On July 3, the China International Fashion Forum on the Shape and Rhyme of Oriental Aesthetics was successfully held online. 19 experts and scholars gathered together to discuss their views with the audience from four aspects of cultural innovation, intangible cultural heritage design, color aesthetics, and fashion life, showing the inheritance and innovation of cultural elements, and sharing the unique charm of Oriental aesthetics.
The forum was sponsored by China Fashion Designers Association, organized by Fashion Designers Magazine, Shandong Sunbird Clothing Co., LTD. (De Jinhua), co-organized by Wuhan Textile University (Hubei Costume Art and Culture Research Center), and academic planning by Professor Jia Xizeng of Tsinghua University School of Fine Arts, and co-hosted by Professor Jia Xizeng and Liu Yan, editor-in-chief of Fashion Design Magazine.
The first session: Cultural innovation
Li Chaode
Distinguished Professor, second-level professor and doctoral supervisor of Suzhou University
Curator of Soochow University Museum
Design is future-oriented, in addition to the development of technology, of course design is to see the fashion. What is the popularity of national tidal wave? In fact, the grasp of the fashion trend is to grasp the power of the fashion design trend system. International design trends and fashion systems are determined by occupying the upper reaches of the mainstream frontiers of world culture. What is the core of discourse power of design trend system? In fact, it is a country, a nation, and its cultural influence in the world cultural system. The release of any fashion trend, if it can not occupy the forefront of mainstream culture, far from its own voice, can only be a narrow nationalist self-talk. In the construction of the future fashion trend system, we should think about how to construct the aesthetic character of national design, and the expression of fashion trend should abandon some specific and superficial formal representation design, express some spiritual core at a deeper level, transform traditional elements into modern design, and use the formal language familiar to young people to tell today's Chinese stories. To bridge the gap between Chinese and western fashion culture, we need to create a valuable conceptual text, establish a discourse system, and then establish our own design value and system, and then form our own design aesthetic character.
Jia Xizeng
Professor, School of Fine Arts, Tsinghua University
Lecturer of the national first-class course "Chinese Clothing History"
Member of Academic Committee of China Fashion Designers Association
Since ancient times, the dragon has been regarded as the totem of the Chinese nation, with the supreme status and cultural significance. Its form is a combination of cattle, deer, carp, eagle, snake, fish and other animal characteristics, is the clouds to make rain, demons and monsters, xing all things, the Lord harvest auspicious symbol. When used in the clothing of the feudal ruling class, the dragon pattern symbolizes the sacred and supreme authority of the feudal imperial power, and has clear and strict usage norms and hierarchical restrictions. At the same time, dragon pattern also has important cultural value and symbolic significance in contemporary fashion design. It carries history and contemporary, connects east and West, highlights many cultural connotations and times significance of tradition and fashion, is an important symbolic element of Chinese spirit, Chinese culture and "Chinese style", and brings diversified choices and creation space for our contemporary fashion and cultural life.
Yuan Dapeng
Professor, School of Clothing, Wuhan Textile University
Director of Hubei Costume Art and Culture Research Center
China Fashion Designers Association executive Director, Chairman of the academic committee
The aesthetic design of clothing under the artistic conception of Chinese ancient poetry refers to the extraction of the basic design elements of the artistic conception of ancient poetry, the use of modern tailoring methods and related technologies to enhance the ingenious and reasonable application of clothing elements into contemporary clothing design, highlighting its nationality, extracting the aesthetic elements of clothing design, and fully understanding the clothing aesthetics embodied in the artistic conception of ancient poetry, strengthening innovative design and creating The experimental clothing works with national characteristics in the new era help to integrate the traditional spiritual culture of the Chinese nation with the modern clothing culture, and play a role in inheriting culture and enriching modern "clothing life".
The spatial artistic conception in poetry mostly exists in the poet's emotion and is deposited in the concrete existence space described in the poem. The artistic conception in imagination builds a new space with the help of the concrete scene existing in fact and integrates the emotion. This space is the fusion product of scenery and image.
In Ouyang Xiu (Northern Song Dynasty) "Liuyi Poem" Mei Yaochen talked about the idea of writing poetry: "The author is in the heart, the reader will be in the mind." The poet uses the description of things and scenes to express his feelings, and imagines the scenes described in the poem, as if he were in it, and directly experiences the feelings the poet wants to express in the poem.
Xiong Ying
Founder of Gaia Legend brand
Co-initiator of China Haute Couture Association
Culture is the precipitation of history, fashion is the carrier of culture, and the show is the stage of fashion. Through the analysis of the "journey" fashion show of Gaia legend, the profound influence and support of Chinese culture on the "shape" and "rhyme" of Oriental fashion are interpreted. Through the Chinese culture, artistic conception in a fashion show, the formation of a story line, presenting a more shocking Oriental charm art show.
