常玉畫筆下的女子，珠圓玉潤 白如凝脂，臥躺於畫面上下各一方，背對著觀者 頭與腳交錯著，白皙的胴體與紅色床毯，對比襯出白的純粹 和大紅的艷，床毯上綴以三種中國紋飾「金錢紋」、「壽字紋」、「盤長紋」象徵著吉祥富貴，在名作前， 1多點 idodan團隊晝思夜想，要裡裡外外與之相襯，錶框呼應裸女的嬌媚，裱框曲度要飽滿圓潤，並使用色澤粉嫩溫潤的木材，要最接近肌膚的裸色，錶面忠於原作的美，也重視配戴者的視覺維度，從原先的豔紅表面，換成接近象牙白的底，讓藝術性與實用度共存，為托出常玉的巧，我們萃取出畫中床毯上的三款吉祥紋飾，一一獨立放大，各自成為金色的時間刻度，富貴吉祥在分秒間。

Crossover Collection 1 - Two Nudes on a Red Tapestry Nude women with voluptuous bodies and pale pink skin are quite notable in Sanyu’s works. We can see the nude pale skin and red tapestry form a strong contrast in this work. The tapestry, as a background, has 3 different Chinese patterns on it representing auspiciousness and wealth.It took idodan days and nights to come up with the design to tone with such masterpiece. Frame/Case Curvy case/frame made in response to nude female figure. The color of the wood will be as pink nude as the skin. BackgroundWe value viewers’ vision as much as the aesthetics itself. The background of the dial was therefore altered and replaced from red to beige white. We also highlighted the three auspicious patterns by including them to the indexes, making every moment as shining as gold.

【取貨方式】
(A)來店取貨
(B)宅配
※臺灣國內(免運)
※如需寄送海外，以國際運費為準

典藏資料:

國立歷史博物館藏《雙人像》（館藏編號26915），為常玉（1901-1966）作品之一；兩女各據畫面上下一方，背對著觀眾，以黑色線條勾勒出身體輪廓，白皙的人體與紅色猶如床毯的背景形成對比，床毯以「金錢紋」、「壽字紋」、「盤長紋」作為裝飾。曾經在二哥的牙刷公司負責包裝設計的常玉，有時喜歡在他簡單的畫作構圖中加入裝飾圖案，例如這三種具中國吉祥象徵的紋飾，便經常出現在常玉裸女畫或靜物畫作中的床單或桌巾上。

常玉出生於中國四川順慶（1935年改名南充），自幼在故鄉隨父親習畫，之後向書法家趙熙（1867-1948）習字，1921年因「勤工儉學」計畫前往巴黎，是早期留法學習藝術創作的中國畫家之一。他的作品融合了中國與西方藝術特色，經常利用簡潔有力的線條、造形與輪廓呈現獨特的個人風格，繪畫造形簡練、色彩單純，裸女、植物花卉、有動物的風景為其三大創作主題。

SANYU was one of the earliest Chinese artists to study in Paris. His works combine Chinese and Western art features, often using simple and powerful lines, shapes and contours to present a unique personal style. The paintings are simple and simple in color, and the nude girls, plants and flowers, and animal scenery are the three major themes.