Part
Looking to the Past
Paper 1 - THE VALUE OF BOND-PEARL LINE IN THE EXCHANGE ON THE
SILK ROAD
Wang Yi, Xia Mengying
Paper 2 - ROLE-REFURBISHMENT OF CLASSIC CARTOON "THREE MONKS"
Li Hongmei, Bo Fuli
Paper 3 - PANTS IN GENRE PAINTINGS OF THE SONG DYNASTY
Tan Rong
Paper 4 - SHAPE AND FUNCTION OF THE MANCHU SHORTAGE-FLY-ROBE
Wang Shuhui, Zhao Ming
Paper 5 - NATIONAL INTEGRATION IN KHITAN COSTUMES FROM MURALS IN
LIAO DYNASTY TOMBS
Zhou Ying
Paper 6 - FRAME AND DIVERSIFICATION IN SHIDONG MIAO EMBROIDERY
DESIGNS
Ho Zhaohua
Paper 7 - TRADITIONAL COSTUME FUNCTIONS, CUSTOMS TABOOS, AND
WEARING HABITS OF MIAO
NATIONALITY AND DONG NATIONALITY WOMEN IN SOUTHEASTERN
GUIZHOU
Zhou Meng
Paper 8 - MARY SEACOLE: A FEMALE WORLD TRAVELER AND APPEARANCE
MANAGER IN THE 1800s
Eulanda A. Sanders
Paper 9 - LANGUISHING CRAFTS OF INDIA
Vandana Bhandari
Part
Analyzing Textiles
Paper 10 - FABRIC PERFORMANCE OF DIFFERENT ABSORPTION AND
QUICK-DRYING FIBERS
Chen Lihua, Zheng Rong, Wei Linna
Paper 11 - OPTIMIZAITON OF BCF JET DESIGN BASED ON TRIZ
THEORY
Yang Enyuan, Dong Yuchuan
Paper 12 - CONTRAST ANALYSIS OF COLOR FASTNESS ASSESSMENT
RESULTS BY EYEBALLING AND
INSTRUMENTAL ASSESSMENT
Zhou Huanqing, Chen Lihua
Paper 13 - TESTING OF SEWING PENETRATION FORCE
Li Ying,Wang Yueping,Cao Yuansen
Paper 14 - EXTRACTION OF NATURAL DYES FROM THE FRESH RIND OF
MANGOSTEEN GARCINIA
MANGOSTANA L.
Basitah Taif, Noorsaadah Abdul Rahman
Paper 15 - EXPLORING MANUAL DYEING TECHNIQUES WITH PLANT DYES
AND PATTERN DESIGN
Wang Yueping, Zhang Yajun, Li Ying, Wang Haijian, Zhang
Zhengxue
Paper 16 - ANALYSIS OF HISTORICAL GOLD MOUNTING TEXTILE: "LIGHT
BROWN BROCADE WITH COILED
DRAGON AND FLORAL GOLDEN PATTERN" AS EXAMPLE
Chang Yiching
Part
Designing Apparel
Paper 17 -THE LANGUAGE OF PATTERN ALTERATION:CLOTHING MODELING
AND VISUAL EXPRESSION
Li Jingjing, Liu Ruipu
Paper 18 -ANALYSIS OF TWO KINDS OF BASIC PATTERN DESIGN METHODS FOR
MEN''S COATS
Yin FangLi , Liu RuiPu
Paper 19 - COMPARISON AND ANALYSIS ON GARMENT PROTOTYPES
Mu Lin
Paper 20 - INTEGRAL GARMENTS WITH DIFFERENT KNITTED STRUCTURES:
SIZE, SHAPE, AND
IMPLICATIONS FOR FIT
Traci A.M. Lamar, Yanxue Ma
Paper 21 -APPLICATION OF TRADITIONAL CHINESE ELEMENTS INTO
FASHION DESIGN-BASED ON
DUNHUANG ARTS
You Jia, Zhang Huiqin
Paper 22 - APPLICATION OF CHINESE CHARACTER PATTERNS IN COSTUMES
TO MODERN CHINESESTYLE
CLOTHING DESIGN
Zhang Ru , Liang Jingjing
Paper 23 -
INCORPORATION OF CULTURAL AND CREATIVE ELEMENTS INTO MODERN PRODUCT
DESIGN:
CASE STUDY OF FASHION SOUVENIR DESIGN FROM MUSEUMS IN LONDON
Shen Fei, Li Dong
Part
Integrating Form and Function
Paper 24 - IMPROVEMENT OF HUMAN COMFORT BY USING FUNCTIONAL
TEXTILES FOR THE LOW CUT
