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1	The export trade in silk and brocade during the Ming dynasty Lau, Hoi-tung., 劉海東. January 1966 (has links) published_or_final_version / Chinese / Master / Master of Arts Silk industry - China. Brocade.
2	The export trade in silk and brocade during the Ming dynasty Ming dai si zhi pin zhi dui wai mao yi / Lau, Hoi-tung. January 1966 (has links) Thesis (M.A.)--University of Hong Kong, 1966. / Also available in print. Silk industry Brocade.
3	CHICKIPEDIA KOOHNAVARD, SAINA January 2013 (has links) This paper explores the fundamental meanings of deconstruction in fashion design and has the aim to investigate deconstruction in feminine ideal. It also stresses other thoughts of deconstruction in terms of philosophy through Jacques Derrida, architecture and philosopher Peter Eisenman and how deconstruction can be applied to find parallels between its setting and the setting it is compared to. Since the 1960s, deconstruction is a term that has been interpreted within many fields and traversed across different media. Influential Japanese designers have used the term in their works, juxtapositioning them to traditional Western ideas to create clear contrasts between stereotypical and categorised perception and unconventional interpretations. During the 1980s, designers such as Rei Kawakubo and Yohji Yamamoto explored the term to subsequently create a great distress in the fashion field. Their designs were examples of archetypes evoked from the past and presented as newborn strangers or dismantled ghosts. These designers investigated the mechanical functions of each archetype as they sought to find the meaning of each garment to later reinterpret its traditional essence. Also, they questioned the relationship between body and garment, raising thoughts of whether or not the bearer of the garment was personified to the garments traditional significance. The deconstructed element chosen for investigation in this project consists of a personification of the silhouette of the 1870s dress. This personification is discussed in terms of social and moral standards and constrictions as well as the political function of the dress. The fact that you could deconstruct a 1870s dress is clearly a way to take a historical archetype from its traditional meaning and place it into a new context. Similar to Jacques Derrida, the works of deconstruction in fashion design discuss our assumptions of archetypes and whether or not these archetypes can ever lack of historical or individual meaning. The constant dialogue with the past is a catalyst to reinterpret standardisations in fashion design through questioning the conformity of archetypes. / Program: Modedesignutbildningen Design Fashion Deconstruction Digital printing Distortion Ideals Femininity Victorian 1870s Brocade Bum Design Design
4	民族文化傳承與「國家級」非物質文化遺產保護之研究─以yal lengc (侗錦)為例 / A Research of the Ethnic Cultural Heritage and the Protection of the National Intangible Cultural Heritage – A Case Study of yal lengc (the Brocade of the Dong Ethnic Groups) 劉少君 Unknown Date (has links) 在全球化的影響下，傳統與現代的衝突顯得尤為尖銳，如何保護並發展傳統的民族文化，是普遍面臨的議題。　　侗錦產生於侗族的生活中，展現出豐富而精彩的圖案紋樣，強烈地反映了他們對生命、大自然和民族文化的熱愛和崇敬，同時也滲透著民族文化的樂觀精神、凝聚著人們對美好未來的嚮往，侗錦可以說將侗族最真誠的情感表現了出來。　　本研究地域範疇以湖南省懷化市通道侗族自治縣的侗錦傳承區域為主，侗錦傳承區域占全縣面積60%，主要分佈在該縣之西部以及南部百里侗族文化長廊的各鄉鎮。　　作者在通道縣以及周邊的其他侗族地區田調時間前後長達七年，對於通道縣的侗錦進行了具體的收集和整理的工作。立基於這個基礎之上，作者充分瞭解了關於通道縣侗錦藝術的形成背景、產生因素、內外的特徵以及目前的實際情況，同時也深入探討其蘊涵的文化精神、現代價值以及其在工藝美術中的運用。此外，本文也結合織錦文化資源保護的現狀，分析政府與民間所採取的傳承原則與實際方法。　　本研究期許通過對通道侗錦的整理與分析，找出侗錦藝術存在的各種意義與價值，並希望以此引起社會對通道侗錦文化從認識進而重視、從重視進而保護與弘揚。因此本研究透過從政府保障非物質文化遺產的角度入手，對非物質文化遺產保護的具體執行層面進行探討，其中主要是探討政府應該如何扮演傳承文化主導者的角色。作者先由戰略層面探討政府對侗錦織造技藝如何保護與傳承、如何制定政策、如何復振，再由戰術層次探討政府如何組織民間所擁有的研習管道、如何強化傳承人與學習生之間的互動狀況、如何開展侗錦的未來等問題。　　本研究最後的重點聚焦於侗錦文創可能性的分析。侗錦展演如何在各項文化體驗活動中展現其潛力，俾便達成藝術生活化的可能性？侗錦文化如何以文化創意產業的型態經營，俾能超越地域性的侷限?當大眾聚焦在文創產品的真實性議題的時候，如何藉之促成族人對於侗錦文化認同的差異性，以及侗錦如何在村寨形成傳承認知的效應?侗錦藝術是否能夠活化通道縣侗錦文創產業的契機，進而提升侗錦文化發展的主體性? 　　本研究最終期待透過這樣以學術性的方式，探討侗錦非物質文化遺產的生存與發展現狀，提供侗族在進行適度保護性旅遊與再利用政策的時侯，將這一項國家級的非物質文化遺產推向市場、推向國際。侗錦 yal lengc 文化傳承非物質文化遺產 Brocade of the Dong ethnic group yal lengc Cultural Heritage Intangible Cultural Heritage
