Public welfare projects help the inheritance and innovation of traditional textile intangible cultural heritage skills
June 10 is Cultural and Natural Heritage Day, and this year’s theme is “Strengthening the Systematic Protection of Intangible Cultural Heritage to Promote Sustainable Development.” Up to now, a total of 43 intangible cultural heritage items in our country have been included in the UNESCO Intangible Cultural Heritage List and Register, ranking first in the world. Among them, three textile intangible cultural heritage projects include Chinese sericulture and silk weaving techniques, Nanjing Yun brocade weaving techniques, and Li traditional spinning, dyeing, weaving and embroidery techniques.
Creative design helps the intangible cultural heritage Li Brocade integrate into contemporary life
In Hainan, a “craft designer training” public welfare project aimed at improving the design level of inheritors is bringing more development ideas to the local Li traditional spinning, dyeing, weaving and embroidery skills.
Hainan Li brocade is referred to as “Li brocade”, which is the collective name for the Li people’s spinning, dyeing, weaving and embroidery techniques. Li brocade is my country’s earliest cotton textile with a history of more than 3,000 years and is known as the “living fossil” in the history of Chinese textiles. In 2009, the Li people’s traditional spinning, dyeing, weaving and embroidery skills were included in the first batch of UNESCO’s “Intangible Cultural Heritage in Urgent Protection” list.
Fu Xiuying, Hainan provincial-level Li brocade inheritor, told reporters that because it is purely hand-woven and embroidered, depending on the complexity of the pattern, a beautiful Li brocade work often takes several months or even years to complete. Although the colors are gorgeous and the patterns are exquisite, because most of the works are traditional patterns and patterns, it is difficult to gain recognition from current consumers.
Hainan Provincial Level Li Brocade inheritor Fu Xiuying: Because our inheritor is a weaver, she only knows how to weave things but does not know how to design things. No one wanted Li Jin’s works, so I had no choice but to work.
Knowing that insufficient design capabilities have become a bottleneck in the inheritance and development of many intangible cultural heritage projects, the China Textile Industry Federation and the China Women’s Development Foundation will launch the “Craftsmanship” project in 2022 Designer Training Charity Project” invites experts and designers from universities and the field of fashion design to offer relevant courses such as “Combining Fashion Design Concepts with Traditional Craftsmanship” to enhance the creative ideas of textile intangible cultural heritage inheritors and the market.
Liu Wei, China Textile Intangible Cultural Heritage Promotion Ambassador and Fashion Designer: On the basis of retaining traditional totem patterns, we improve them more from the aspects of color and matching skills, improve them from the modern aesthetic consciousness, and let good handicrafts Increase added value even more, allowing every weaver to create more value with her own craftsmanship.
The reporter learned that after combining modern aesthetics and creative design, traditional Li brocade can be widely used in home furnishings, cultural and creative products and other fields, and the added value has also been greatly increased. In the past, a weaver would make about 6,000 to 8,000 yuan from the traditional Li brocade works she sold for a year. For cultural and creative products empowered by creativity, with the same labor effort, the added value can be increased by 50% to 100%.
Li Wei, China Textile Intangible Cultural Heritage Promotion Ambassador and professor at Tsinghua University Academy of Arts and Design: Many craftsmen still stick to their manual skills, but how to develop in the future, we can promote design works to enter the large market faster.
Public welfare projects help the inheritance and innovation of traditional textile intangible cultural heritage skills
Today in Hainan, more and more people are participating in the inheritance and protection of Li Brocade, which has also injected more vitality into the innovative development of ancient Li Brocade.
The girl who is using professional computer drawing software to design Li brocade patterns is named Wang Ziying. At 24 years old, she is the youngest member of this “Craft Designer Training Charity Project”. Because of her love for Li Jin since childhood, after graduating from university, Wang Ziying decided to return to her hometown to start a business and join Li Jin in her hometown for development and innovation.
Wang Ziying, assistant designer at Bulibushe, Wuzhishan City, Hainan Province: I hope that we can convey what we learned in the training class to the weavers who do design, and tell them what kind of products the market needs, from consumer perspective Design from the perspective of the reader.
Liu Xianglan, a 54-year-old inheritor of the national intangible cultural heritage Li brocade weaving technique, also signed up for the training. She is even more confident in inheriting the Li brocade technique.
Liu Xianglan, inheritor of Li brocade weaving skills, a national intangible cultural heritage project: I have learned a lot. I have led 67 29 poor households before. Through this study, I have more ideas to use our Li brocade Combining elements of fashion with creativity and design concepts of cultural and creative products, I want to drive them to use crafts to improve their economic benefits.
According to reports, the “Crafts Designer Training Charity Project” plans to spend three years to carry out training in ethnic minority areas such as the Miao, She, Yao, and Yi ethnic groups. At the same time, it will organize students to participate in fashion weeks and the China Textile Intangible Cultural Heritage Conference. and other activities to help the inheritance and innovation of traditional textile intangible cultural heritage skills.
Let the world understand the beauty of Chinese clothing through inheritance and innovation
With the deepening of the protection and inheritance of textile intangible cultural heritage skills, many universities are also using their own disciplinary advantages to explore relevant talent training and jointly assist in the inheritance and protection of intangible cultural heritage of creative transformation and innovative development.
Clothing in BeijingIn our college, graduate students of the class of 2022 in the innovation direction of fashion design and innovation are listening to a lecture on clothing culture with the theme of “Inheritance and Innovation on the New Silk Road”.
Chu Yan, professor and fashion designer at Beijing Institute of Fashion Technology: To inherit traditional culture, we call it knowing where to go and knowing where to go. You have to create something better than the previous generation and more suitable for the present.
Inheriting textile intangible cultural heritage is not only a unique skill, but also a cultural spirit. Professor Chu Yan, the lecturer in the class, has designed costumes for major national events and major foreign affairs events such as the Beijing APEC meeting and the Beijing Winter Olympics. Chu Yan’s design works not only include many traditional Chinese intangible cultural heritage techniques, but also innovatively apply a large number of Han and Tang costumes, Silk Road aesthetic elements, etc. This clothing piece comes from her silk road aesthetic design series called “Xungui”. The collar adopts a simple design with multiple collars. The most distinctive feature is the winged horse embroidery pattern on the waist.
Chu Yan, a professor and fashion designer at the Beijing Institute of Fashion Technology: We discovered a winged horse on some Tang Dynasty fabrics unearthed in Xinjiang. We go to Central Asia today, such as some murals in Uzbekistan, including them You may see very similar patterns to this in ancient patterns, so on the Silk Road, Eastern and Western cultures, including clothing patterns, and manufacturing techniques, have been constantly blending. and collision. We also feel that it is very open and inclusive, and a concept of mutual learning between Eastern and Western civilizations.
In recent years, Chu Yan has led a team that has been committed to the research of Dunhuang costume culture on the Silk Road. In her opinion, Dunhuang is located at the intersection of Chinese and Western civilizations on the Silk Road. The exquisite and wonderful design of Dunhuang murals, unique clothing styles, and rich and gorgeous color patterns also reflect the Chinese nation’s costume art from an important aspect. trajectories of development and change. In the future, she hopes that through her designs, more young people can appreciate the excellent traditional aesthetic concepts in Chinese clothing culture.
Chu Yan, professor and fashion designer at Beijing Institute of Fashion Technology: Intangible cultural heritage skills need us to inherit and develop well, but more importantly, we must study the cultural spirit, aesthetic spirit and aesthetic temperament of our Chinese civilization, so that we can inherit them in the future A clothing expression that better demonstrates our Chinese culture and the spirit of the times.
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