BACK VEST
Chang Yiching, Lee Kueichi, Miao Meifen, Yu Hueijen
Paper 25 - HIGH PERFORMANCE VOLLEYBALL SPORTSWEAR DESIGN
Wang Yongjin, Yuan Chutian, Diao Jie, Liu Li, Chen XinJian, Cheng
ChuMo
Paper 26 - ODOUR EVALUATION ON ANTIMICROBIAL TREATED FABRICS:AN
ASSESSMENT OF TEST
METHOD
Yin Xu, Rachel McQueen, Wendy Wismer
Paper 27 - WORKWEAR FOR PROTECTION FROM STEAM AND HOT WATER: THE
DESIGN PROCESS AND
MOCK-UP DEVELOPMENT
Sihong Yu, Megan Strickfaden, Elizabeth Crown
Paper 28 - PRIMARY AND MIDDLE SCHOOL STUDENTs UNIFORM SYSTEM
INNOVATION IN BEIJING
Gu Yuanyuan, Jiang Lei, Wang Yongjin, Pan Bo, Wang Qi
Paper 29 - COMPARATIVE STUDY OF RAILWAY UNIFORMS
Yang Jun, Zhang Hao
Paper 30 - COMPARATIVE STUDY OF DOMESTIC AND OVERSEAS STANDARDS ON
HEARING PROTECTORS
Qu Tingting, Zhang Hao, Zhou Hong, Li Jian, Guo Jing, Guo
Xinmei
Paper 31 - COMPARATIVE ANALYSIS OF DOMESTIC AND OVERSEAS
STANDARDS ON PROTECTIVE
CLOTHING AGAINST RADIOACTIVE CONTAMINATION
Wu Wen, Zheng Rong, Guo Jing, Li Jian, Zhou Hong, Guo
Xinmei
Paper 32 - COMPARATIVE ANALYSIS OF DOMESTIC AND OVERSEAS
STANDARDS ON CHEMICAL
PROTECTIVE CLOTHING
Zhou Yanfen, Zheng Rong, Li Jian, Guo Jing, Zhou Hong, Guo
Xinmei
Part
Conducting Business
Paper 33 - THE SOFT POWER OF FASHION: THE INFLUENCE OF FASHION
SHOWS IN CHINA AFTER
Chung Chiayu, Tsai Sulee, Ho Zhaohua
Paper 34 - BRIEF ANALYSIS OF THREE DIMENSIONS OF UNDERWEAR
INNOVATION PATTERNS
Shi Erle, Liu Yuanfeng
Paper 35 - EXAMINING THE AFFECTS OF RETAIL REVITALIZATION
EFFORTS ON RURAL RESIDENTS''
PERCEIVED SATISFACTION
Rosita Mohd. Tajuddin, Linda S. Niehm
Paper 36 - CHINESE MASS CONSUMERS'' PERCEPTION OF THE
INTERNATIONAL LUXURY FAHSION
WINDOW DISPLAY
Guo Wei, Wang Ziyi
Paper 37 - ORGANIZATION CHARACTERISTICS OF AFRO-BARBADIAN WOMEN
MICRO-ENTREPRENEURS
Amanda J. Muhammad, Jana Hawley
Paper 38 - PREDICTING INTENTIONS TO PURCHASE SUSTAINABLE APPAREL IN
CHINA
Han Yan
Paper 39 - SOCIALLY RESPONSIBLE ADVERTISING AND PROMOTION WITHIN
THE U.S. APPAREL AND
AUXILIARY INDUSTRIES: AN EXPLORATION OF STAKEHOLDER
PERSPECTIVES
Jennifer Paff Ogle, Karen H. Hyllegard, Mary A. Littrell, Marianne
Bickle, Nancy A. Rudd
Part
Teaching Future Professionals
Paper 40 - NYC STUDY TOUR: NEW YORK CITY AS A CLASSROOM WHILE
BRIDGING THE GAP BETWEEN
DESIGN SCHOOLS AND DESIGN HOUSES
Young Kim
Paper 41 - EXPERIMENTAL FASHION DESIGN: PRACTICAL AND
PEDAGOGICAL CONSIDERATIONS FOR
THE ADOPTION OF AN EXPERIMENTATION-DRIVEN FASHION DESIGN STUDIO
COURSE
Henry Navarro Delgado
Paper 42 - DEVELOPMENT AND INTEGRATION OF SURFACE DESIGN COURSES
INTO AN APPAREL DESIGN
CURRICULUM
Susan M. Strawn
Paper 43 - DIGITAL FASHION DESIGN: INNOVATIVE DESIGN BY USING
DIGITAL TECHNIQUES
