• The Research Journal of the Costume Culture
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• v.26 no.4
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• pp.531-546
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• 2018

The purpose of this study is to comparatively examine techniques and expressive characteristics of batik by focusing on the work of DanZhai and that of ZhenNing Buyi. We collected 50 pieces of batik each from Miao and Buyi in Chinese GuiZhouSheng and then analyzed their colors and patterns. The findings show that most of Miao's batik had deep and soft tones, while that of Buyi most often had blackish tone since the number of dyes in the latter is higher than that in the former. Miao often used patterns expressing animals or animals and plants, while Buyi frequently used geometric ones. An examination of specific motifs demonstrated that butterflies, fish, and flowers were most often used by Miao, while dots, vortexes, lines, and lozenges were frequently utilized by Buyi. For expressive techniques, both Miao and Buyi commonly used simple stylized expression or complex expression combining stylized and geometric techniques. Maio's motifs were often decoratively expressed with delicate curves, while Buyi's motifs had simple structures, so pictures were neatly expressed with thick lines and wide and simple planes. For the composition of the motifs, incomplete symmetry between top and bottom and between left and right often appeared in Maio, while in Buyi complete symmetry was frequently shown.

• The Research Journal of the Costume Culture
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• v.31 no.4
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• pp.533-557
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• 2023

Implementing a rural revitalization strategy will help spread traditional culture and promote the sustainable development of traditional handicrafts. Batik is a traditional handicraft made by residents in China's minority areas in their daily lives. This study was conducted because of a lack of objective methods for evaluating related project plans. This study was conducted to develop an index for the sustainable development of functional traditional batik production. This study had three major parts. The first part was a literature review that investigated sustainable and traditional batik dyeing and a field investigation carried out in Shitou Village, Danzhai County and Danzhai Paimo Village, Anshun, Guizhou to identify the factors that influence traditional batik production. The second part identified the factors identified in previous research that affect sustainable, traditional batik production and the projects executed to do the same. The third part was a survey conducted using the Delphi method. The results were analyzed, producing 10 influencing and 23 detailed factors that affect traditional batik production. Future research in this area should draw on various disciplines, investigate the direction in which traditional batik production is developing, and determine how to promote the sustainable development of other traditional handicrafts.

• Journal of the Korea Fashion and Costume Design Association
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• v.23 no.3
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• pp.23-42
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• 2021

The purpose of this study is to analyze the characteristics of the Chinese Miao people's Batik patterns and provide data in the field of fashion design for the utilization of the traditional patterns. This study investigated and analyzed the regional characteristics of Batik dyeing, which was listed on China's national intangible cultural heritage list; Danzhai, Anshun, Huangping, and Gonghyeon. The expressive characteristics were classified into four categories: symbolism, abstraction, decorativeness, and playfulness. The results are as follows. First, symbolism can be classified into the origins of the Miao, symbols of faith, history of migration, and the symbols of status with Batik patterns from different regions, seemingly involving various symbolic implications. Due to the absence of letters, Miao people expressed their emotions and history in the design patterns. A series of developments in recent years has led to incorporating the temperament of the Miao people, history of migration, expression of emotions, and ideal hopes in Batik dyed design patterns and the symbolic functions have been significantly emphasized. Second, the decorativeness is mainly characterized by repeated patterns of the Miao Batik dyeing design. The overall patterns demonstrate design features characterized by regularization and simplification, along with a sense of rhythm with the unique arrangement of patterns. Third, the abstractness of the Batik dyeing design patterns is often found in plant and animal patterns, properly delivering new designs created by Miao women by extracting and rearranging various elements, including dots, lines, and faces shown in natural images. Fourth, playfulness is expressed by the transformation and distortion of Miao Batik patterns, and were created by applying patterns or other elements to original forms to express animal or plant patterns in a playful way.

• The Research Journal of the Costume Culture
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• v.29 no.4
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• pp.585-602
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• 2021

The purpose of this study is twofold: First, to develop new sustainable design methods (aligned with ethnic elements and traditional culture) combined with three-dimensional digital clothing technology throughout the design process, which can be presented as guideline materials for various fashion designs to be developed in contemporary sensibilities. Second, it is the intention to produce creative fashion designs by incorporating the characteristics and methods of Miao's Huangping batik dyeing technique and to present various possibilities in the fashion design field. The overall design characteristics sought by Miao minority are in line with the complex terrain and the ecological and climatic conditions. Miaoist batik dyeing (registered as part of Chinese national intangible cultural heritage) features unique production methods and patterns. The study results are as follows. First, this attempt has enabled understanding of the national costume culture as Chinese Miao's traditional cultural heritage to be promoted, while the direction of contemporary design development using traditional elements has been presented. Second, the study demonstrated new and innovative expressions and styles relying on three-dimensional digital contouring technology and identified the possibility of developing various designs. Third, it was confirmed that the dyed batik pattern design created by the three-dimensional digital contouring technology could be recombined or expanded as digital printing to express the traditional ethnic designs in a practical manner utilizing digital printing techniques based on traditional characteristics.

• Journal of Fashion Business
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• v.15 no.2
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• pp.23-38
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• 2011

This research is to examine the formative of patterns and characteristics of expression in Danzhai Miao batik of Guizhou China and to reveal the cultural factors and characteristics of artistic expression inherent to it. As the research methodology, theoretical study was done by utilizing the preceding research data, literature data at home and abroad, photo data, and Internet data, and as the empirical research, field trip was made to Guizhou China and investigation and experiment of dyeing techniques, purchase of dyeing craftworks, photography shooting, and interviews were conducted. The results of this research showed that ancient Chinese batik began in Miao in the Jinhan era and the three types of Miao's traditional batik, i.e. Danzhai batik, Huangping batik, Anshun batik. Danzhai Miao batik obtained indigo blue white patterns through traditional production techniques and natural dyeing batik and represented Miao batik of Guizhou. In the expression of Danzhai Miao batik, based on the cultural backgrounds, the formative such as symbolic of patterns, tradition, primitive, reality, abstract, and decorative of dress designs and high dignity of artistry of creative batik patterns be found from the aspect of expressing magnanimous nationality.

• The Research Journal of the Costume Culture
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• v.19 no.2
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• pp.376-388
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• 2011

The purpose of this study is to examine the types and characteristics of Chinese indigo dyed designs performed until today in private houses of Chinese minority races and to examine the modern value of traditional dyeing crafts of minority races by investigating the cases of utilizing modern private Chinese indigo dyed designs. As the research methodology for theoretical study about the history of Chinese traditional pattern dyeing, the origin, types and characteristics of Chinese indigo dyed designs, the preceding research data, photo data, and Internet data were utilized, and for the empirical research on Chinese traditional dyeing techniques and the cases of utilizing today Chinese indigo dyed designs, the on-site survey on Guizhou and Yunnan was conducted during February and March 2008 and the data were collected and analyzed. Based on the results of this research, it was found that Chinese indigo dyed designs represented Chinese traditional pattern dyeing, which was inherited and developed mainly in Chinese minority races and Chinese. It could be seen that according to geographical distribution and characteristics of each race, the types and characteristics of dyeing techniques were formed, which are classified into the batik of the Miao of Guizhou in the Chinese southwestern region, the tie-dyeing of Bai of Yunnan, and Chinese blue calico(resist printing) of Chinese private houses in the Hunan and Huseo regions, and these represent the three typical Chinese dyeing techniques today. Based on the results of empirical research on the utilizing cases, focusing on the traditional living handicrafts of Chinese minority races, traditional cultural articles, and artworks, the modern values such as practical, cultural, and artistic values of Chinese indigo dyed designs could be rediscovered.