scholarly journals Research on Contemporary “Chinese Theme” Fashion Design based on Aesthetic Distance Theory

2020 ◽  
Vol 16 (10) ◽  
pp. 57
Author(s):  
Yuru Ma ◽  
Xiangyang Bian
Keyword(s):  
Fundamental Principle ◽  
Fashion Design ◽  
Chinese People ◽  
The West ◽  
Basic Principles ◽  
Design Elements ◽  
Avant Garde ◽  
Clothing Design ◽  
Aesthetic Distance ◽  
Contemporary Chinese

Chinese theme or style has a long history in international fashion design; it is a common theme for Chinese and western designers to pursue Oriental sentiment and express Oriental aesthetics. However, for contemporary Chinese theme fashion design, Chinese and western designers have different understanding and interpretation, and there are many differences in design techniques and effects. In this paper, we propose to research on contemporary Chinese theme fashion design based on the theory of aesthetic distance, and interpret the essence of Chinese theme fashion design from different aesthetic distances. In addition, the basic principles of contemporary Chinese theme clothing design are summarized through the analysis and comparison of Chinese and western design cases. The results show that Chinese theme design, to the West, represents “the other” and “exotic theme” in a modern way; while in the eyes of Chinese people, it is a contemporary embodiment of “retro theme”. The clothing design in modern Chinese fashion should, based on the design elements collected in an expansive and deep way, pursue the balance and integration of “conservative” and “avant-garde” elements and the harmony of “form” and “spirit”, abiding by the fundamental principle of “absorbing tradition” to “create the present”.

scholarly journals The Application Status of Chinese Traditional Cultural Elements in Modern Clothing Design

2019 ◽  
Vol 3 (4) ◽  
pp. 119
Author(s):  
Yuxue Zou
Keyword(s):  
Traditional Culture ◽  
Value Orientation ◽  
Fashion Design ◽  
Cultural Elements ◽  
Design Elements ◽  
Clothing Design ◽  
Cultural Connotation ◽  
Art Forms ◽  
History Of

<p>China has a long history of Chinese civilization and profound traditional culture. The design elements contained in the Chinese civilization and traditional culture, with diverse forms, broad themes, long-lasting and rich connotations, are worthy cultural essences and cultural treasures and any other art forms are difficult to replace the historical status of this essence. The fashion design trend prevailing in the commodity world has been rooted in the soil of Chinese traditional cultureand constantly absorbs the creative essence of design elements, hoping to inject positive cultural connotation into the construction of value orientation in modern fashion design.</p>

The Principles of Layout and How Those Apply to Digital Electronic Book Publication

DeKaVe ◽  
2017 ◽  
Vol 8 (2) ◽  
Author(s):  
Yusuf Hendra Yulianto
Keyword(s):  
Print Media ◽  
Electronic Media ◽  
Web Pages ◽  
Electronic Book ◽  
Electronic Books ◽  
Basic Principles ◽  
Design Elements ◽  
Media Type ◽  
The Media ◽  
Book Publication

When designing a layout, the designer must be aware of fundamental principles so as to make the design structured and consistent. When planning layout, a designer cannot be random and must consider essential factors, such as the media type, the readers, the design elements and so on. Electronic media, like web pages and electronic books, is a newer media than the print media, and is different in several aspects. Yet, the basic principles of the design are still identical. A solid layout is a great tool in communicating messages visually.

Prinsip Estetika Pakaian Cosplay Yogyakarta: Fantasi dan Ekspresi Desain Masa Kini

Panggung ◽  
2014 ◽  
Vol 24 (1) ◽  
Author(s):  
Deni Setiawan ◽  
Timbul Haryono ◽  
M. Agus Burhan
Keyword(s):  
Design Principle ◽  
Point Of View ◽  
Japanese Culture ◽  
Dress Code ◽  
Design Elements ◽  
Social Communities ◽  
Organic Unity ◽  
Clothing Design ◽  
Digital World ◽  
Balance Principle

