Hermes Arceau Series Pony Watch

Hermes Arceau Pony Watch with H1928 self-winding movement, 32 rubies, decorated with Hermes special H logo pattern, 750 white gold case, case diameter 41 mm, dial with silk enamel Technology presentation and tie pattern by Philippe Mouquet. Rhodium-plated steel hands, matte black or dark blue alligator leather, 750 white gold buckle, power reserve 55 hours, waterproof depth 30 meters

    The dial of Philippe Mouquet designed by Hermes Arceau Pony Watch watch uses the technique of filigree enamel to present 28 ordered ponies. The characteristics of this decorative pattern fully reflect the meaning of order. And the order composition of this decorative form is easy to be grasped by vision. Its inherent regularity can produce harmonious visual effects, making people very relaxed and comfortable. These characteristics exactly meet the functional needs of decorative arts, thus bringing visual comfort and pleasure.
    In addition, ordering is also reflected in graphics processing. The horse element on the Arceau Pony Watch is not a figurative horse, but the specific details of the horse are deleted to highlight the basic form of the horse, and then a little change to retain its vividness. This method of regularizing the outline of the horse is also a common method for orderly graphics processing. For example, in the traditional techniques of Chinese painting, the leaves are summarized into circles, ingot shapes, and triangles. This stylized method fully reflects the orderly and decorative aesthetic tendency.
    ‘Gestalt’ is a transliteration of the German word ‘Gestalt’, which is generally translated as ‘gestalt’ in Chinese. The starting point of its research is ‘shape’, that is, an organic whole with different separation characteristics. The Gestalt School of Psychology believes that when people watch, the eyes and brain work together, not to distinguish the individual components of an image at the beginning, but to combine the various components to make it a more understandable unity. After the 1930s, researchers in Gestalt psychology applied the Gestalt method to aesthetics, combining it with the various processes of psychology, and advocated that aesthetic research should be based on the whole, and then understand and analyze its components.