5	New Evidences for Early Paracas Textiles and Ceramics at Cerrillos, Ica Valley, Perú / Nuevas evidencias de textiles y cerámica de la época Paracas Temprano en Cerrillos, valle de Ica, Perú Splitstoser, Jeffrey, Wallace, Dwight D., Delgado, Mercedes 10 April 2018 (has links) Cerrillos is an Early to Middle Paracas civic-ceremonial site located in the upper Ica Valley of Perú. The site is known for its finely plastered adobe architecture, beautifully decorated ceramics, and complex textiles, many of which are decorated with camelid hair. Cerrillos was located in a strategically important place where the mountains meet the coastal desert and the Ica River bends south, a likely intersection in a road system that connected Cerrillos to contemporary sites in the Paracas region and beyond. This paper focuses on several early textiles, ceramics, and other artifacts, including ceramic palettes used for gold working and wooden earspools, that suggest that Cerrillos was involved in a cultural phenomenon or interaction sphere that linked sites as far away was Chavín de Huántar through the interchange of goods, beliefs, and practices. The paper presents a complete description of the textiles excavated at Cerrillos between 1999 and 2002, focusing on two fabric fragments with images of the Staff Deity and one with an abstract Chavín-like design. The ceramics discussed in the text demonstrate the wide variety of styles found at Cerrillos, including some that resemble the Janabarriu of Chavín de Huántar and several others that are either not Paracas or an Early Paracas style that has never been previously described. / Cerrillos es un sitio cívico-ceremonial con ocupación entre las épocas Paracas Temprano y Medio, localizado en el valle alto de Ica, Perú. Es conocido por su arquitectura de adobe enlucida de manera fina, cerámica bellamente decorada y textiles complejos, muchos de ellos decorados con fibra de camélido. Estuvo localizado en un lugar de importancia estratégica, donde las montañas se encuentran con el desierto costero y el río Ica gira hacia el sur, una probable intersección en un sistema de caminos que lo conectaba con sitios contemporáneos en la región de Paracas y más allá. Este artículo se enfoca en diversos textiles, cerámica y otros artefactos tempranos, entre ellos paletas de cerámica usadas para trabajar el oro y aretes en forma de argollas de madera, lo que sugiere que este complejo estaba involucrado en un fenómeno cultural o esfera de interacción que vinculaba sitios tan lejanos como Chavín de Huántar mediante el intercambio de bienes, creencias y prácticas. Este artículo presenta una completa descripción de los textiles excavados en Cerrillos entre 1999 y 2002, y se enfoca en dos fragmentos textiles, uno con imágenes del Dios de las Varas y el otro con un diseño abstracto parecido al chavín. La cerámica tratada en el texto demuestra la amplia variedad de estilos encontrados, entre ellos algunos que se parecen al Janabarriu de Chavín de Huántar y varios otros que no corresponden al estilo Paracas o que semejan un estilo Paracas Temprano que nunca antes ha sido descrito. Archaeology Cerrillos Paracas Ica Valley Perú Early Horizon Formative Period Textile Tapestry Brocade Double Cloth Ceramic Architecture Roads Ritual Civic-Ceremonial Chavín Staff Deity Gold Working Earspools Arqueología Cerrillos Paracas Valle De Ica Perú Horizonte Temprano Período Formativo Textil Tapiz Brocado Doble Tela Cerámica Arquitectura Caminos Ritual Cívico-Ceremonial Chavín Dios De Las Varas Trabajo En Oro Aretes En Forma De Argollas

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