The Influence of the Integration of Transcontinental Traditional Craft on the Development of Ethnic Culture
Liang Xian1*, Mohd Jamil Mat Isa2
1 Art and Design, Universiti Teknologi MARA, Shah Alam, Malaysia
2 Fakulti Seni Lukis & Seni Reka, Universiti Teknologi MARA, Shah Alam, Malaysia
*Corresponding Author: [email protected] Accepted: 15 March 2023 | Published: 31 March 2023
DOI:https://doi.org/10.55057/ajress.2023.5.1.15
__________________________________________________________________________________________
Abstract: This paper mainly analyzes the feasibility of the integration of different ethnic traditions from the perspective of transcontinental. The main research object is the weaving and dyeing craft of the Malay, Dong and She ethnic groups. In order to demonstrate the view that "integration of traditional craft has a positive role in promoting the development of national culture", the researcher used field research, literature analysis, studio research, etc., to make a comparative analysis of the dyeing and weaving craft of the Malay, Dong and She ethnic groups. The research shows that there are similarities in the traditional dyeing and weaving processes of these three ethnic groups. No matter the production techniques, pattern elements or color matching, they can be restructured and integrated in the process innovation.
Therefore, through the fiber creation experiment, the researcher demonstrated that the application of contemporary art creation concept can not only improve the artistic taste of traditional craft, but also enrich the transmission channels of ethnic culture and enhance the self-confidence of culture. The integration of traditional crafts promotes the political cultural exchanges of different nationalities and promotes the development of ethnic culture.
Keywords: integration, transcontinental, traditional crafts, development, ethnic culture ___________________________________________________________________________
1. Introduction
National culture is the historical witness of the development of human civilization and the spiritual pillar to build national confidence. Traditional arts and crafts reflect the charm of national culture, which is the embodiment of people's perception of natural beauty and love for life. In addition, the application of traditional craft also reflects the status quo of social economic production and cultural level to some extent.
“The country has more than 30 peoples in Malaysia, but Malay account for most of the population” (Wang, 2019). As the most populous ethnic group in Malaysia, Malay not only has a profound history, but also its traditional arts and crafts are the representative of Malaysia's traditional culture. Dong and She are ethnic minorities in China, distributed in Guizhou, Guangxi, Fujian and other provinces. Compared with other ethnic groups in China, Dong and She have not the largest population, but their traditional ethnic handicrafts are highly distinctive. After investigation and analysis, the researcher found that although the Malay, Dong and She ethnic groups come from different countries or regions respectively, the Batik and textile crafts of the Malay have something in common with the weaving and dyeing crafts of the Dong and She ethnic groups, and can be integrated and innovated in the aspects of
pattern, color and production technology. Therefore, the researcher put forward a point of view:
the creation of ethnic fiber art is an effective way to integrate ethnic arts and crafts, which can not only enhance the sense of fashion of ethnic crafts, but also excavate the artistry of traditional crafts. Based on this view, the researcher carried out a series of research methods and creative experiments. The research has found that ethnic fiber art will enhance the social influence of ethnic culture through artistic empathy with the audience, which is conducive to promoting the ethnic cultural exchanges and development of China and Malaysia.
As the research object is the traditional handicrafts of Malay, Dong and She. The researcher explored and analyzed the traditional crafts of the three ethnic groups through field work, document collection and studio research. Researcher used interviews and questionnaires to investigate the development status of traditional ethnic crafts and clarify the relationship between the integrati on of ethnic crafts and ethnic fiber art.
1.1 Data analysis of questionnaire
In the first place, the researcher sent questionnaires to art or design teachers in the universities, arts and crafts artists and interior designers, hoping to understand the development status and direction of ethnic arts and crafts. Researcher issue 45 questionnaires, 15 for each type of questionnaire, and 45 were recovered with a 100% recovery rate. The researcher presented the data of the pilot study in the following table.
According to the questionnaire data analysis, three groups of people, such as art teachers, arts and crafts artists and practitioners of environmental design, have different answers to the same questions in the questionnaire. It can be seen that people of different professions have different understandings of the status quo and development of ethnic arts and crafts.
