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Applications of Asian Abstract Imagery in Modern Fabric Design

机译：亚洲抽象意象在现代面料设计中的应用

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The purposes of this study include: (1) integrating Asian aesthetics and western fashion, forming a unique fabric deign encompassing multiple cultures and design languages, (2) re-thinking and investigating the design of needle punched felt based technique, with Asian culture elements, on fabric design, (3) investigating the painting style of the famous Chinese French painter, Wou-Ki Zao, and the application of his color concept into modern fabric design. The research process was divided into four stages: (1) Studying the painting style of Wou-Ki Zao, identifying his most famous artworks, and analyzing the unique characters of his artworks. (2) Analyzing ancient felting technique, studying its applications on modern crafts and designs, and applying needle punched felting technique to create fabrics resembling oil-painting. (3) By employing the creation framework and processes, extracting key colors and then applying in modern fabric design, and (4) Examining this works of fabric design and discussing the opportunities in continuing the development in this fashion design. The results show that (1) Master Zao made cross-cultural art and aesthetic easier to be understood and enable the West to understand and appreciate Asian art and painting. (2) Many concepts such as abstract and concrete, art and fashion, sense and sensibility, old and modem, east and west, appear to be opposite, but are complimentary. As Kandinsky, master of abstract painting, described the elements of painting: Painting is not unintentional but intimately related, and all phenomena have dual nature, external and internal. When applying needle punched felt technique on painting, abstract patterns of people, objects, locations, and things are created. The compositions were based on the simple elements of painting, color, lines and shapes. Although the painting seems to be abstract in appearance, but the expression is concrete at its core. (3) A series of abstract painting-like fabric designs were developed to demon-strate an inclusion of concrete and external, and abstract and internal in the same art works. The fabric designs are touchable and fashionable, but also full of invisible cross-cultural aestheticism. (4) These two-dimensional fabric works can be further used in the three-dimensional fashion design, expanding the applications of cross-cultural art design.
机译：这项研究的目的包括：（1）融合亚洲美学和西方时尚，形成一种涵盖多种文化和设计语言的独特织物设计，（2）重新思考和研究基于针刺毡技术的设计，并结合亚洲文化元素在面料设计方面，（3）研究了中国著名法国画家赵无极的绘画风格，并将其色彩观念应用到现代面料设计中。研究过程分为四个阶段：（1）研究赵无极的绘画风格，确定其最著名的作品，并分析其作品的独特性。 （2）分析古代毡制技术，研究其在现代工艺和设计中的应用，并应用针刺毡制技术创建类似于油画的织物。 （3）通过使用创建框架和过程，提取关键颜色，然后将其应用于现代织物设计中;以及（4）检查此织物设计作品，并讨论继续进行此服装设计开发的机会。结果表明：（1）赵无极大师使跨文化艺术和美学更易于理解，并使西方人能够理解和欣赏亚洲艺术和绘画。 （2）许多概念，例如抽象与具体，艺术与时尚，感官与情感，古老与现代，东方与西方，似乎是相反的，但却是互补的。正如抽象绘画大师康定斯基（Kandinsky）描述绘画的要素一样：绘画不是无意的而是紧密相关的，并且所有现象都具有内在和内在的双重性质。将针刺毡技术应用于绘画时，会创建人，物体，位置和事物的抽象图案。组成基于绘画，颜色，线条和形状的简单元素。虽然这幅画看上去很抽象，但其表达是具体的。 （3）开发了一系列抽象绘画样的织物设计，以展示同一艺术作品中混凝土与外部，抽象与内部的融合。面料设计既触感又时尚，同时也充满了看不见的跨文化美学。 （4）这些二维织物作品可以进一步用于三维服装设计中，扩大了跨文化艺术设计的应用范围。

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