Crab God of Tang Dynasty

The Design Description of the Crab God of Tang Dynasty
Crab claws are elixirs turning me into a fairy,
While a glass of liquor leads me to the fairyland.
Let me get drunk at this moment,
At this fairyland under the moonlight.
Crabs were also called "sharp balls" in ancient times,
Greedy saliva drip down when the crab is shelled and the fat meat emerges.
Dim eyes light up when the claws are eaten with liquor.
The Crab God of Tang Dynasty is located in the Heping District of Shenyang City. Like other series of Crab God, the designer starts from the culture of Tang Dynasty and the aftertaste of it, elaborates the cultural return in an architectural way so as to interpret the prosperity of Tang Dynasty and the flavor of crab with architectural language.
The shimmering light from the stone lamp in the courtyard is wrapped in white mist, thin wisps of which rise up from the ground. Green plants and pine trees add radiance and beauty to each other. Near them stands Buddhist Master Jianzhen. He is shaped to be casting iron, praying into the distance as vividly as life. Dreaming back to the Tang Dynasty, "I" brought culture to Japan in the Tang Dynasty, and now "I" bring the culture back to China.
The designer interprets the brand connotation and the cultural return with life and stories. From the pursuit of master Jianzhen, the Japanese aesthetics are restored to the culture of the Tang Dynasty, neat but not dull, resplendent but not delicate, stretching but not flashy, quaint but vigorous—that is the perfect embodiment of the spirit of the Tang Dynasty. The designer takes advantage of classic composition of Chinese garden art and cleverly draws Japanese garden scenery into the restaurant, takes you through the millennium, unfolds a feast of the Tang Dynasty before your eyes.
The long-lasting lamp in the niche falls gives out a shimmering light, step into the Tang Dynasty along the road of gray bricks.
When placing yourself in the dining area, glancing at the things around while enjoying the delicacy of crabs, your eyes jump over the window ledge and fall onto the lamp wheels, two write brushes with length of half a fathom are hung up next to the paintings beside you, and the warm light is poured on the shoulders of your travel companions. The cultural atmosphere is absorbed and burst out from eyes to mouth, the designer takes diners together back to the Tang Dynasty.
The golden lamps along the corridor is a symbol of expectation for brightness and auspiciousness, and the “round table” culture, which enjoys great popularity in the Tang Dynasty is preserved by the designer. The moss and ornaments at the center of the round tables represent auspiciousness as well. The water-planted maple branches and the game of go on the windowsill bring the literary atmosphere inside to a climax.
Polished by materials such as washi paper, bamboo weave, solid wood, gray stone, and aluminum profiles with imitative wood grains on its surface, taking advantage of detailed illuminating design and implicit ink landscape, the scenery of Tang’s prosperity is created with rich spatial levels. Different materials arranged in different positions vividly show the cultural atmosphere, and the multi-core design also makes the interior atmosphere a little jumpier and more dynamic. The overall space is well-mixed and integrated, with stony cranes on the mossy rocks stand leisurely coordinated with the wisps of immortality in the courtyard.
Its design language expresses the understanding of the aesthetic interest of the Tang Dynasty in a streamlined layout, which is a contemporary application of the aesthetics of Tang Dynasty.