Table 1: Comparative analysis of questionnaire data of different populations
Options
Art teachers
Craft artists
Environmental art designers or
indoor soft decorations seller
Statistics
2. Do you think traditional national arts and crafts are worth inheriting?
A Yes 93.33% 100% 100% ****
B No 6.67% 0 0 *
3. What problems do you think the development of traditional arts and
crafts is
facing? (Multiple choice)
A. Conservative production technology leads to low creation efficiency
80% 46.67% 80% ***
B. Design tends to traditional aesthetic concepts, which forms a certain gap with contemporary art aesthetics
80% 80% 53.33% ****
C. Single application function 80% 40% 46.67% * D. Narrow promotion
channels
67% 60% 60% **
4. What do you think are the ways of innovation and development of traditional arts and crafts? (Multiple choice)
A. Improved process 73.33% 53.33% 80% **
B. Innovative design concept 100% 80% 73.33% ****
C. Expand application areas 73.33% 60% 66.67% * D. Innovate forms with the
help of modern digital technology
93.33% 66.67% 73.33% ***
5. Traditional arts and crafts are in urgent need of development. In what fields can we seek
breakthroughs?
(Multiple choice)
A. The field of curriculum development for college fine arts or design majors
93.33% 93.33% 80% ****
B. Interior art and design 66.67% 53.33% 80% *
C. Public space design 100% 73.33% 86.67% ***
D. Brand packaging design field
80% 60% 73.33% **
Among the 45 respondents, at least 93% of them believe that traditional ethnic arts and crafts should be inherited. In addition, most people believe that the main problem facing the development of national arts and crafts is that the design tends to traditional aesthetic concepts, which has formed a certain gap with the aesthetics of contemporary art. In this topic, the average value of the three types of people surveyed choosing this option reaches 71.11%. As for thinking about the innovative development of national arts and crafts, most people support the item of "innovative design concept", and more than 84% choose this option. About "the dilemma of how to break through the development of the national arts and crafts" this problem, the respondents think through the university fine arts or design class professional development courses would be more effective, of course, for the other options such as public space design, interior art design or brand packaging, and other fields, people also think worth exploring, seeking development from different channels.
The results of the questionnaire show that people generally believe that traditional crafts are worth inheriting and in urgent need of development. However, people in different industries will have different views on how to develop the ethnic craft with historical and regional characteristics. It's just that these different views all revolve around one key word: innovation.
Based on the demand for the innovation and development of traditional ethnic crafts, researchers devote themselves to exploring the ways of integration of different ethnic crafts.
1.2 Analysis results of expert interviews
Therefore, the researcher used the Atlas system to analyze the interview results of experts, and the analysis results are shown in Figure 1 and Table 2. We can see that "expert" appeared the most frequently, and most of them mentioned "fiber art", believing that fiber art can become a new model for the development of traditional ethnic crafts. Thus, experts believe that the view of this study—"national fiber art is not only conducive to the development of traditional crafts, but also helps the integration of different ethnic cultures and crafts" is feasible.
Figure 1: Analysis results of three interviews by Atlas system
Table 2: Statistical result of high-frequency words in three interviews conducted by Atlas software
Word Length Doc3 Total
Total 993 993
expert 6 20 20
Arts 1 15 15
dong 1 14 14
malay 4 14 14
She 4 13 13
2. The development of traditional crafts is conducive to the inheritance of local culture
Digging the traditional handicraft of the nation is not only for discovery, but also for development. Only by deeply understanding the traditional craft and optimizing it according to the contemporary aesthetic needs, can the traditional national craft be inherited and developed.
"Arts and crafts practitioners should, on the premise of inheriting and carrying forward the excellent traditional culture, take root in the people, understand the people's views and requirements for the development of arts and crafts, and gradually revise their own opinions.
Only in this way can more ethnic arts and crafts works with higher value be produced" (Yang, 2020) Therefore, in order to explore the development mode of the traditional crafts of the Malay, Dong and She ethnic groups, researcher have collected a lot of materials about the traditional crafts of the Malay, Dong and She ethnic groups through literature search, field visits and expert interviews.
The handicrafts of these ethnics with a long history are not only rich and diverse, but also highlight the distinctive ethnic characteristics. For example, the traditional Malay Badi is well known; The traditional crafts of She include ribbon weaving and bamboo hat weaving, which have become non-heritage objects; the traditional crafts of Dong, such as brocade and paper- cut embroidery, have attracted many art lovers to study. Although the traditional crafts of these three ethnic groups are made according to their own living customs and national beliefs, some of them have some similarities in basic techniques and shapes. According to the data analysis, the Malay, Dong and She ethnic groups all have embroidery, weaving or dyeing techniques.
