Research On The Design Paradigm And Innovative Application Of Silk Printing Patterns In Jiangsu,Zhejiang And Shanghai District In The Twenty Years Of Reform And Opening-Up

From the reform and opening-up to the end of 1990,silk still played an important role in China’s export sales and foreign exchange earnings.In fact,from the eve of the reform and opening-up,Chinese printed silk design had already entered the "right track".During this period,although the work of technological innovation and variety creation continued,its development was relatively slow due to various factors such as policy,funds,and education.Therefore,the core value of silk can be regarded as mainly endowed by patterns,which highlight the delicate texture of silk and cater to the aesthetic taste of consumers through innovative themes,design techniques,performance styles and other factors.It should be noted that the silk pattern design during this period showed a higher degree of integration with popular trends and characteristics of the times,compared to the one-way theme of "Unity" under the design policy of "Me first" in the early days of the founding of New China,and it was more valuable for the research of pattern art design.Regrettably,in the 1990 s,major state-owned silk factories closed down or merged after restructuring,which led to the loss of a large number of silk design materials and archives.Therefore,there is an urgent need to collect,sort out and study the silk objects and image at that time.Because of its geographical advantages and historical accumulation,the silk industry in Jiangsu,Zhejiang and Shanghai represented the highest design level in China at that time.Compared to jacquard silk,printed silk patterns were more popular,with more diverse themes and expression techniques.Therefore,it is representative and typical to pay attention to the silk printing design in the Jiangsu,Zhejiang and Shanghai.However,looking at the existing research results,there is little research on the design strategies and paradigm characteristics of silk patterns composed of elements such as modeling,expression and color matching during the twenty years of reform and opening-up.In view of this,this paper relies on the research methods of design discipline,pattern discipline and typology discipline,as well as the research methods of literature research,quantitative statistics and formal analysis,based on empirical research,and uses the research path of combining diachronic and synchronic research to analyze and demonstrate the collected first-hand objects,images and text materials such as factory production samples and printed silk samples at home and abroad.The research logic of this paper follows the historical context of the development of silk printing pattern design,the design concept,the changing trend of design paradigm and innovative methods.It is found that a series of chain reactions caused by the transformation of the national economic system,such as national policy,production and sales model and social culture,have accelerated the changes and transformations of printed silk pattern design process and methods.With the increasing demand for silk clothing in Europe and America and the awakening of aesthetic consciousness in the domestic market,the design concept has changed from the original emphasis on the straightforward communication of national culture to the emphasis on the wearability of patterns,with emphasis on the study of popular flower schools and the application of popular colors.Due to the foreign businessmen’s continuous mastery of the right to speak in research and development and the introduction of modern international design concepts,the industry has heated discussions on the core issues related to research and development and production mode,such as whether the traditional sketching system should be retained or not,whether to make silk samples or submit paper samples directly,whether to receive samples from abroad or draw samples by themselves,and finally reached a settlement under the common goal of "creating more foreign exchange".At that time,the style of printed silk patterns had changed from concrete to abstract,and the theme and colors were gradually moving towards international trends,and design techniques began to demonstrate the characteristics of "blending Chinese and western".On the premise of pursuing the marketability of products,the national design strategy gradually gave way to the expression of the modernity and popularity of printed silk,including the display of the international characteristics of creative ideas and design tools,which is actually the pursuit of modernity of printed silk products and national culture,but it also weakened the overseas spread of Chinese traditional culture to a certain extent.On the basis of this research,this paper absorbs the essence of classical design programs such as the "Kaiguang" composition,the combination of traditional patterns and modern elements,and the composition rules of repetition,approximation and contrast,and combines modern design rules to transform and innovate the application of silk art products and cultural and creative products.While conforming to the aesthetic taste of contemporary consumers,it shows the contemporary value of pattern design paradigm.In this paper,the pattern design strategy and paradigm characteristics of printed silk are studied,and the classical design paradigm at that time are analyzed and summarized by historical summary theory and theoretical induction method,and their contemporary commonness is explored through practice,so as to explore the innovative application value of design paradigm in the times,with a view to helping China silk realize the construction of innovative design strategy and the revolutionary change and multi-dimensional expansion of design paradigm.