Design Concept:

Utilizing the lost-wax casting (Pate de verre) technique in glass, this artwork is faithfully recreated in the glass medium. The dragon's head is prominently centered, looking defiantly across the heavens and the earth. Its claws stretch outward, embracing the eight directions. In terms of composition, the viewer's gaze is drawn to the dragon's expression, allowing them to feel mentally and visually the dragon's transcendent energy and confidence in nature. Employing traditional Tang scroll patterns (a prevalent curling pattern during the Tang Dynasty). The wind, clouds, and dragon intertwine, rolling and unfolding, creating a harmonious balance between the tangible and the intangible. Its infinite repetition and continuity symbolize the unending spirit of growth.

龍首正中，傲視天地，龍爪向外伸展，運握八方；構圖上，視綫集中於龍的神態，讓觀者在心理與視覺上感受龍在大自然裡，淩越一切能量與信心。運用傳統紋飾的唐草紋（唐代盛行的卷紋），造型圓潤富貴，與風與雲與龍，盤繞舒卷，虛實相生，而它的無限重複與連續表達了生生不息的生長之氣。作品的顔色由下至上，由透明漸漸轉至琥珀至中而上，由淡轉濃，呈現既現代又神秘的龍的氣質。龍首、龍身、龍尾在雕塑上一氣呵成，鏤空與連接處工藝難度極高；數百片龍鱗由大漸小，龍身發力點契合龍鱗彎曲弧度，彰顯龍之恢宏致遠之氣度。而在生肖龍年，作爲炎黃子孫的本命年護佑，我們定義它爲黃色，也就是琉璃工房的琥珀色。黃色處於五行中央，乃「中和之色」，象徵大地的顏色。古時有「黃生陰陽」的說法，把黃色奉為各色之主，是居中位的正統顏色。