Huang Zongwen
Paper 44 - CONSTRUCTION AND PRACTICE OF A BILINGUAL COURSE IN
FASHION DESIGN
Li Hongmei
Paper 45 - LAYERED LEARNING AS A NEW APPROACH TO ENHANCE THE
BENEFITS OF ACTION LEARNING
Donna Reamy, Kristin Caskey, Rose J. Regni, Deidra
Arrington
Paper 46 - CULTIVATING GLOBAL ENTREPRENEURS: AN EVOLVING
INTERNATIONAL EDUCATION PROGRAM
IN TEXTILES, APPAREL AND MERCHANDISING
Chuanlan Liu, Ye-Sho Chen, Lisa Barona McRoberts
Paper 47 - FROM MARSH TO MARKET: A CASE STUDY OF CREATIVE
STRATEGY FOR STREAMLINING
FUNDING, RESEARCH, AND TEACHING: PROMOTING GRADE 3 ALLIGATOR
SKINS
Lisa Barona McRoberts, Chuanlan Liu
Paper 48 - IMPROVING THE COMPETITIVENESS OF HIGHER EDUCATION
FASHION STUDENTS FOR
EMPLOYMENT
Shi Limin, Shi Jimin, Meng Qingyao
Paper 49 - WUHAN TEXTILE UNIVERSITY''S PRACTICES TO CULTIVATE
TALENT OF FASHION STUDENTS
Tao Hui
內容試閱：
Fashion Dialogue 2012BIFT-ITAA Joint Symposium
Looking to the Past
Part 1
001
Fashion Dialogue 2012BIFT-ITAA Joint Symposium
Looking to the Past
Part 1
001
THE VALUE OF BOND-PEARL LINE IN THE EXCHANGE ON THE SILK
ROAD
Wang Yi, Xia Mengying*
Beijing Institute of Fashion Technology, China
*xiran0213@vip.sina.com,
672750252@qq.com
ABSTRACT
The Silk Road was a significant connecting of economy, culture,
and technology between China and the West. During trading
on the ancient Silk Road, the introduction of foreign patterns
brought new vitality to traditional Chinese brocade art.
Through
research of the Bond-Pearl Line evolution and development, forms,
performance methods, and decorative themes, we can
analyze the Chinese human spirit that was reflected in the
evolution of traditional patterns, and the profound impact on
the
society that was brought by Chinese-Western cultural exchange on
the Silk Road. The Bond-Pearl Line gradually integrated with
Chinese traditional patterns, and finally formed a new feature
after development and change in several dynasties. This
article,
through sorting out the origin and development of the Bond-Pearl
Line, summarizes its historical, cultural, and artistic value,
thus
helping to expand the modern value of this pattern.
Key Words: Silk Road, Bond-Pearl Line, Value
In the Xihan dynasty, Zhang Qian explored the route lead to West,
which started from China Chang''an now Xi''an, passed by
Gansu, Xinjiang, central Asia, and some other west Asian
countries, and finally reaches Europe. This ancient trade route,
the
Silk Road, was a significant link allowing exchange of economy,
culture, and technology between China and the West. During
trading across the ancient Silk Road, the introduction of foreign
patterns brought new vitality to traditional Chinese brocade
art.
