3D printing is a technology that uses digital models as the basis for constructing objects by printing layers of materials such as metal and plastic. Xiaoyu bamboo art is an intangible cultural heritage of Hunan Province, a process of heating and bending bamboo components to make them conform to the needs of the shape, combining traditional techniques such as piecing, inlaying and mortise and tenon fitting to create bamboo objects of different shapes. These two seemingly unrelated manufacturing skills, in the hands of Luo Jing, a teacher in the Department of Industrial Design at Shenzhen University, fused with each other and blossomed into a unique vitality.

"3D printing is a good innovation technology. I have personally experienced the development of digital technology from hand-drawn drawings, computer graphics, and then digital technology. Mathematical technology not only affects manufacturing, but also feeds design. Digital or 3D printing technology and traditional manufacturing is not a confrontational relationship, but rather a complementary advantage, 3D printing can make up for the shortcomings of traditional manufacturing, while the high efficiency of traditional manufacturing can complement the shortcomings of 3D printing. With the development of technology, the two can go hand in hand." Luo Jing said so.

Luo Jing tried to use 3D printing technology to create a set of "Huameng bamboo shadow" Xiao Yu bamboo art works, a total of 11 individual pieces, the color of the original bamboo color is the main, the material of bamboo and with the common material of 3D printing white photosensitive resin, not only make the work presented a certain sense of contrast, but also reflect the natural texture of bamboo and 3D printing technological sense. Taking a closer look at the work, the hollowed-out insect cocoon element is used several times, and its design inspiration comes from one of Luo Jing's countryside visits. There, she saw a hollowed out worm cocoon and couldn't forget the beauty of this kind of natural origin. By a subsequent coincidence, she led her students to an internship at Futureworks, which specializes in 3D printing services, and after learning that 3D printing could complete this hollow structure, she set out to try to combine 3D printing with Xiaoyu's bamboo art.

"The combination of 3D printing technology and non-traditional heritage can lead to more fruitful results in the development of traditional culture." 3D printing technology may be able to alleviate this dilemma, such as the use of 3D printing to repair broken excavated cultural relics, replicate traditional crafts and provide production The 3D printing technology may alleviate this dilemma. At the same time, the addition of this new technology, 3D printing, can also attract the eyes of young people, stimulate the interest of young people in intangible heritage culture, which will help the promotion of intangible heritage culture."

The silk mosaic that goes abroad
Filigree inlay is a long-heritage Chinese traditional handicraft technique, made of gold and silver wire. From a filament to a complete filigree inlay works, must go through a pile, base, weave, weave, pinch, fill, save, welding eight processes; in the actual production, each process and a thousand variations; because of its rare materials, complex technology, history is mainly used for royal jewelry production. The actual production of each process and a thousand variations; because of its rare materials and complex technology, historically mainly used in the royal jewelry production. With 127 years of history, Zuihua Jewelry has taken a different approach, from the clothing with focus on the innovative combination of filigree inlay and modern technology, resulting in unexpected effects, winning applause and respect on the international stage.

The "Blossoming Rich" filigree clutch bag was presented at Paris International Fashion Week, Cannes International Film Festival and the Filigree Global Tour, with the body of the bag hand-woven with filigree inlay, the veins and the border of the bag carved with burin engraving. Emerald butterflies, color layers, natural and dynamic; clutch closure with 3D printing modern technology processing, elegant lines, easy to open and close; clutch butterflies, dragonflies and other accents designed as a live clasp, can be turned into brooches, earrings, enhance its practical value.

"How China is perceived abroad depends on what we convey to the outside world?" Guo Yi long spear, a non-hereditary inheritor of flower and silk inlay and burin engraving and the design director of Zuihua Jewelry, said that the relative stereotypes formed in the West in the past were not because the traditional Chinese cultural elements were earthy, but the expression was not modern enough. From the practice of Zuihua Jewelry, it is feasible to interpret them in a way that is acceptable to modern people and that blends naturally with everyday scenes. "Older generations of craftsmen were concerned with the purity or difficulty of traditional skills, but we hope that things carrying non-heritage skills are not just pavilion displays, but should have a more intimate interaction with people and live in the present, allowing more people to feel the emotional attachment and temperature value in handmade products."

Fashionable transformation of embroidery
Embracing popularization and rejuvenation is becoming the consensus of more and more non-genetic inheritors. Based on the simple truth that "even a small craft can make a big difference", Qiao Xue, an inheritor of the non-hereditary embroidery technique and cheongsam handicraft, has embroidered stitch by stitch, step by step, and created the brand "Su Embroidery Family" with annual sales of over 100 million. "Jinxitang" is a brand with annual sales of more than 100 million dollars, and has widely applied its embroidery skills, such as Su embroidery and Xiang embroidery, to handicrafts, household goods, bedding, cheongsam and Chinese costumes.