The basic production of these three techniques is roughly the same, but they will reflect unique regional characteristics in details processing, pattern color matching and materials use. Take embroidery as an example, The embroidery of Dong is mainly based on papercut and embroidered with silk thread, which is exquisite in shape and rich in color; Malay embroidery is thin and flat wire embroidered on the cloth, the shape is gorgeous; The She ethnic embroidery is made with fine thread, simple in shape and rough in shape. In addition, the textile technology can also be taken as an example. The textile skills of the three ethnic groups are mainly based on regular weaving of longitude and latitude lines, but there are differences in pattern color processing and function. For example, the Malay people are good at dyeing and weaving batik cloth. They combine batik with textile and emphasize the patterns and colors of batik.
Therefore, the patterns are rich, and the colors are bright. The Dong people like to combine plant dyeing and weaving, and weave patterns mainly with the help of weaving techniques.
Therefore, the patterns are mainly geometric patterns, and the colors are mainly blue and cyan inherent in plant SAP. The colors are relatively simple and elegant, and the finished products are often used as quilts and clothing decoration with the help of colorful silk threads. The She textile is mainly colored ribbon weaving, which is brightly colored and used for belt and costume ornament. In order to make a more in-depth analysis and comparison of the traditional crafts of the three ethnic groups, the researcher sorted out 3 kinds of traditional crafts of the Malay, Dong and She respectively as the reference data of this study (Table 3).
Table 3: Traditional craft data of Malay, Dong and She ethnic groups
RQ1 What are the modes to promote the development of traditional craft of Malay, Dong and She?
No. Ethnic Arts and crafts
works Source Picture Categories
1 Dong Dong paper-cut embroidery
https://www.puchedu.cn/jianz hi/cc88ced380866d83.html
Paper-cut embroidery
2 Dong Bamboo carvings of the Dong
https://baijiahao.baidu.com/s?i d=1681930296094415906&wf r=spider&for=pc
craft of weaving
3 Dong Dong brocade https://baijiahao.baidu.com/s?i d=1681930296094415906&wf r=spider&for=pc
craft of weaving
4 She Ribbons of the She https://www.thepaper.cn/news Detail_forward_12741666
craft of weaving
5 She She bamboo hats http://mt.sohu.com/20150828/
n419962847.shtml
craft of weaving
6 She Embroidery of She https://www.meipian.cn/35v5t cnn
Craft of weaving embroidery
7 Malay Batik https://www.sohu.com/a/4037
56842_100142727?_f=index_
pagefocus_5
Batik and weaving
8 Malay bamboo weaving http://www.360doc.com/conte nt/19/1104/15/65159053_8710 39089.shtml
craft of weaving
9 Malay The moon kite https://www.sohu.com/a/1607 33084_411871
Bamboo and paper carving
technology
In addition to sorting out the traditional crafts of the Malay, Dong and She ethnic groups, researcher also conducted interviews with relevant experts and classified the interview contents according to the research questions. The Atlas system analyzes the interview content of different experts, and the specific results are shown in the figure and table below.
Figure 2: Analysis results of the interview content of RQ1 by Atlas system Table 4: Statistical results of keywords in the interview content of RQ1 by Atlas system
Table 5: Expert interviews on RQ1 Research
question Parent code Question Child
code Quotation Reference
What are the modes to promote the development of traditional craft of Malay, Dong and She?
Make a general evaluation of the
development prospect of national arts and
crafts
Q1.1 Code 1.1 Pursuing Innovation
More and more arts and crafts in Guangxi and the whole country use local ethnic elements to create, and the artistic accomplishment is constantly improved. From imitation to independent creation, the creative and innovative works are becoming more and more mature
Interview expert 1,
pg.1
What are the modes to promote the development of traditional craft of Malay, Dong and She?
The development prospect of ethnic arts and
crafts
Q2.1 Code 2.1 Creative design
If skillfully used, creative design and development, can present a unique visual effect, boundless prospects
Interview expert 2,
pg.3
What are the modes to promote the development of traditional craft of Malay, Dong and She?
The difference between Dong brocade and other ethnic
brocade
Q3.1 Code 3.1 exquisite
For example, the brocade of the Zhuang ethnic group uses thick thread and produces large patterns. Another example is the brocade of the Miao ethnic group in Rongshui County of Guangxi, which uses wool thread and produces another flavor, while the brocade of the Dong ethnic group uses thin thread and produces relatively delicate patterns.