Around the theme of the show "journey", through the stage, setting, lighting, clothing, music, a comprehensive expression of Oriental culture to build a lifestyle of fashion art scene presentation. From the stage presentation concept, clothing design concept, the significance of the event, and other perspectives to interpret the world fashion stage, "Oriental fashion" truly powerful cultural inheritance, expression and promotion. China, there are so many designers to promote the beauty of the East to the world, we work together to inherit and spread, with cultural soft power to express national faith and great power confidence, then the next fashion city will definitely fall in China.
Ma Kai.
Founder and Creative Director of M essential Fashion brand
With the rising status of China in the world, more and more people focus on the aesthetic changes of the contemporary east; The present Oriental culture is no longer a simple reproduction of symbols and structures; M essential is also constantly thinking and innovating, hoping to highly unify the inheritance of traditional skills with the needs of contemporary women's life scenes, and promote the development of New Oriental aesthetics with the power of design.
Session 2: Intangible Heritage design
Wu Yuanxin
Chinese master of arts and crafts, the first batch of national non-genetic inheritors
Vice Chairman of Chinese Folk Literature and Art Association
Director of Nantong Blue calico Museum
Nantong Blue printing and dyeing technology is one of the first national intangible cultural heritage projects, Nantong is the hometown of China's blue printing art, Nantong Blue printing is a national Geographic indication project, and Nantong Blue Printing Museum is the heritage base of China's blue printing. The forum mainly expounds the new concept and new thinking mode in the transformation of traditional blue printing technology and contemporary design in Nantong, focusing on traditional blue In the field work practice and exploration of collection, research, inheritance and innovation, the printed cloth is inspired and illustrated to show the internal relationship between traditional craft and modern innovation, encouraging young people to respect the traditional innovation and use their own superb artistic vision to design traditional folk art into the most fashionable contemporary art.
Wang Yue
Tsinghua University School of Fine Arts, dyeing and weaving clothing art design department professor, doctoral supervisor
Traditional craft is the carrier of history and culture, and the realistic embodiment of tradition in current life. It reflects the changes of human life style, vision and concept, and is constantly endowed with wisdom and creativity in the process of inheritance. Following the spirit of respecting crafts, this keynote speech takes "Reshaping", "Indigo Feeling", "He He" and other works as examples, combined with personal creative practice, to explore the sustainable design direction of traditional crafts and materials in the fashion context from the aspects of craft, culture, daily use and science and technology.
Chen Wei
Chinese Nushu intangible cultural heritage designer
Chinese Chairman of the Sino-French Fashion Aesthetics Association
"Nushu" is a kind of writing that spreads in Jiangyong and Daoxian counties of Hunan Province. It is named "Nushu" because it is exclusively used by women. It is the only language system with gender characteristics in the world, and its form, font structure and content of works are closely related to women. Since the publication of Gong Zhibing's Survey Report on a Special Kind of Writing in 1983, the study of Nushu has been nearly 40 years. Due to the distinct gender characteristics of Nushu, the study from the feminist perspective such as the awakening of women's self-consciousness and resistance to patriarchy is quite rich. At the same time, we should also note that as a female art, the form and content of Nushu are related to women and her place This unique artistic temperament is the key to realize the contemporary transformation of Nushu art.
Lufan
Co-founder of WE Visual Fashion
In recent years, in various modern design fields, many designers have actively applied Oriental aesthetic elements to their designs. As a part of Oriental aesthetics, intangible cultural heritage has also been used in window design by various brands in the world as design elements.
Window design, like the "eyes" of a shop, reflects the taste and connotation of a fashion brand, and also strikes deep into our hearts. Designers apply a variety of intangible cultural heritage techniques such as paper-cutting, blue dyeing and wood carving into the window exhibition space, which is endowed with new vitality and makes the whole space radiate a unique Oriental artistic charm, bringing consumers a new shopping experience to stimulate consumption and business Product marketing and promotion at the same time imperceptibly improve the aesthetic level of consumers.
The interactive communication of the story and interest of intangible cultural heritage in commercial design has formed a new popular trend and is increasingly sought after by international consumers. The perfect combination of intangible cultural heritage and window can not only promote traditional culture, but also give fashion brands cultural connotation. This way is not only an innovation of window design, but also a promotion of traditional Chinese culture.