Traditional Su embroidery and Xiang embroidery are about the exquisite and advanced craftsmanship, the more grand the embroidery the better, the more exquisite the pattern the better. For the new era of young consumers, Jinxi Tang changes its approach, combining traditional embroidery with modern design, based on the core DNA of cheongsam and embroidery, iterating on the design and fabric selection, and the overall style tends to draw closer to young people. Qiao Xue said that a creative design synergy mechanism has been established within Jinxi Tang, striving to make the cultural flavor, design ability and creative thinking of the non-hereditary heritage better serve the new design. Compared to traditional patterns such as peony and phoenix, today more localized non-heritage designs will be chosen, with modernized contours, lines and fabrics. In the design, the production team goes for simplicity by embellishing embroidery techniques such as three-dimensional embroidery, dazi embroidery, flat needle embroidery and pan gold embroidery in small areas, or using stand-up collar and hand-drawn coiled button elements in the silhouette cut to create a subtle and elegant national flavor, so as to adapt to commuting, office, travel and other life scenarios, which is widely loved by young people aged 18 to 35.

"The combination of traditional culture such as non-foreign heritage and fashion is an inevitable trend for future development, and the key depends on whether the essence can be captured." Qiao Xue said that the integration of the two is not simply using traditional patterns, but also digging deeper into Chinese culture and oriental aesthetics to internalize a new form of expression with a recognizable identity. To promote the inheritance of embroidery skills, Qiao Xue has trained more than 36,000 embroiderers in the handicraft skills of Suzhou and Hunan embroidery in more than 20 years, and has helped poor groups in mountainous areas by opening public welfare classes. "To truly do heritage, we need to make more young people like and want to engage in this line of work, provided that people can live a better life with this craft and be able to feed and clothe themselves."

The change and unchanging of scandinavian yarn
The silk yarn, also known as silk, is known as the "soft gold" in the textile industry, with its moist color, smooth texture and delicate feel, just like the second layer of human skin. However, the complicated and almost demanding hand-dyeing technique has made its inheritance face difficulties. "To promote the regeneration and innovation of the fragrant yarn with the power of art and design" is the solution given by Xing Lili, the founder of Dexi See Hagi.

In Xing Lili's eyes, Xiang Yun yarn needs to change and stay the same. What changes is the design, but what remains unchanged is the core of pure natural handicraft. "Fragrant cloud yarn is obtained from the interaction and intermingling of nature and man in heaven and earth, condensing the essence of nature." Lili Xing says that authentic Xiang Yun Sa needs to be made through 14 techniques, 36 processes, and 1-3 years of cellar storage. This involves using wild potato scopia with pure natural river pond mud as the dye, and drying the scopia on a sunny day above 25 degrees. As time passes, the scented yarn gradually takes on an "open" texture, creating a unique mark of time. "Each process, each dye, each year, has a direct impact on the quality of scented yarn; but it also gives it a natural temperature that is fascinating. This is its value, the core base of its heritage, which must never be discarded. See Hagi's brand origin also comes from this, this is our original heart, must adhere to."
On the basis of the original Shannon fabric, how to bring it into the contemporary life context? Lily Xing joined hands with fragrant yarn handicraft inheritors, scented mills, artists and designers to discuss more possibilities of non-heritage design and contemporary Chinese life aesthetics. She has led her team to draw cultural nutrients from history and culture, and through design transformation and innovation, to create a ready-to-wear collection that pays tribute to the aesthetics of the Song Dynasty, the bones of the Wei and Jin Dynasties, and the meteorology of the Sheng Tang Dynasty.

At the end of 2021, Lily Xing and her partners organized the "See Hagi Chinese Elegance" series of events around Tang culture in Luoyang. Since then, she has been associated with the Tang Dynasty, and the subsequent Spring/Summer 2022 collection of Deuxieme See Hagi is designed with this theme in mind, paying tribute to the Tang Dynasty. "The Tang Dynasty was a time when all nations came to visit, culture flourished, and society was open, tolerant, and free, full of cultural confidence. Tang Dynasty clothing was graceful, elegant and unconventional, and we wanted to incorporate these beautiful historical elements into our designs." Lily Xing explains, "This incorporation is not a figurative expression, but a metaphor. The patterned patterns and objects commonly used in the Tang Dynasty are deconstructed and reshaped to form a more modern line structure; based on the innovative exploration of the process of making fragrant yarn, a richer fiber texture is created and spliced with various types of silk brocade to find harmony in the collision. Shangyun yarn fabric itself is very Chinese and traditional. We hope to convey its temperament and charm through design with a more global mindset, making it more international and exploring the road of Chinese design innovation and cultural heritage in line with contemporary aesthetics."