The Bond-Pearl Line pattern which was widely used in silk fabric
is a typical style that emerged from this interchange, and
has
significant value for research.
The Bond-Pearl Line consisted of numerous circles. It originally
prevailed in Persia in West Asia, and was introduced into
the area of the Yellow River and the Yangtze River of China in
the Southern and Northern dynasty periods. These kinds of
decorations were found in the unearthed brocade of the Turpan
tombs in Xinjiang, the murals of Mogao Grottoes of Dunhuang
in Gansu, and the silk fabric of the Tubo tombs in Dulan,
Qinghai. The Bond-Pearl Line was gradually integrated with
Chinese
traditional patterns, and finally formed a new feature after
development and change in several dynasties. Based on the
special
historical period of its existence and the unique form it
represents, this article attempts to analyze in three areas:
historical value,
cultural value, and artistic value.
1. HISTORICAL VALUE
The Bond-Pearl Line, originally used in Persia, was formed by
circles. In Persia, it was often used in the relief decoration
of
palace buildings, and later was also promoted to adornment of
fabric, pottery, and gold and silver articles. In China, the
society
was not very stable during the Southern and Northern dynasties
period; the war diffused and caused migration of all kinds of
minorities. During this period, the Bond-Pearl Line was
introduced into the area of the Yellow River and the Yangtze River.
The
once extremely popular traditional patterns, such as floating
clouds and animal patterns, gradually declined as a large
number
of patterns were influenced by Western themes. The Bond Pearl
Line''s full composition and symbolism of good fortune
received
people''s widespread appeal and became a very popular decoration
pattern in the Sui and Tang dynasties. The Bond Pearl Line
embedded the following kinds of historical value.
1.1 The Emergence of New Knitting Structure
Since the Pre-Qin dynasty, the silk pattern of China was mostly
in a horizontal strip arrangement. However, in the unearthed
brocade of the Southern and Northern dynasties, there were
textures with some new arrangements. The Bond Pearl Line
appeared as a new knitting structure, including the circular,
polygonal, arc, and a variety of other forms. It was formed in
skeleton
pattern with small circles. Together with cross combination with
its theme pattern, the designer is able to present various
new
002
Part 1 : Looking to the Past
style adornment patterns.
For decorative purpose, although the theme and color composition
are important, it is still the knitting structure which
determines
pattern style and features. The Bond-Pearl Line brought new
Western composition style which made the silk fabric more
exotic.
From analysis of archaeological material, the skeleton formed by
the Bond-Pearl Line has the following forms.
1.1.1 Circular Skeleton
The circular skeleton is the most common form with birds, beasts,
flowers, plants, and people inside the circle of the
Bond-Pearl.
In the statue of the Sui 420 grotto in Mogao Grottoes of
Dunhuang, we can clearly see the circular skeleton of the
Bond-Pearl
on the skirt. See Figure 1 for example and details. In the circle
of the Bond-Pearl Line, the artisan painter filled in with a
hunting
figure and a winged horse figure, represented a fighting scene
between a knight riding on an elephant and a fierce tiger.
Figure 1. Bond-Pearl Hunting Winged Horse Line
1.1.2 Polygonal Skeleton
There are diamond, square, and hexagon polygonal shapes. Examples
include the double-beats and double-birds brocade in
the museum of Xinjiang Uygur Autonomous Region. See Figure 2 for
example and details. This brocade was unearthed from
No.303 Turpan Astana barrow in Xinjiang in 1959. On it, the
Bond-Pearl Line constituted a diamond skeleton connected with
a
small eight-petal flower. The pattern theme was a winged horse
which was a typical design of central Asia, combined with the
form of a symmetrical pattern which was a traditional technique
of Chinese artisans.
