Research On Techniques And Culture Of Tianmen Blue Calico

In thousands of years of Chinese history,there have been many world-famous printing and dyeing skills.The geographical environment,regional culture and textile technology in different regions are the important reasons for the formation of traditional textile printing and dyeing styles;The local conditions and customs,beliefs,customs and cultural tastes in different places are the background of the interpretation of the symbols of traditional textile printing and dyeing;The technical culture behind the printing and dyeing embodies the relation between the technical level and the artistic realm,printing and dyeing culture has become another manifestation of regional culture.In 2011,it inherited the ancient "dyeing" technology,which has the characteristics of simple,bold,strong,calm fresh and bright,and distinct characteristics in patterns,composition and implication.The technical characteristics of this craft have become an important carrier of the spirit of the workers in Jiang-Han Plain,and the artistic and cultural connotations of it have become a distinctive feature of the "blue print" which is different from other local blue print.In ancient textile engineering and Chinese arts and crafts history,there are countless literatures about Chinese blue calico.The studies of blue calico in some places(Such as Nantong blue calico,Hunan blue calico,Shandong blue calico and so on)are quite a lot,but there are few studies on Tianmen blue calico.This paper is based on the perspective of the protection of Intangible Cultural Heritage.Tianmen blue calico traditional dyeing techniques were collected and studied systematically,to objectively show Jing-Chu area traditional dyeing techniques and weaving culture.This paper is divided into six chapters:The first chapter is introduction.Firstly,the concept and geographical distribution of Tianmen blue calico were briefly expounded,and then the purpose and significance of the study were discussed in detail.The method of pointing out the research goal of this topic is field investigation and historical literature analysis,exploring and sorting out the whole process of Tianmen blue calico,from raw materials to technology,from finished product to social application.On the basis of historical facts,oral dictation and experiments,the author strive to explore its concept,characteristics,classification,characteristics and value thoroughly,and further study its technology,technology and cultural characteristics,and to excavate the developing process of traditional printing and dyeing techniques in Jing-Chu area,and to further obtain the technical,social and cultural information of the Tianmen blue calico.Then the research status of Tianmen blue calico is summarized.The second part introduces the history and industry changes of Tianmen blue calico.The history of Tianmen blue calico are pointed out from three aspects: the archaeological clues of blue printing and dyeing and technology development,the technique history of anti printing,the development of printing type version.The change of Tianmen blue calico industry is introduced from the two aspects of prosperity and decline.The third part introduces the technology of Tianmen blue calico.This part mainly introduces the tools of Tianmen blue calico,the process and the modern innovation technology.The fourth part summarizes the artistic connotation and cultural characteristics of Tianmen blue calico.Respectively,five aspects of Tianmen blue calico art and cultural characteristics were analyzed: The color,art,design art,the comparison of the folk craft of blue print in other regions,the comparison of other folk crafts in Jing-Chu area,as well as the cultural features and stories,legends,etc.The fifth part discusses the analysis and protection technology of Tianmen blue calico.The emphasis is on the analysis of the degradation characteristics of the printed fabric of Tianmen blue calico and pointed out the protection method of ancient fabric printing and dyeing.The sixth part looks forward to the innovation and application of Tianmen blue calico.Innovative applications in apparel and home textiles are also a special point of this study.Combined with the technological characteristics and development trend of Tianmen blue calico,targeted suggestions for modern innovative applications were put forward.Combined with protection and inheritance,cultural return and technological innovation,three aspects were put forward to protect textile intangible heritage.The new conclusions have been made in the study as the follows:1.Textual research on pertinent literature of the Chinese ancient indigo plant.The art of blue calico originates from planting bluegrass and making blue dye.Literature concerned started from Xia and Shang Dynasties,there was a large number of production made by indigo in the Ming and Qing Dynasties.There are many kinds of plants for making blue dye,while the records of it in ancient books and folklore were in a mixed state for a long time.On the basis of previous studies,combined with field investigation preliminary identification of ancient literature,the author thinks that the literature records 5 different bluegrass,but only 4 still in use today: Indigo