Interview expert 3,
pg.4
The interview is mainly designed around three research questions. In the interview related to the first research question "The development mode of traditional crafts of the Malay, Dong and She ethnic groups", experts evaluated the development of ethnic arts and crafts and proposed that there are differences in traditional weaving among different ethnic groups. Experts believe that the development mode of traditional craft is inseparable from the "innovation of concept",
"creative design" and "diversification of materials". The analysis result of Atlas system showed that the probability of "innovation", "creativity" and "diversification" was higher, accounting for 33.33% respectively. It can be seen that the experts' opinions are consistent with the research view of "developing traditional craft with the help of innovative national fiber art form", and this research direction is correct.
3. The integration and innovation of arts and crafts is conducive to ethnic cultural exchange
The Malay, Dong and She ethnic groups come from different regions or countries and have unique political culture and far-reaching history. How to promote the political and cultural integration of the three ethnic groups through artistic creation is one of the main research issues.
In order to solve this problem, the researchers used the field research method to interview local residents and relevant experts in the areas inhabited by the Malay, Dong and She ethnic groups, so as to understand the political culture and development history of these three ethnic groups.
The researcher has summarized the ethnic cultures of the Malay, Dong and She listed the 5 most representative traditional folk activities among the three ethnic groups in the following table (Table 6). The study found that the three ethnic groups all have their own religious beliefs, such as the Dong people worship cows and believe in "sa", the She people worship phoenix and believe in "Panhu", and the Malays believe in Islam. Because of their different religious beliefs, these three ethnic groups have developed various interesting festivals and customs.
Malay, Dong and She people love life and have their own traditional songs and dances. No matter in festival costumes or daily decoration, the patterns and colors like to take the animals, plants and even colors of nature as references, so the decorative shapes are rich and beautiful.
These folk activities and hobbies are rooted in their political culture and beliefs. If the political culture of these three nations is to be integrated, innovative arts and crafts creation activities will be a good entry point.
Table 6: Traditional folk activities of Malay, Dong and She ethnic groups
RQ2 How to integrate the ethnic politics and culture of Malay, Dong and She through artistic creation?
No. Ethnic Ethnic cultural activities Source Picture
1 Dong Bean dyeing (use soybean powder, lime powder, rice vinegar and other materials to stir into anti-dyeing agent)
http://k.sina.com.cn/artic le_2659523842_9e851d0 202001i4i9.html 2 Dong A dinner party of a hundred schools of
Dong nationality is being held
https://www.163.com/dy /article/G7IGI8920538V 9W3.html
3 Dong The Dong people are dancing grass dragon
http://gxgl.wenming.cn/g ltswh/201902/t20190212 _5688287.html
4 She She ethnic people are performing a dragon dance
http://js.zjol.com.cn/ycx w_zxtf/201904/t2019040 2_9817203.shtml
5 She She people are holding wedding ceremony
https://baike.baidu.com/i tem/%E5%A9%9A%E4
%BF%97%EF%BC%88
%E7%95%B2%E6%97
%8F%E5%A9%9A%E4
%BF%97%EF%BC%89/
59930189 6 She The She people are singing folk songs http://www.zg-
sj.com/sjphoto/photosho w.asp?tpid=14719 7 Malay The Malays are dancing https://baike.baidu.com/i
tem/%E9%A9%AC%E6
%9D%A5%E6%97%8F/
1826685
8 Malay Malays perform shadow puppets https://www.huangpucn.
com/info/126261.html 9 Malay Malays are celebrating Eid al-Fitr https://www.huangpucn.
com/info/126261.html
When researcher and experts discussed the integration and development of traditional handicrafts of different ethnic groups, the experts mentioned "deconstruction" and
"reorganization". (Figure 3) Experts believe that deconstructing or reorganizing traditional handicrafts in structure and making bold innovation and diversified application of materials will be conducive to solving the research question of "how to integrate the ethnic political culture of the Malay, Dong and She ethnic groups through artistic creation". The following is the analysis of research interview content made by Atlas system. (Table 7-8)
Figure 3: Analysis results of the interview content of RQ2 by Atlas system Table 7: Statistical results of keywords in the interview content of RQ2 by Atlas system
Table 8: Expert interviews on RQ2 Research
question Parent code Question Child
code Quotation Reference
How to integrate the ethnic politics and culture of Malay, Dong and
She through artistic creation?