The beauty of poetic art of ethnic costumes
With the rapid development of modern life, many ethnic non-traditional skills that originated in the mountains are facing the challenge of inheritance. Shenzhen-based clothing brand BBLLUUEE Pink Blue Fashion provides a reference for the inheritance and revitalization of non-heritage textile skills through contemporary cutting-edge design techniques. As its founder Li Feiyue said, "The vitality of fashion needs to be traced from traditional culture, which is also the origin of fashion's 'thousands of changes'."
The "Tracing Yi" high-definition cultural concept dress series is a useful attempt to create fashion with non-traditional elements. In Li Feiyue's eyes, the Yi people have a long history and splendid culture, and their specific natural environment and unique ethnic culture have created a unique aesthetic, resulting in a wide variety of colorful Yi clothing. The design of "Tracing Yi" is inspired by the Yi customs in the Daliang Mountains of Sichuan Province, adopting the technique of "writing God with form" and extending from the perspective of geography, humanities, craftsmanship and culture to realize fashionable and conceptualized redesign. In the collection, the designer not only makes flexible use of the Yi tie-dye technique, but also deconstructs and innovates the exquisite Yi embroidery technique. At the same time, the Yi silver ornaments are used to make the whole series of dresses infectious in the interweaving of light and shadow, showing the beauty of poetry and art in the fusion of ethnic culture and modern fashion.

The attempts of non-heritage design do not stop here. The "Tracing - Miao" high-definition cultural concept dress series originated from Li Feiyue's life in western Hunan when he was young, and the hometown of Miao designer Wu Shuli is also in Phoenix, western Hunan, which provides both spiritual and cultural support for the creation. The "Tracing - Miao" is divided into "Ink Dyeing Mountain Forest", "Sunrise Miao Ling", "Morning Mist Gauze", and "Miao Dyeing Dreams". "Miao Dyeing Dream Brocade" four series, the designer chose auspicious fish and dragon pattern, auspicious phoenix, sun totem and other Miao cultural elements into design strokes, the Miao culture of flow and stillness cleverly compatible, to build a sensual dream world and spiritual aspirations of women. Among them, the "Miao Dye Dream Brocade" series has the most sense of silhouette, with obvious Miao totems on the dresses, and the blue prints bloom warmly on the three-dimensional skirt, just like those girls who are not willing to be mediocre in the depths of the Miao Mountains, their beauty carries a sense of strength that is open and tenacious, gorgeous and exquisite.

Finding the vitality of non-foreign heritage in space
If traditional non-heritage materials and techniques are brought into modern architectural space, what kind of humanistic sense will be presented? Ju Bin, the founder and chief creative director of Horizontal Line Design, makes good use of various kinds of non-heritage materials and non-heritage craft techniques in architectural design, interior design, landscape design and product design. By extracting and applying the connotation of traditional oriental culture, art and philosophy, he expresses the design concept with a unique visual language and devotes himself to creating a modern design that truly belongs to China.

"Beginning with nature, based on humanity." It is Ju Bin's design preference to find design inspiration from the commonality and collision between tradition and the present, and to find the spiritual aspiration of design culture in the combination of historical memory fragments and current thoughts. In the design of Liang Yang Hotel in Xitang, which won the AHEAD GLOBAL 2019 Global Ultimate Award, he created a curved pathway outside the entrance with non-heritage bamboo weaving, just like a poem with a subtle but hazy fan; inside the hotel, bamboo weaving either replaces the wall, like a screen, with a gentle, sparse and dense separation; or is used as the skin of the space in the guest rooms and corridors, with the gaps and patterns between the bamboo gabions being meticulous but not too busy, forming a comfortable space. The gaps and patterns between the bamboo gabions are meticulous but not too cumbersome, creating a comfortable and unburdensome sense of appropriateness. Such as this, traditional architecture and contemporary life are dovetailed together, and the ancient and the modern collide while echoing a sense of place.

The vitality of non-traditional heritage is thus perpetuated as a vehicle for integration into modern life. "In our design, we are good at exploring more possibilities in traditional culture, giving each design a distinct personality and vigorous vitality. For example, building houses in the city with traditional rammed earth, designing and making lamps and artworks with Xuan paper, integrating traditional wood carving with art installations, and transforming woof, which is known as 'an inch of silk and an inch of gold', into home decorative art ...... "Ju Bin believes that innovation is a necessary initiative for the development of non-genetic heritage. As a designer is fortunate to explore the local characteristic attributes and non-hereditary cultural elements with the help of space carrier, and make reasonable conversion and application, which not only realizes the traditional cultural heritage innovation, but also makes the project with local and unique, realizing the dialogue between old and new, and the harmony between inside and outside.

Article Source:艺术与设计

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