Wayang

從多元文化、重視異質性、去中心化、反權威性以及不定性，是我們重視與他者的共構關係，在作為印尼皮影偶／戲的特殊文化條件下，造形延續了爪哇印度教的寺廟浮雕，幾經歴史的載傳蛻變，在不崇拜“人形”偶像的伊斯蘭教義中，改取其變異中偶／戲的影子形狀，一種特殊文化處境下，操偶師與樂師同作，猶如魔法般操縱所有角色的靈魂。

From the perspectives of multiculturalism, heterogeneity, decentralization, anti-authoritarianism, and uncertainty, we emphasize the co-construction relationship with others. Under the unique cultural conditions of Indonesian shadow puppetry, the form continues the style of Javanese Hindu temple reliefs and has undergone historical transmission and evolution. In the Islamic doctrine that does not worship "human-shaped" idols, it takes the shadow shape of the variation of puppets and becomes a local cultural context. Puppeteers and musicians work together like magic to manipulate the souls of all characters.

皮影戲的產地和風格，以及角色和性格，都可以啟發展示設計概念。在抽空原有文飾意義的基礎上，經過二方或四方連續複構的試驗過程，轉譯形成去符碼化的多元意符的協合飾體。這樣的設計可以引導觀眾從被動的目擊者變成流動的不確定性，參與世界文化遺產的傑作。

The birthplace and style of shadow puppetry, as well as the characters and personalities, can inspire design concepts. Based on the emptying of the original ornamental meaning, through reconstruction in two or four directions, it is translated into a heterogeneous body of multiple symbols that are decorative motions. Such designs can guide the audience from passive spectators to flowing uncertainties, participating in the masterpieces of world cultural heritage.