The artistic value of fiber art to modern
social civilization
Q1.2 Code 1.2 Expression of diversification
It provides the possibility for the diverse expression of art.
Interview expert 1,
pg.1
How to integrate the ethnic politics and culture of Malay, Dong and
She through artistic creation?
Ethnic arts and crafts and public art
cross - boundary integration
Q2.2 Code 2.2 Deconstructio
n and reorganization
The reason why it is called ethnic arts and crafts is that it already has quite unique attributes, special visual symbols, memories, and determined regional features.
If it is deconstructed and reconstructed, cleverly recombined with modern materials or boldly inserted into new materials, it is a cross-border art with unique charm, or contemporary art, public art, or installation art, etc. Both are possible.
Interview expert 2,
pg.3
Deconstruction, originally a philosophical thought, has become a new inspiration for contemporary artistic creation since it is applied to architectural design and emphasizes the unstable forms of expression such as reversal, rotation and intersecting. "Deconstruction is an anti-conventional system, which mainly advocates breaking through traditional restraints, breaking existing rules, and creating new rules" (Zhang & Hou, 2021). Therefore,
"reorganization", which echoes "deconstruction", has become a new idea of artistic creation that breaks traditional forms and solidifies thinking.
To deal with the integration of s tyles or techniques of different national crafts with the attitude of artistic creation. In fact, from a certain level, it can be understood as the expression of the connotation of traditional craft with the abstract beauty of art. To achieve this effect, art creators need to have a deep feeling of national culture and history and even life experience, in order to grasp the formal beauty of the work. Because, "abstract beauty is the core of formal beauty, people's love for formal beauty and abstract beauty is instinctive" (Wu, 2020).
4. Taking ethnic fiber art as the entry point of innovation can enrich the expression forms of ethnic culture.
Contemporary art is a milestone in the course of art development and a new trend of thought in visual art. Contemporary art is influencing the artistic creation in different fields because of its inclusiveness, timeliness and openness. Contemporary fiber art is no exception. Although the history of fiber art can be traced back to the ancient wall hanging art in the west, nowadays, under the influence of contemporary art, fiber art has highlighted the characteristics of The Times and open ideas in the application of materials and forms of expression. Contemporary fiber art pursues consciousness transmission in works, and its powerful visual impact has attracted wide attention in the art world. Gen (2020) in Application of Modern Fiber Art to Emerging Materials talk about the influence of the integration of new materials and modern science and technology on the development of modern fiber art and the significance of modern
fiber art to contemporary art and life, which proves that the creation of the ethnic fiber art in this research direction will play a promoting role in the development of contemporary art.
As the study of fiber art with ethnic culture is an important part of the project, researcher have collected a large amount of literature and visited contemporary art exhibitions in order to effectively achieve the research objectives. On the premise of understanding contemporary art and its development status, researcher are trying to explore the creation mode of ethnic fiber art. Through the experimental creation and data analysis, the researcher found that contemporary fiber art has gradually changed from the form of flat wall hanging to the direction of semi-three-dimensional or even fully three-dimensional art installation and public art. The materials of contemporary fiber art have also been transformed from various textile threads to various linear forms, which express richer content and more abstract forms, improving the ability to empathize with the audience while conveying the inner spirit of the works (Table 9).
Table 9: Forms of contemporary fiber art work
RQ3 How to create contemporary fiber art works with ethnic cultural connotation based on Malay, Dong and She ?
No. Fiber art works Material Source Picture
1 Unify, 2013, 1200x800x800cm
Cotton Rope, Steel Weight
http://fiberartnow.caa.edu.cn/ne ws/202112/47485.html
2 Abakan Red Sisal and metal https://www.sohu.com/a/48012 9120_406804
3 Plexus colored cotton https://www.sohu.com/a/48012 9120_406804
4 Right After Metal wire, latex and the rope
https://www.sohu.com/a/48012 9120_406804
5 Spider Stainless steel and woven cotton
https://www.sohu.com/a/48012 9120_406804
6 Black & White striped arm chair
Paper string Integration · Co-creation. P148
7 Coexistence Tie twist, wire pull, chain tie
https://www.caanet.org.cn/nadet ail.mx?id=742
8 Cihai in English and Chinese
Paper rolling and weaving techniques
https://www.caanet.org.cn/nadet ail.mx?id=742
9 Looking back at home
Indonesian vine https://www.caanet.org.cn/nadet ail.mx?id=742
"No matter in the East or the West, no matter in what social system, there are always many artists who faithfully express their true feelings, which is always the mainstream to promote the development of human culture" (Wu, 2020). Contemporary fiber art is just such an art form that attaches importance to the innovative application of materials and advocates the abstract expression of some contemporary social hot topics or artists' emotions. If ethnic culture or techniques are incorporated into the creation of contemporary fiber art, the expression content of fiber art can be enriched and the social influence of ethnic culture can be enhanced.