Figure 2. double-beats and double-birds brocade, recovery
003
1.1.3 Arc Skeleton
The skeleton is a reform style of the circular skeleton in which
there are rings, waves, etc. The ring is composed of several
circles or ellipses; each individual round or oval is connected
by the Bond-Pearl Line. One form of the wave skeleton has its
Bond-Pearl Line joined but not crossed. See Figure 3 for example
and details. The other has its line crossed symmetrically.
Figure 3. Led Camel Line "Hu Wang" character brocade, preserved
by the museum of Xinjiang Uygur autonomous
region
1.2 Textile Technology Innovation
Although Chinese silk had developed for many years and created
abundant colorful patterns, it was always in a horizontal
strip
arrangement before the Han and Jin dynasties. Plain weave
technology was widely used and the patterns were presented by
warping different color threads vertically. The appearance of the
circular, polygonal, and arc Bond-Peal Line demonstrated that
the weaving technology brought change—diagonal fabric appeared.
The twill had one more ground harness on the basis of the
tabby, and had three twill patterns—one on top, two below.
After the Tang dynasty, twill fabrics which formed patterns by
weft threads appeared. This totally subverted chinese weaving
habits and had a huge impact on future generations. Displaying
design by colors of weft threads and organizing with
twill-weave
were traditions of the West, evolved from their knitwear
technology. The innovation represented changes in loom structure
and
skill training of workers. Since the Tang dynasty, Chinese
brocade completely abandoned fabrics which formed patterns by
warp
threads, moving towards the direction of weft jacquard. As a
result, the Tang dynasty fabric patterns were more flexible
and
colorful and the silk gloss was more clear and moving. This was
not only textile technology innovation, but also art creation
by
Chinese working people, reflecting ancient working people''s
diligence and wisdom.
2. CULTURAL VALUE
After introduction to China, the Bond-Pearl Line was given more
cultural connotation through thousands of years of
inheritance,
development, and innovation. Each kind of pattern or style
embodied the ancient working people''s customs, religions,
aesthetic
consciousness, and many other aspects. Its cultural value is
manifest in the following aspects.
2.1 The Aesthetic Values of Cultural Carrier
The pattern organization of different periods conveys different
aesthetic ideas. In the early stage when the Bond-Pearl Line
entered China, it still kept many of the central Asian
characteristics. But on the other hand, it was also completely
different from
the typical Persian Bond-Pearl Line in terms of technology and
pattern formation. Persian Bond-Pearl Line had a particular
combination form. The design focused on the circle, representing
the sky which had astrological implication. The Bond-
Pearl Line, formed by numerous small rounds along the circle,
meant holy light. And the theme patterns inside the circle
were semantically related with the sky or God, such as Pig-Head
Line or Winged-Horse Line, which had complex religious
significance. In the circles of the Persian Bond-Pearl Line,
theme patterns generally were individual patterns. Sometimes,
the
theme patterns of two Bond-Pearl circles were arranged adjacently
or backwards. With improvement of Chinese craftsmen, a
single Bond-Pearl circle began to appear in pairs or even warp
wise or broad wise symmetrically in the same circles. These
004
Part 1 : Looking to the Past
changes accorded with Chinese aesthetic ideas; the Persian
Bond-Pearl Line revealed a new style in chinese medieval
times.
Moving into the Sui dynasty, the Bond-Pearl Line had new
variation. Although circles still played a role for decoration
and
defining patterns, the frequently-used persian theme patterns
such as Monster Lines were gradually replaced by Chinese
traditional patterns such as the dragon, phoenix, and
Sheep-Lines. Monster Lines did not conform with the chinese
aesthetic.
In the Tang dynasty, the Bond-Pearl Line started to combine with
other decoration patterns, such as the combination of double
Bond-Pearl circles. See Figure 4 for example and details. Some
Bond-Pearl Lines used petals and grass outside of the circle
skeleton. Some directly changed into tiny rolled cloud, flowers
and plants lines instead of small circles, but still retained the
round
structure space. This groundbreaking style, fused by the Chinese
culture, sent out more graceful charm and characteristics
than the original Persian Bond-Pearl Line. It had a very high
aesthetic value and gained much love among the ancient
Chinese
people in the Sui and Tang dynasties.