plant,Indigofera tinctoria,Isatisindigotica and Strobilanthes cusia.The records about blue plants names in Compendium of Materia Medica and Heavenly Creations have certain difference with modern names.Isatisindigotica and Strobilanthes cusia in the first book are all called Isatisindigotica now.Isatisindigotica in the second book is called Strobilanthes cusia now.Both of them call Isatisindigotica Strobilanthes flaccidifolius.2.Clarified the development skeleton of blue calico.On the basis of systematically analyzing the history of Chinese blue calico printing and dyeing technology,the classification of traditional textile printing has been straightened out,and the development chart of blue calico has been summarized.Through textual research on the earliest Chinese resist printing fabric and blue printed fabric,we think China traditional resist printing techniques can be traced back to the Spring and Autumn period.Meanwhile,the Eastern Han Dynasty is an important period of transition from direct printing to resist printing;The blue calico cloth resist dyeing technique is a kind of printing derive from "Jia Xie" and "Hui Xie",and are closely related to other printing and printing techniques;It is considered that the blue calico has the longest history of Chinese traditional textile printing and the most diverse printing products in the process,including different processing method like "La Xie","Jiao Xie","Jia Xie","Hui Xie",etc.The modern blue calico is the concrete display of the traditional scraping and resist dyeing technology.3.Discussed the problems about the origin of the stencilling printing.The author and most of scholars hold the same view that duplex ramie fabric printing found in the tomb of Guixi Jiangxi China is the earliest known printed fabrics.At the same time,we deny the conclusion in "General history of Chinese printing" which is considered to be a stencil printing on the type of printing,and refute the negative views put forward by the scholars concerned.The author believes that the combination of literature and cultural relics should be used as a double basis to make a more accurate judgment.The data from literature and unearthed cultural relics as well as the author's new historical materials proved that dyeing and printing technology has developed to a higher level in the Spring and Autumn period.It is very likely that printing fabrics will appeared in this period,and the objectivity of textile archaeology should be maintained without the discovery of new historical materials.4.Summed up the "Knife Breaking" technology in stencilling printing.The carved stencil is an important tool for textile printing.Tianmen called stencil printing as "blue embroider" and "white embroider".The handicraftsman is expert in "Knife Breaking" technology,who was excellently skilled.In the design,if the design line is too long or too large curvature,the craft will use the "Knife Breaking" approach(flat cutter and oblique).An artisan must have the concept of point,line and surface in the early stage of conception,which can make "Separate Strokes,Connected Meaning".5.Analyzed of the pattern art of Tianmen blue calico.It pays attention to the harmony and unity of the picture in the composition,and applies the point,line and surface properly;The characteristics of the pattern are auspicious patterns,comprehensive composition and continuous points and lines.According to the design,the structure of metrical form,equilibrium arrangement of scattered points,upright arrangement with a direction,arrangement suitable for the pattern,will all be noticed.These methods of expression are not only the practice of technology,but also the aesthetic characteristics of art.It has a close relationship with Chu Culture(Jing-Chu culture),religious culture,city culture(local culture),folk-custom culture and so on.But the author hold that the Jingchu culture is the "root" and "soul" of the traditional pattern pattern of the Tianmen blue calico.Based on a comparative analysis of archaeological discoveries in Jingzhou and the Warring States Chu and other folk art,we can make a conclution that Tianmen blue calico and various works of art in Jing-Chu area have the same origins.The modern design also has "Jing-Chu legacy" style.6.Putting forward the modern digital protection method of Tianmen blue calico.The author discusses digital collection and storage technology,digital cultural's restoration and reproduction technology,digital display and communication technology and virtual reality technology.It's believed that the construction of modern digitalized ecological museum is the most effective digital protection mode at present,which can achieve better inheritance and protection of textile intangible cultural fabrics.7.Dialectical view of the innovation of the modern dress of the Tianmen blue calico.The author hold that the Tianmen blue calico is the product of the nation,dress innovation should turn the national elements into fashion,combine traditional art with modern design,take longitudinal axis as the skeleton,and highlight the new changes in colors,patterns,fabrics and forms.At the same time,we believe that innovation is not unlimited,and we need to make reasonable and appropriate applications based on some certain prerequisites.