設計及美術 / Designer

葉錦添

Tim Yip Kam-tim

1967年至今

領域:藝術家

繁體中文

葉錦添(Tim Yip Kam-tim,1967年12月22日生於香港),祖籍浙江紹興,香港美術指導、服裝設計師及視覺藝術家。他中學就讀中華基督教會公理書院,曾於香港嶺海藝術專科學校學習美術,1986年畢業於香港理工學院,取得實用攝影高級文憑,早年曾在《電影雙週刊》「曝光人物」專欄任攝影及撰稿,1989年加入香港專業攝影師公會。求學期間他因參加繪畫比賽獲獎而受徐克賞識,經引薦加入吳宇森《英雄本色》(1986) 劇組任執行美術,由此入行。1987年他參與關錦鵬《胭脂扣》的美術設計,1990年首次擔任電影美術及服裝指導,為《阿嬰》操刀;1993年他憑《誘僧》與李偉明、楊占家同獲第30屆金馬獎最佳美術設計,並為舞台劇《樓蘭女》設計服裝,創作版圖延伸至劇場。2000年,他為李安《臥虎藏龍》同時擔任美術指導與服裝造型設計;2001年憑該片奪得第73屆奧斯卡金像獎最佳藝術指導,並獲英國電影學院獎最佳服裝設計,是首位取得這兩項殊榮的華人。他亦為電視劇《大明宮詞》《橘子紅了》負責美術與服裝,並以《夜宴》獲第一屆亞洲電影大獎最佳美術指導。2004年,他為雅典奧運會閉幕式的「中國八分鐘」設計服裝與舞美。他的創作橫跨電影、劇場與當代藝術,2002年起先後在台北故宮博物院、巴黎、倫敦等地舉辦創作特展,並出版《不確定時間》《繁花》《流白》等著作,近年參與《封神》系列電影的造型設計。他提出「新東方主義」的美學主張,被視為華人服裝與美術設計走向國際的代表之一。

English

Tim Yip Kam-tim (born 22 December 1967 in Hong Kong), whose family comes from Shaoxing in Zhejiang, is a Hong Kong art director, costume designer and visual artist. He attended the Church of Christ in China Kung Lee College and studied art at the Hong Kong Ling Hai Art School, graduating from the Hong Kong Polytechnic in 1986 with an advanced diploma in practical photography; he worked early on as a photographer and writer for the 'Exposed Figures' column of Film Biweekly and joined the Hong Kong Professional Photographers' Association in 1989. While studying he won a painting competition, which brought him to the attention of director Tsui Hark; on Tsui's introduction he joined John Woo's A Better Tomorrow (1986) as executive art director, and so entered the film industry. He worked on the art design of Stanley Kwan's Rouge in 1987, served as both art director and costume designer on a feature for the first time on Ah Ying in 1990, and in 1993 shared the Golden Horse Award for Best Art Design for Temptation of a Monk while also designing costumes for the stage production Loulan Nu, extending his work into the theatre. In 2000 he served as both production designer and costume designer on Ang Lee's Crouching Tiger, Hidden Dragon; in 2001 he won the Academy Award for Best Art Direction and the BAFTA Award for Best Costume Design for the film, the first Chinese artist to take both honours. He also handled art and costume design for the television series Palace of Desire and Blossom in Crimson, and won Best Art Direction at the first Asian Film Awards for The Banquet. In 2004 he designed the costumes and staging for the 'China Eight Minutes' segment of the Athens Olympic closing ceremony. His work spans film, theatre and contemporary art, and since 2002 he has held solo exhibitions at venues including the National Palace Museum in Taipei, Paris and London, and has published books such as Uncertain Time, Flourishing Flowers and Flowing White, while in recent years he has worked on the design of the Fengshen film series. Advocating an aesthetic he calls 'New Orientalism', he is regarded as one of the figures who have carried Chinese costume and art design onto the international stage.

人物小檔 Profile

職業Occupation

美術指導、服裝設計、視覺藝術家

年期Active period

1967年至今

代表作Notable works

《英雄本色》《胭脂扣》《臥虎藏龍》《樓蘭女》

獎項及榮譽Awards & honours

第73屆奧斯卡金像獎最佳美術指導、英國電影學院獎最佳服裝設計(2001年,《臥虎藏龍》)

資料整理日期 / Compiled: 2026-09-12

權威檔 Authority record

一個人一個穩定代號(slug)同呢幾項別名,跨頁統一引用;外連指向同一人物的權威出處。

  • Tim Yip Kam-tim · name

    英文全名

  • 葉錦添 / Ye Jintian · variant

    普通話拼音

同一權威識別:https://www.wikidata.org/wiki/Q2377207

主要成就 Key Achievements

1986

經徐克引薦,擔任吳宇森《英雄本色》執行美術,由此入行。

Introduced by Tsui Hark, served as executive art director on John Woo's A Better Tomorrow, entering the film industry.

1993

憑《誘僧》與李偉明、楊占家同獲第30屆金馬獎最佳美術設計,並為舞台劇《樓蘭女》設計服裝。

Shared the 30th Golden Horse Award for Best Art Design for Temptation of a Monk, and designed costumes for the stage production Loulan Nu.

2001

憑《臥虎藏龍》獲第73屆奧斯卡金像獎最佳美術指導及英國電影學院獎最佳服裝設計。

Won the Academy Award for Best Art Direction and the BAFTA Award for Best Costume Design for Crouching Tiger, Hidden Dragon.

影響與傳承 Impact & Legacy

繁體中文

葉錦添把舞台與當代藝術的造型觀念帶入電影,《臥虎藏龍》中的服裝與場景令東方美學在國際獎項體系中獲得肯定;此後他持續在電影、劇場與展覽之間游走,令美術指導的角色由技術崗位擴展至整體視覺創作。

English

Bringing the staging ideas of theatre and contemporary art into film, Tim Yip's costumes and settings for Crouching Tiger, Hidden Dragon won international recognition for an Eastern aesthetic; he has since moved between film, theatre and exhibition, expanding the role of the art director from a technical post into overall visual creation.

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