Based on this point of research, in order to further study the creation of ethnic fiber art, the researcher interviewed experts in related fields and obtained some supportive opinions.
According to the analysis of interview materials by Atlas system, experts agree that it is meaningful and feasible to express ethnic elements and promote ethnic culture through the form of fiber art. (Fig.4) However, in order to transform traditional ethnic handicrafts into fiber art with contemporary artistic taste, it is necessary to break traditional concepts and encourage the use of diverse materials. In addition, the reorganization of traditional handicrafts of different ethnic groups in the creation process will make them present in the form of soft sculpture with a more contemporary sense. (Table 10-11)
Figure 4: Analysis results of the interview content of RQ3 by Atlas system Table 10: Statistical results of keywords in the interview content of RQ3 by Atlas system
Table 11: Expert interviews on RQ3 Research
question Parent code Question Child
code Quotation Reference
How to create contemporary
fiber art works with
ethnic cultural connotation
based on Malay, Dong
and She？
The relationship between fiber
art and contemporary
art
Q1.4 Code 1.4 soft sculpture
As an independent art form, modern fiber art is called "soft sculpture" in the art industry and
"soft decoration" in the art deco market.
expert 1, pg.2
Suggestions on the creation
idea of "the integration and innovation
Q1.5 Code 1.5 Innovation
and reorganization
In a form of composition can use modern engineering form, to break the traditional pattern recombination and so on.
Finally, the combination of
Interview expert 1,
pg.2
weaving craft as Ethnic fiber
art"
can also be used, as well as the intervention of new materials and new technologies, which also makes people feel fresh and fresh.
The ethnic fiber art creation plays
its charm in the public
space
Q2.3 Code 2.3 spiritual expression
Consider the spiritual level of expression and demand, so there will be a lot of room to play
Interview expert 2,
pg.3
"In the context of contemporary art, fiber artists explore and expand fiber materials with the help of the language transformation of materials under the concept of creative creation, and dialectically and paradoxically convey the thinking of society beyond the ideology of materials and crafts, which is an important milestone in the development of contemporary fiber art"
(Huang, 2022) Ethnic fiber art not only needs materials as the expression language of works, but also needs appropriate materials as the carrier of ethnic culture display, so as to build a bridge of communication between traditional ethnic culture and modern society.
In order to explore the innovative forms of fusion of traditional crafts, the researcher also conducted research from three aspects, namely the fusion of traditional crafts, the deconstruction and reorganization of ethnic patterns, and the analysis of traditional ethnic color matching, through the collection and analysis of the above works and the studio research method. Finally, it proves that ethnic fiber art not only innovates the traditional ethnic craft, but also enriches the artistic expression form of ethnic culture.
4.1 Fiber art integrated by techniques
Taking the weaving craft of the Malay, Dong and She ethnic groups as an example, the basic techniques are to form a complete surface through the interweaving law of longitude and latitude lines. In order to express a certain theme, fiber art uses linear body to carry out artistic processing, intersperse the warp and weft, or arrange and extend from a certain direction to convey the artist's emotion through certain visual effects. It can be seen that the contemporary fiber art form can help the weaving techniques of different nationalities to integrate and innovate, highlighting the ethnic characteristics weakening the function of traditional crafts.
Because the "functionality" of artistic creation is precisely the expression of emotion or conceptual stance. "A work of art is not only an independent work of art itself, but also includes whether the viewer accepts the work of art, the degree of reaction, the process of viewing, the viewer's aesthetic experience, the effect of acceptance, etc. These aspects play an important role in the social function of art" (Yang, 2022). For example, Liu Jun's fiber art work (Plate 1.) uses traditional crochet techniques, but uses rough hemp rope as the main material instead of traditional silk to express the color of the earth. Green cotton crochet creates the texture of vegetation, thus expressing the author's view of environmental protection and ecology.