ABSTRACTCostume, dress code, animation, comics, legends, and manga, are inseparable parts of the cosplay costume. Those parts give fantasy and digital world discourse through costume style. Its spiritual domain stands on Japanese culture by being cultured through clothing. One of them, cosplay ideo- logy, reflects the self-imaging through social communities, as an e?ort for group and self-existence. Cosplay entity bridges fantasy and real world, presents designers’ expressions through the costume designs to show. This writing will be analyzed by using the main theories based on Dewitt H. Parker point of view, in The Principles of Aesthetics, which divides principles of aesthetics into three, they are: Principle of Organic Unity, Principle of Dominant Element, and Principle of Balance. Principle of organic unity indicates that cosplay clothing is an accumulation of design elements, to refer and mark a figure. Principle of dominant element, is accentuation, or the center of interest of a cosplay clothing design. Principle of balance, see placement and setting ornamentation applied to cosplay clothing.Keywords: cosplay clothing, principles of aesthetics, costume style, YogyakartaABSTRAKPakaian, dress code, animasi, dan manga, merupakan unsur yang tidak terpisahkan dalam pakaian cosplay. Unsur-unsur tersebut merupakan wacana dunia digital dan fantasi pada dunia pakaian. Ranah spiritualnya berp?ak pada kebudayaan Jepang yang dibudayakan melalui pakaian. Ideologi cosplay salah satunya menggambarkan pencitraan diri komuni- tas sosial, sebagai usaha untuk aktualisasi diri. Entitas cosplay mampu menjembatani du- nia fantasi dan realita, yang membelenggu keinginan manusia untuk bergaya. Tulisan ini akan dianalisis dengan teori pokok berdasarkan pandangan Dewitt H. Parker, dalam The Principles of Aesthetics, yang membagi prinsip estetika menjadi tiga, yaitu: prinsip kesatu- an organik, prinsip unsur dominan, dan prinsip keseimbangan. Prinsip kesatuan organik menunjukkan, bahwa pakaian cosplay merupakan akumulasi dari unsur-unsur desain, un- tuk merujuk dan menandai tokoh. Prinsip unsur dominan, merupakan aksentuasi, atau pusat perhatian dari sebuah desain pakaian cosplay. Prinsip keseimbangan, melihat penem- patan dan pengaturan ornamentasi yang diaplikasikan pada pakaian cosplay.Kata kunci: pakaian cosplay, prinsip estetika, gaya pakaian, Yogyakarta

On Sinofuturism

Screen Bodies ◽  
2020 ◽  
Vol 5 (2) ◽  
pp. 46-62
Author(s):  
Yunying Huang
Keyword(s):  
Artificial Intelligence ◽  
Pop Culture ◽  
Chinese People ◽  
Modern Chinese ◽  
The Future ◽  
Dominant Design ◽  
Urban Rural ◽  
Cultural Expressions ◽  
Contemporary Chinese

Dominant design narratives about “the future” contain many contemporary manifestations of “orientalism” and Anti-Chineseness. In US discourse, Chinese people are often characterized as a single communist mass and the primary market for which this future is designed. By investigating the construction of modern Chinese pop culture in Chinese internet and artificial intelligence, and discussing different cultural expressions across urban, rural, and queer Chinese settings, I challenge external Eurocentric and orientalist perceptions of techno-culture in China, positing instead a view of Sinofuturism centered within contemporary Chinese contexts.

The Heart Admonition of the Ancient Chinese Classic Shujing: An Episode from History of Its Interpretation in the West and Russia

2021 ◽  
pp. 194-208
Author(s):  
Lidiya V. Stezhenskaya ◽  
◽  
Keyword(s):  
Russian Translation ◽  
Chinese Philosophy ◽  
Chinese People ◽  
The West ◽  
Chinese Thought ◽  
Chinese Studies ◽  
History Of ◽  
The Ancient Chinese ◽  
Chinese Classic ◽  
Better Than

Autochthonous traditional Chinese thought in its most developed form could be found in the philosophy of Neo-Confucianism, which continues to be a sig­nificant factor in the modern national consciousness of the Chinese people. At the same time, the pre-emptive attention of Western Sinology and Russian Chinese studies to early Confucianism does not fully take into account the Neo-Confucian interpretation of the ancient Chinese classics. Russian and Western translations of the so-called Sixteen-Word Heart Admonition (Shi liu zi xin chuan), a passage from Chapter III “Da Yu mo” (Councel of Yu the Great) of the ancient Chinese classic The Book of Historical Documents (Shujing) by A. Gaubil, N.Ya. Bichurin, D.P. Sivillov, W.H. Medhurst, J. Legge, S. Couvreur, and W.G. Old demonstrate the gradual assimilation of its Neo-Confucian inter­pretation by Western and Russian translators. Archimandrite Daniil (Dmitry P. Sivillov), in his unpublished Russian translation of Shujing of the early 1840s, adopted this interpretation earlier and understood it better than the others. It is assumed that rejection of the Manchu language mediation and peruse of the con­temporary Neo-Confucian commentaries played the key role in his success. The importance of Neo-Confucian hermeneutics research for the studies of tradi­tional Chinese philosophy, including ancient Chinese classics, is emphasized. The text of the previously unpublished Shujing Chapter III Da Yu mo Russian transla­tion by archimandrite Daniil is attached.

