BVLGARI宝格丽“KALEIDOS 万花绮镜：色彩・文化・匠艺”特展

2026年09月05日-2026年10月31日

上海 当代艺术博物馆

项目传播

项目现场

宝格丽「KALEIDOS 万花绮镜：色彩・文化・匠艺」特展于 2026 年 9 月 5 日‑10 月 31 日落地上海当代艺术博物馆，是品牌在中国古董珠宝数量最多、展厅面积最大的专题特展，立足品牌根植罗马的色彩基因，以希腊语 “kalos（美）” 与 “eidos（形）” 为命名溯源，践行 “为中国而学、与中国共创” 的策展理念，并非海外巡展简单复现，而是一次东西方美学深度对话的在地化项目。

空间造型与制作汲取罗马卡拉卡拉古浴场马赛克艺术灵感，大量运用弧形曲面结构、半透界面与层次递进的光影系统，跳出传统珠宝展玻璃展柜静态陈列范式，把整个展厅打造成流动的色彩场域，设置 “臻彩律动”“绮彩意蕴”“耀彩辉光” 三大递进叙事篇章，穿插梁曼琪、张鼎的当代沉浸式装置，将珠宝器物、艺术装置、文化解读融为一体。展期汇聚逾 300 件高级珠宝、古董典藏与私人珍藏，包含 1973 年镌刻牡丹纹样翡翠圆璧的金质长项链等重点展品，专门开辟展区还原 20 世纪 30 年代罗马 “美玉珍宝廊” 的历史，梳理品牌与东方玉石文化的久远渊源。活动面向艺术爱好者、藏家、时尚圈层与普通公众，依托博物馆专业场馆属性，兼顾学术策展、展品观赏与社交打卡，媒体、KOL 与观展公众产出大量图文影像 UGC 内容，将品牌百年珠宝匠艺、跨文化历史脉络借助艺术展览完成大众传播。

项目意义超越单纯品牌回顾，把珠宝作为可佩戴的艺术，借由博物馆公共文化场景消解奢侈品牌距离感，在展陈叙事中完成品牌历史溯源、东西方色彩哲学对照，实现学术文化输出、圈层审美教育与大众社交传播的协同，构建奢侈珠宝品牌博物馆级展览的完整传播链路。

BVLGARI “KALEIDOS: Colors, Cultures and Crafts” special exhibition runs from September 5 to October 31, 2026 at Power Station of Art Shanghai. It is the brand’s largest‑scale antique‑jewelry exhibition in China. Derived from Greek words “kalos” (beauty) and “eidos” (form), the show follows the curatorial concept “learn for China, co‑create with China”, instead of simply importing an overseas touring show, it delivers a localized in‑depth dialogue between Eastern and Western aesthetics.

Drawing design inspiration from mosaics of Rome’s Caracalla Baths, the venue adopts curved architectural forms, translucent panels and layered lighting effects. Moving beyond static display‑cabinet logic of conventional jewelry shows, it transforms the whole gallery into a flowing color‑infused field. Organized in three progressive chapters “Rhythm of Colors”, “Meaning of Hues” and “Glow of Light”, the exhibition integrates immersive contemporary installations by Chinese artists Liang Manqi and Zhang Ding. More than 300 pieces of high‑jewelry, archival antiques and private collections are on view, among which the 1973 gold necklace carved with peony‑pattern jade bi stands out. A dedicated section revisits the 1930s “Jade Gallery” in Rome to trace the brand’s long‑time connection with Oriental jade culture. Open to art enthusiasts, collectors, fashion circles and general visitors, the museum‑hosted event balances academic curation, artifact appreciation and social check‑in. Media, KOLs and visitors generate abundant UGC visuals, spreading the brand’s century‑old craftsmanship and cross‑cultural heritage. More than a brand retrospective, the exhibition regards jewelry as wearable art. Leveraging the public‑cultural museum context, it narrows the psychological distance of luxury brands.

Through comparative interpretation of Eastern‑Western color philosophies, it accomplishes cultural output, aesthetic education for niche circles and public social communication, forming a complete communication chain for luxury jewelry museum‑grade exhibition projects.

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