Last summer, I went to several villages in JiangXi to explore a kind of handmade material relate with my own design work. In the ShuangLin Town, I saw an old woman who is using a small old machine to twine a spindle, the spindles she made will be sold to her nabhours to make longitude for cloth.
This town was a famous Grass cloth Village, however less people work on this craft these year. The old people are making this craft for living. The old machine makes me think about the craft chain in another possibility. Also I think the machine is something important to relate old people with current society.
When I came back to school, I happened to have the chance to start a project relate with a kind of craft. So I ask my students to think a way to improve the process of making linen crafts.And I was fortuned to be selected to report this course’s result in front of the faculty members at the end of last semester.
Wang Li Zhao
Su Hai Tao
Zheng Meng Chu
Li Xiao Long
Guo Yi Fan
Lin You Wen
Li Mo Sen
（This article is translate from the Chinese version of my article.)
Anti Homogenizing－If Song Dynasty Also Use, my traditional aesthetic project
This project is a sub project of the class I teach in CAFA. The same problem I faced in both projects is how to understand traditional aesthetic, what is it, is it the wrapping paper or the core? There are two threads come out in the chaos, the first one is that the relationship between tradition and aesthetic, the second is the modernity of the aesthetic. By which I mean, I should make clear about definition of Song Dynasty aesthetic, and the value of this kind of aesthetic under that period, also to distinguish the value when it merges in the contemporary society.
When I was at college，about seven years ago, I was lack of a kind of ability of telling good or bad. I felt that I already tired of watching traditional stuff, but put my heart on remote website, books. Because it makes me feel that I could open my view, and I felt that their design is really better than China’s, such as Nordic Design or Japanese Design.
Well, actually in China, the visual colloquially is everywhere, we could see European style office building, apartment, and house, even the landmark building in many areas. And our life happy is represented by the American decoration Style in my hometown. We drink coke，coffee, cocktail, we wear a white wedding dress, luxury… I don’t know whether is a kind of containment of our tradition.
Sony Dynasty is a time in China, that the dominator speak highly of the man of letters and but restrain the knight Class. Scholars had been well dealt with, which make them act the more important roles in the society, also they affected all aspects of people’s life during that time. Their preference of jade, their awe of the ancient people affect the craftsman who creates daily use wares. The placid and detached from The confucianist. The Taoist and The Buddhist also was express by the ceramic ware through the glaze, decoration, and their name, Such as Azure Glaze of Ru Kilneye, Misty Blue Galze of Jingdezhen Kilneye. That’s made the atheistic of the ceramic connected with human spirits.
In the modern Jingdezhen, there is an industry have a solid relationship with traditional ceramic and their atheistic. There is about two hundred shop selling the mimic ceramic and bronze ware from the Han Dynasty to the Qing Dynasty in a gloomy alley, people call there Fanjia Jing. All the shapes and the function have references from history. The basement of this industry is quite similar with my aesthetic lesson, as we both need to study and understand in which dynasty does the shape begin to be produced systematically, what kind of clay of the ceramic use during that period, what are the textures are and what color of the glaze, and how does people call them. Better than us. They even take ceramic piece for the chemical analysis before making. For me, these products are not from our times radically，they are the representation of certain atheistic of different times. The problem they face is also serious, an owner of a store tell me that, after this industry being explored by the CCTV2, they cannot sell those ceramic as the real one, the truth of that they are new not from old devaluate the wares and let the crafts make much less money. Even they are still breaking the ceramic in a wood-fired kiln or salvage the large pot in Fujian (according to the owners). They still feel it’s hard to open the market.
I think it’s possible to let them find some new market, by transforming the content a little bit. So I built a platform to let my student try first. I name the project as If Song Dynasty Also Has, and
explain to my students how to think with their imagination and research. This project is a sub project of the class I teach in CAFA. The same problem I faced in both projects is how to understand traditional aesthetic, what is it, is it the wrapping paper or the core? There are two threads come out in the chaos, the first one is that the relationship between tradition and aesthetic, the
second is the modernity of the aesthetic. By which I mean, I should make clear about definition of Song Dynasty aesthetic, and the value of this kind of aesthetic under that period, also to distinguish the value when it merges in the contemporary society.
现实中大多厂子也不依赖这种理想模式进行循环，“订单制”（模型二）是一个厂子在市场流通中生存的基本模式，而订单仅来自于销售渠道对现有产品信息的掌握，并无“本土设计”的容身之地。这导致厂家无固定商品，亦无主动权，并且目前市场上很多10年前外贸商品的样式在流通。在调研中，我们发现，大多数订单来自国外如美国，日本，土耳其等地，而各种店铺中存货不多，仅一两件会作为下单的样品展示，并不零售。 这也为中国制造国外设计提供了温床。Which is Made in China， design in Foreign Country.
My Pupils work，CAFA 2nd year， Made in Shandong, Bo xing