive and fluttering.”

Wei Jia(KK): “Talking about Eastern aesthetics and Western aesthetics, it's all about the way sensibility and rationality play out on both sides. There's no hierarchy here, no better or worse. It's just two different kinds of beauty, you know? And when it comes to our Chinese aesthetics, it emphasizes the importance of cherishing the whole journey of life. It's not about fixating on one specific point or moment as the ultimate limit. Back in the old days, folks would look at the moon – its roundness, that shimmer – that's what they found beautiful. When they'd fix their gaze on a flower, it wasn't just the blooming part, but also the bud and even the fading away that carried beauty. With stones, they'd spot beauty in the cracks and wrinkles that time brings. Heck, it's even a kind of beauty to see a tree in its withered state during spring.

The remarkable thing is how there's this cycle between imperfection and completeness, this shift between beauty and ugliness – that's what defines monistic aesthetics. It's a stark contrast to Western aesthetics, which is more binary in nature, breaking beauty down into parts for measurement and comparison – it's a whole different ballgame.

When Eastern aesthetics reaches the Japanese concept of “Wabi-Sabi,” it becomes even more enchanting and indescribable. Roughness, wear and tear, antiquity, and even bleakness all hold their own beauty. Artifacts have their own beauty, while moss has its mossy charm. This kind of aesthetics blends seamlessly into the richness of life. Every phase carries a special significance, and life doesn't need to hinge solely on the full bloom – it's in the buds yet to open, and in the quietness that follows withering. Life isn't only about the most striking bloom; it's about the unopened buds and the hushed calm after the end. There's a rhythmic beauty to it all, reincarnation and the unending flow, which is my understanding of the oriental aesthetics.”

Charlene: “Oriental aesthetics has this spiritual essence, and it's backed by this immense cultural legacy that stretches across a vast cultural canvas. The inspiration drawn from it seems never-ending – it absorbs culture and the hues of poetry. It's almost like Oriental aesthetics carries this touch of romance, wouldn't you say?

For instance, when we craft the "Flower Island" series, we draw inspiration from the likes of "The Winding Stream Party" and renowned brush paintings. The gemstone colors we choose are distinctly Oriental too – we've got “Emerald Green” for the green, “Peachy Pink” for the pink, and “White Jade” for the white. When you see these Chinese characters, they evoke romantic poetry and that unmistakable Eastern palette. This encapsulates CHARLENE’s interpretation of Oriental aesthetics. Infusing jewellery design with humanities and philosophical perspectives lends it a distinctive human touch and a captivating intrigue.

Besides, it is worth mentioning that within the realm of Oriental aesthetics, the concept of “leaving blank” holds a remarkable allure. Employing ample blank imparts a sense of breathing to the artwork. But when it comes to jewellery design, it's not like creating a painting. So how do we introduce the blank? I've incorporated crystal inlay, which seems to suggest both a presence of something and also an absence of it. It's this delicate interplay between the concealed and the revealed, a rhythm of blank that emerges.”

Question 2: What's your perspective on the aesthetics of the “Eye of Rua Hua” as a design element?

Wei Jia(KK): "In the tangible world, our eyes play the central role in perceiving beauty. Without vision, all the adornments and jewellery lose their significance. Within the meta-universe realm, almost every organ can be replicated by intelligence—scent, sound, taste, touch—except the eyes. Even with VR glasses, you still need your eyes to see. There's this special insight from Wang Yangming on cosmic aesthetics: ‘When you don't observe this flower, it's silent within your mind; once you gaze upon it, the flower's colors momentarily come to life, and you realize the flower isn't separate from your mind.' Trust me, the eyes are the wellspring of all aesthetics, the fountain of all thought. With eyesight at 0.2, your brain's speed is at 0.2 too, making it quite the challenge to fully appreciate what's beautiful."

Charlene: "What Jia said really strike a chord with me, especially when seen through the lens of a woman's perspective, emotionally saying, eyes, they're these portals for gathering information, but they're also windows that reveal the secrets of the heart. Personally speaking, whenever I meet someone, their eyes become a focal point. If their eyes are genuine and clear, a sense of trust builds within me. If not, I might tread a bit cautiously. It's all about perception. Through the eyes, you can forge a connection to the heart, and through the eyes, you can discover beauty."

Wei Jia(KK): "Returning to the 'eye of Ru Hua,' the essential emblem I conceived for Ru Hua. This little girl lacks a nose, mouth, and ears—only eyes. Why? Because eyes can grasp 70-80% of information; they're incredibly efficient. Eyes seize light, capturing its reflections, and the play of light becomes the scenery. Personally, I've got a theory: the eye is both a black hole within space and a time-traversing wormhole. In any space suffused with light, it's as if light is drawn into the eye, creating a black hole effect. The eye's pull then reflects that light into my mind, giving birth to myriad potentialities, morphing into a myriad of divergent pathways—these in turn become distributed wormholes, ushering us into a parallel universe."

Charlene: “It would be very interesting to combine the "Eye of Ru Hua" with jewellery, from art to business to technology, this kind of material and spiritual sophistication is all there.”

Question 3: What steps can we take to gain an early advantage in the upcoming “meta-universe era”?