Hu Jianan
PhD, University of Leeds, UK
In recent years, the collaborative design of traditional dyeing and weaving technology has formed a major trend in China, and the exploration of the aesthetic value of traditional dyeing and weaving technology has become an important topic of collaborative design. Since there is still a lot of room for development in the research of this topic, this speech focuses on the aesthetic innovation of traditional Chinese dyeing and weaving technology in the process of designer-craftsman collaborative design, aiming at rethinking The relationship between traditional aesthetics and collaborative design of traditional dyeing and weaving technology is explored to explore the potential ways of aesthetic innovation of traditional dyeing and weaving technology, and the limitations of current research and future research directions are pointed out.
Session 3: Color aesthetics
Li Wei
Tsinghua University School of Fine Arts, dyeing and weaving clothing department professor, doctoral supervisor
First of all, I review my early learning process, and think that long-term learning and accumulation are the foundation and motivation for my own fashion road; Secondly, the paper analyzes the color concept of traditional Chinese black and white ink painting and green landscape painting, and explores how to extend, transform and apply the artistic conception and cultural connotation of Chinese ink painting to clothing creation by taking personal clothing design works as examples. It also introduces the transformation process of my own clothing creation from black and white to color, the relationship between "Tao" and "tool", and my understanding of the way of fashion. Finally, the paper summarizes the importance and practical significance of traditional Chinese color concept in fashion, and explores the feasible way of Chinese fashion creation in the future.
Xiao Shimeng
Associate Professor, Changjiang College of Art and Design, Shantou University
Distinguished Professor, Anyang University, South Korea
Thailand Kela University art doctoral student tutor
There are different understandings of "beauty" at home and abroad.
In the Chinese understanding of beauty, pay attention to the unity of external form and the order of the universe, just as the so-called "great music and heaven and earth are in harmony, great gifts and heaven and earth are in harmony." The beauty of color is defined by the cosmic order and embodied in the knowledge concept of color.
Generally speaking, the knowledge concept of color includes the following three contents: color classification, color symbol, color matching, and the traditional five colors are no exception.
The "traditional five colors" had its own system and developed in the Qin and Han dynasties. In the cosmic world formed in the Qin and Han dynasties, everything in the universe, including color, was in perfect order.
The five-color classification is the result of the classification of the universe; The color symbol is the result of the relationship between color and everything in the cosmic order; Color matching is the result of the relationship between colors in the cosmic order.
In the traditional ritual society, the color of the ceremonial dress as the appearance of the cosmic order, on the one hand through the ceremonial activities to let the emperor and ministers to participate in, as the color aesthetic norms; On the other hand, etiquette activities attract a wide range of onlookers and hot discussions, forming a wide range of color aesthetic consensus.
Huang Ronghua
Plant dye is not inherited
Doctoral supervisor, Postdoctoral workstation, Jiangnan Branch of China Textile Institute
When it comes to Eastern aesthetics, the words that may come to mind are Zen, poetry, and aesthetic, but in fact, there is a kind of beauty that will make people speechless, that is Eastern color. Oriental aesthetics covers a lot of areas, but the research and content of Oriental colors have been relatively lacking, and the research breadth and depth are not much. Traditional Chinese colors and traditional dyeing techniques are an important part of Oriental colors. Chinese color is the tone of Eastern aesthetics, and the dyeing technique behind it is not well understood. This paper focuses on traditional Chinese colors and dyeing techniques, trying to supplement the specific content of traditional colors and dyeing for Oriental aesthetics.
Nagumo Jika (Sun)
President of the International Color Image Association
Director of Oda Fashion School, Japan
The birth of a new culture must be based on the past culture. Things without traditional cultural flavor will eventually disappear because people can not accept them. People need to re-examine the weight of Eastern culture and the depth of China's 5,000 years of culture. Such cultural assets are a huge advantage for us to be future-oriented. Eastern culture developed from "unrestricted thinking" that was not present in Europe. In order to build the culture of tomorrow, let us apply traditional colors based on unlimited ideas, and the methods of producing new traditional colors will also help in future designs.
Session 4: Fashion Life
Liu Yuedi
Researcher, Institute of Philosophy, Chinese Academy of Social Sciences
Honorary member of the Presidium of the Chinese Culture Association Promotion Association, doctoral supervisor
Since 2001, the life aesthetics advocated by us is not only the oldest Chinese aesthetic mainstream, but also the most novel global aesthetic trend. "Life aesthetics fever" not only appears in the east, it has become the main trend of the world aesthetics since the new century. In this way, the Chinese aesthetic tradition and the most advanced aesthetic theory of the West have formed a similar beauty, and also formed an interactive correlation. Nowadays, the public's pursuit of Oriental life aesthetics is intrinsically connected with the return of fashion. We seek new and popular ways of behaving, so that there is a natural connection between the beauty of life and fashion. Therefore, fashionable clothing is the clothing that reflects the current aesthetic taste, and the fashion system has actually woven aesthetics into the daily dress practice.