Reminiscences. By Xin Fengxia. Translated from the Chinese by Gladys Yang.[Beijing: Panda Books, 1981–1982] - Beneath the Red Banner. By Lao She. Translated from the Chinese by Don J. Cohn. [Beijing: Panda Books, 1981–1982] 215 pp. - Seven Contemporary Chinese Women Writers. By Ru Zhijuan, Huang Zongying Translated from the Chinese by Yu Fanqin, Wang Mingjie , with a preface by Gladys Yang. [Beijing: Panda Books, 1981–1982] 280 pp. - A Pitiful Plaything and Other Essays. By Li Guangtian. Translated from the Chinese by Gladys Yang. [Beijing: Panda Books, 1981–1982] 154 pp. - Recollections of West Hunan. By Shen Congwen. Translated from the Chinese by Gladys Yang. [Beijing: Panda Books, 1981–1982] 195 pp. - Autumn in Spring and Other Stories. By Ba Jin. Translated from the Chinese by Wang Mingjie, Gladys Yang [Beijing: Panda Books, 1981–1982] 147 pp. - The Three Kingdoms, Pilgrimage to the West, Flowers in the Mirror: Excerpts from Three Classical Novels. Translated from the Chinese by Yang Xianyi and Gladys Yang. [Beijing: Panda Books, 1981–1982] 295 pp. - Selected Tales of Liaozhai. By Pu Songling. Translated from the Chinese by Yang Xianyi, Gladys Yang [Beijing: Panda Books, 1981–1982] 151 pp.

1984 ◽  
Vol 98 ◽  
pp. 381-382
Author(s):  
Beth McKellop
Keyword(s):  
Women Writers ◽  
Chinese Women ◽  
The West ◽  
Shen Congwen ◽  
Lao She ◽  
Ba Jin ◽  
Contemporary Chinese

Kazuo Ohno's World from Without and Within. By Kazuo Ohno and Yoshito Ohno. Translated by John Barrett. Middletown, CT: Wesleyan University Press, 2004; pp. 344. $34.95 paper.

2005 ◽  
Vol 46 (2) ◽  
pp. 315-317
Author(s):  
Kurt Wurmli
Keyword(s):  
Academic Research ◽  
Modern Dance ◽  
Deep Understanding ◽  
Research Centers ◽  
The West ◽  
Avant Garde ◽  
Art Form ◽  
The World ◽  
Inside View ◽  
Scholarly Attention

Kazuo Ohno and Tatsumi Hijikata are recognized as the most influential creators of the contemporary Japanese dance form known today as butoh. Since its wild and avant-garde beginnings in the late 1950s, butoh has evolved into an established and appreciated art form throughout the world. Despite its popularity and strong influences on the international modern dance world, butoh only recently became an accepted subject for academic research in Japan as well as in the West. With the new opening of butoh research centers and archives—such as the Ohno Dance Studio Archives at BANK ART 1929 in Yokohama, the Kazuo Ohno Archives at Bologna University in Italy, and the Hijikata Tatsumi Archives at Keio University in Tokyo—serious scholarly attention has been given to the art of butoh's founders. However, the lack of firsthand sources by butoh artists reflecting their own work still poses great limitations for a deep understanding of the art form. Kazuo Ohno's World from Without and Within is not only the first full-length book in English about the master's life and work, but also offers a rare inside view of butoh.

scholarly journals 3D print additive technology as a form of textile material substitute in clothing design – interdisciplinary approach in designing corsets and fashion accessories

2018 ◽  
Vol 69 (03) ◽  
pp. 190-196 ◽  
Author(s):  
KONČIĆ JASMINKA ◽  
ŠČAPEC JOSIPA
Keyword(s):  
Contemporary Art ◽  
Interdisciplinary Approach ◽  
Additive Technologies ◽  
Textile Material ◽  
Fashion Design ◽  
Additive Technology ◽  
3D Print ◽  
Clothing Design ◽  
Design Options ◽  
Interdisciplinary Process

This research paper enquires into the application of 3D print additive technology in fashion design. The research aims to find the design options for garments by substituting the textile material with new technological solutions. The focus of the paper is the interdisciplinary research of innovative corset and fashion accessories designs made using 3D print additive technologies. The main focus of the work is the interdisciplinary process of creating clothes ranging from preliminary sketches to prototypes within three different areas: contemporary art, fashion design and additive technology.

The Avant-Garde of System-Cybernetic Governmentality

2016 ◽  
Author(s):  
Eglė Rindzevičiūtė
Keyword(s):  
Market Economy ◽  
Systems Approach ◽  
Free Market ◽  
Self Regulation ◽  
Free Market Economy ◽  
The West ◽  
Avant Garde ◽  
History Of ◽  
Soviet Russia ◽  
Complex Question

This epilogue addresses the complex question of the link between system-cybernetic governmentality and the neoliberal transformation of post-Soviet Russia. Although the system-cybernetic governmentality and economic neoliberalism did not share institutional origins, they were linked during the post-Soviet transformation as a result of historical momentum: the members of the Soviet systems approach community were best positioned to conduct the transfer of the models of the market economy from the West at a time when neoliberal ideas on the free market economy were gaining popularity. However, this should not mean that the pre-1980 history of system-cybernetic governmentality should be tainted as neoliberal; rather, this reveals the extent to which scientific governance can be appropriated by different economic and political regimes. If anything, the pre-1980 history of system-cybernetic governmentality is a history of a rather liberal governmental technology, underscoring the conditions of autonomy, self-regulation, and government at a distance.

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