Wei Jia(KK): "Whether it's within the tangible realm or the meta-universe, the key lies in addressing people's needs. Much like the sci-fi film 'Top Gun,' stepping into the meta-universe necessitates transitioning into a digital persona. From there, the focus shifts to enhancing this digital self with an array of gear and accessories. This requirement goes beyond what we demand in the physical world. We're not merely talking about clothing, shoes, and hats—these are a given. Even the skin and hairstyle demand meticulous attention, and they should exude a uniqueness. In a world as extraordinary as the meta-universe, nobody desires mundanity. Adorning and altering ourselves becomes an avenue for expressing our identity, preferences, and our personal understanding of beauty.

In the metaverse, the demand for jewellery reigns supreme as it epitomizes symbolic identity. Within the multidimensional personas of the metaverse, each identity requires an abundance of adornments to accentuate its uniqueness. After all, can a king be without a crown? Or a wizard sans wand? Should a detective lack a pipe? How about a warrior without their signature bucket hat? Within the meta-universe, jewellery isn't just an accessory; it's akin to human organs and skin. It continuously evolves and transforms to align with one's ever-changing personas, all in a bid to stand out as the most distinctive and resplendent. Drawing parallels to the Marvel Universe, Dr. Strange employs the Sling Ring to open temporal gateways, while Thanos, harboring the intent to obliterate the world, boasts six dazzling jewels on his gloves. It's all symbolism, in fact, jewellery is akin to a totem—among the earliest human artifacts. It predates cars, couches, and a plethora of other possessions we've come to embrace. It stands as a primal totem, a fundamental requirement within the metaverse. As the metaverse realm grows, its significance will only amplify. So, the quicker you prepare, the sooner you'll immerse yourself in its world."

Charlene: “Jewellery holds immense value—it's not solely an asset but a spiritual creation. A gemstone or any 100 grams of precious metal alone won't necessarily win admiration. What truly elevates jewellery is its fusion of rare materials with intellect and aesthetics, birthed through imagination and creativity to forge a stunning creation. These pieces become nature and humanity's joint masterpieces. Consequently, in the tangible realm, individuals seek out these rare treasures harmonizing both material and spirit. Even within the meta-universe, the scarcity of well-crafted jewellery designs persists.

In the tangible world, a raw stone may not captivate you, let alone warrant a significant purchase price. It necessitates skilled cutting, polishing, designing, and setting to transform it into the cherished jewellery you desire. Within the metaverse, materials may appear abundant, yet transforming them into imaginatively beautiful jewellery remains beyond the grasp of individual imagination. Design takes precedence, particularly as we venture into the metaverse—a realm devoid of natural creation, entirely shaped by humans. As a result, the creation process and design will carry even greater significance and value in this realm. While a jewellery design may not be considered actual jewellery in the physical world, within the virtual realm, it becomes NFT jewellery. Just as people are willing to pay for crypto art, a similar sentiment extends to crypto jewellery, and this reasoning holds true. Bringing it back to the tangible, this embodies true wisdom—whether in reality or the digital space, crafting jewellery infused with passion remains an unwavering truth that stands.

Question 4: What innovative concepts might "Ru Hua" and "CHARLENE" explore if they decide to continue their collaborative journey?

Wei Jia(KK): Certainly, future jewellery trends will undoubtedly follow two distinct trajectories—one for the tangible world of physical jewellery and the other for the virtual realm within the metaverse. Considering the impending large-scale migration of human-beings to the metaverse, one can only speculate on the vast demand for unimaginable jewellery designs in this virtual realm. Given the foreseeable future where a significant human migration to the metaverse is anticipated, one can't help but ponder the extensive requirement for previously inconceivable jewels within this virtual realm. Far beyond the realm of imagination, the metaverse promises not just one version of me, but a diverse array of six or seven distinct personas, each necessitating its own set of jewellery adornments. This surge in demand might escalate to a staggering magnitude of one billion times and beyond. As of now, our foray into metaverse jewellery creation adheres to marketing rationale, occasionally introducing products. This is largely due to our limited grasp of the profound metaverse requirements. However, it's evident that this realm's needs will surpass those of the real world – richer, more diverse, and almost unimaginable. As the metaverse strives to digitize objects, jewellery will lead the way, serving as a potent totem and symbol.

Charlene: Mr. Jia embodies the fusion of art and technology, while CHARLENE symbolizes the harmony between art and business. As we transition from the physical realm to the metaverse, our aspiration is to delve into the myriad possibilities of gemstones and embellishments, starting with the foundation of the "Eyes of Ru Hua." In the tangible world, jewellery necessitates intricate design and meticulous crafting using precious metals and stones. These materials, honed by nature over millions of years, bear enduring qualities highly esteemed for their durability, collectible allure, rarity, and rich cultural significance.

Certainly, as the evolution of the metaverse progresses rapidly, we are poised to craft even more exceptional jewellery adornments tailored to the virtual realm. I'm confident that where demand exists, value will follow suit. In the virtual domain, a singularly distinct jewellery design draft might hold a worth equivalent to that of real-world jewellery forged from precious metals and stones. This paradigm draws parallels to the trajectory of NFT artwork development as we observe it today. 

In essence, it's imperative to align with the zeitgeist and respond adeptly to the demands of the market. The paramount objective lies in skillfully catering to a diverse range of preferences, ensuring customization that resonates with individual tastes and needs.

[This article is excerpted from the May 2022 issue of Bazaar Art in]

About Wei Jia

Wei Jia is a force to be reckoned with in China
He is the founder of Rococo, the world's largest design platform, and one of China's top ten most influential designers, who has won five design awards, including the Red Dot, iF, IDEA, G-Mark, and Red Star. His achievements amalgamate design, art, and business.
In 2022, his identity is a "meta-universe artist".