Figure 4. Bond-Pearl double dragon ghatpot, preserved by the
museum of Xinjiang
Uygur Autonomous Region
2.2 The Carrier of Exchange Between Chinese and Western
Cultures
From development of the Bond-Pearl Line, we can see it embodied a
combination of Chinese and western culture through
constant innovation. In the Northern dynasty, lots of Sogdians
entered China. As a result, the style of Hu was very popular in
the
central region and enriched Chinese culture as a different
regional factor. The popularity of Bond-Pearl was closely related
with
it. Observation of central Asian murals and of the images on
Sogdian mortuary objects shows that at that time, the
Bond-Pearl
Line was the most popular design on fabric. At that time,
Sogdian''s silk production was only just begun so imports of
Persian
silk were required. Therefore Sogdian''s Bond-Pearl Line was very
similar to Persian style. In the Sassanid empire which ruled
the Persian kingdom, zoroastrianism was considered a state
religion. Therefore, themes of ancient astrology, mythology,
and
religion became common artistic subject matter. The animals in
the Bond-Pearl circle were more than beautiful decorations;
they held religious or mythological meaning. Although
zoroastrianism was taken to the central plains, the Chinese did not
widely
accept it, but instead developed a special love of the Bond-Pearl
Line.
China had begun imitating, processing, creating, and reprocessing
foreign cultures in the Tang dynasty and formed many
characteristic Chinese design patterns. Innovation does not mean
isolation, but a kind of innovation within heritance. Chinese
silks were mainly exported to central Asia and West Asian
countries. According to the national customs and religious habits
of
these sales destinations, China revised and designed appropriate
patterns. The Bond-Pearl Line which derived from Persia was
reserved in form, but replaced with Chinese content. With the
influence of cultural backgrounds and politics, nationality,
region,
people''s hobby, fashion, and custom, the innovative Bond-Pearl
Line had Chinese indigenous forms of grass, petals, and so
on.
Due to these characteristics of Chinese culture, the improved
Bond-Pearl Line gained appreciation by countries of central
Asia
and West Asia.
005
3. ARTISTIC VALUE
The Bond-Pearl Line expressed the simplest and purest aesthetic
ideals as well as artistic concepts of working people. The
pattern had high artistic value, which was an idealized art
reproducing the ancient national spirit by the hands of the
workers.
3.1 Enriched Form of Chinese Pattern
As an auxiliary pattern, the Bond-Pearl Line always serves as a
contrast or foil. As history progressed, the decoration
subjects
of the main body, or so called theme patterns, got increasingly
rich, and the ways of combination with the Bond-Pearl Line
were more varied. The transformation and differences of
Bond-Pearl Line, in terms of subject, array, size and shape, and
the
combination of the local patterns greatly enriched the form of
Chinese pattern.
One type of combination was integration of Bond-Pearl and Chinese
auspicious characters. Examples included Sui dynasty''s
Bond-Pearl ring"Gui"character brocade which was unearthed in
Xinjiang See Figure 5 for example and details, the Sui
dynasty''s Bond-Pearl Double Peacock"Gui"character brocade See
Figure 6 for example and details, the Tang dynasty''s
Bond-Pearl double birds double lion"Tong"character brocade, the
Tang dynasty''s Bond-Pearl Double Horses"Wu"character
brocade, and the Tang dynasty''s Bond-Pearl double birds
"Ji"character brocade. There were no necessary connections
between
characters and the Bond-pearl Line; it could be seen as the
primary stage of Bond-pearl Line synthesis. The second
combination
form was integration of Bond-pearl and Chinese inherent patterns.
In the brocade unearthed in Xinjiang, there were some of
these sorts called Bond-Pearl double phoenix brocade and
Bond-Pearl double dragon ghatpot. This combination of Chinese
and
western elements was the sign of further Bond-Pearl Line
synthesis.
Figure 5. Bond-Pearl ring "Gui" character Figure 6. Bond-Pearl
double peacock"Gui" Figure 7. Bond-Pearl small flowers
brocade,copy,Sui dynasty character brocade,Sui dynasty, unearthed
brocade,Tang dynasty
from Turpan,Xinjiang
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