Plate 1: Earth Clothes, Liu Jun, (2014) 8th From Lausanne to Beijing International Fiber Art
Plate 2: Flower of the nation, Feiling Xing, Liang Xian, Shaomei Shao 2021
4.2 The significance of pattern deconstruction and recombination
Traditional ethnic handicrafts are decorated with beautiful designs and animal patterns.
Patterns or designs show the characteristics of orderly arrangement, symmetry and balance.
Take the She belt as an example, the pattern design is full of rules, such as wave type, inclined type, pillar type, etc. "The patterns and patterns on the She ethnic ribbons belong to the continuous pattern organization form, which are arranged in a scattered two-square continuous manner and distributed in an oblique direction" (Wang, 2021) The Dong people's custom of large brocade or embroidery pattern design is to make auspicious patterns in the form of enclosing. "When designing patterns of different traditional handicrafts, firstly, it is necessary to pay attention to the process characteristics, analyze the pattern formation mode and rule, extract the essential characteristics of patterns formed by different handicrafts, and then design patterns" (Qin & Ji, 2020). From the perspective of ethnic fiber art creation, in order to reflect the abstract characteristics of contemporary art, traditional decorative patterns or designs can be deconstructed and reorganized. Pattern for fiber art is not only for decoration or the pursuit of visual enjoyment of beauty, but also for the pursuit of theme expression. For example, in the work " Flower of the nation " (Plate 2), folding, winding, curling and other techniques of paper strips are used to represent a dressed girl of Chinese ethnic minorities. The artist uses strips of paper to wind the peony pattern as the background. The shape of the peony is simplified and processed with smooth lines and beautiful shapes, which can not only reflect the ethnic culture but also set off the girl's gorgeous clothes.
The patterns on girls' headdresses and clothes are also deconstructed and reorganized according to the traditional phoenix, flowers, vines and other patterns, forming a more abstract and fashionable modern pattern.
4.3 Reference to ethnic color collocation in creation
The decorative colors of different nationalities will be affected by people's religious belief, living environment and aesthetic habits. The Malays believe in Islam and are located in sub- thermal countries. They like to transform the patterns and colors of nature's green plants and flowers into decorative elements. Therefore, the colors of traditional crafts such as Batik are very bright and enthusiastic. Dong and She belong to the ethnic minorities in China. Their settlements are mostly located in mountainous areas. Influenced by living habits and raw materials, Dong people like blue, white and purple in simple and elegant colors. The ribbons of She minority are relatively bright in color, and they like high purity color matching.
However, color is not a necessity for fiber art. For fiber art, color mainly aims to match the
creation theme, convey artistic emotion, and help the audience feel the inner spirit of the work.
Therefore, in the creation of fiber art, more consideration should be given to the color psychology and the theme of the work. For example, in one of the series of Great joy fiber art works, the author presents a traditional Chinese toy "Trojan horse". In the color application, the author draws lessons from the traditional ethnic color matching form, and the high-purity red, yellow and green series are colliding, which not only shows the ethnic interest of China but also produces the fashionable and high-grade artistic effect (Plate3).
Plate 3: Great joy (Partial works) Yunhui Ma, (2014) 8th From Lausanne to Beijing International Fiber Art
5. Summary
To sum up, the political culture of the Malay, Dong and She ethnic groups has strong regional characteristics due to the local beliefs and political environment, and the traditional handicrafts are rich and diverse. The three ethnic groups spread their traditional music, dance and aesthetic habits, there are many similarities in traditional handicrafts. For example, the textile technology of the three ethnic groups is made on the basis of knitting, dyeing, embroidery and other techniques. But the patterns of dyeing and weaving, the shape of woven goods and the materials used in these three ethnic groups differ from each other due to the living and aesthetic habits and the environment generated by the materials. However, we can use the form of ethnic fiber art to integrate and innovate the traditional weaving techniques of these three ethnics. It can be seen that the innovation of the development mode of the traditional handicrafts of the Malay, Dong and She ethnic groups can be based on the concept of technological integration and innovation, and with the help of the creation of ethnic fiber art, the contemporary art can become the ideal carrier to show the traditional national culture.
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Huang, J. W. (2022). Analysis on the Current Situation of Contemporary Fiber Art and Design Criticism, Western Leather, 143-145.
Qin, Z., & Ji, T. (2020). Pattern design and dissemination of different textile crafts from the perspective of industrial upgrading, Analysis and discussion, 24-27.
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