The innovative application of hemp fiber in modern fiber art first lays a theoretical foundation for the research on the properties of hemp fiber materials by learning the relevant theories and contents of "abstraction and empathy" of Warringer. The following is my graduation thesis on fiber art for your reference.

The development of FiberArt and the transcendence of fiber materials The word fiber art comes from the English word "fiber art", which first appeared in the United States in the 1970s. American artists, influenced by European wall-hanging art, gather the essence of traditional art and actively explore modern fiber art. In the 1980s, with China's reform and opening up, fiber art was introduced to China, and some people began to learn and participate, and artists gradually engaged in this art. ..

At the end of 1990s, Tsinghua University Academy of Fine Arts took the lead in launching the "Fiber Art Popularization Education Movement" in China, and attracted many domestic and foreign artists to participate through the academic exchange platform of the "From Lausanne to Beijing" International Fiber Art Biennale, which actively promoted the new development of fiber art in China and set off a wave of fiber art movement. The direct influence is that more than 50 universities in China have opened fiber art majors one after another, which has started the development momentum of fiber art education, academic exchange and artistic creation throughout the country, well built a new spiritual home and opened up a new artistic world.

The rapid development of fiber art in China and its acceptance by many artists and fiber art lovers are not only influenced by external conditions such as popularization of education, learning and communication, but also due to people's acceptance and recognition of the scientific orientation of fiber art concepts. Compared with traditional titles such as "weaving art", "cloth art", "wall hanging art" or "brocade art", it is more expansive and contemporary. The orientation of fiber art has broken through traditional concepts and traditional means of expression, and its title has strong artistic appeal, affinity and artistic expression charm.

There are many disciplines whose art forms are named after materials. Such as oil painting, watercolor painting, ink painting, lacquer painting, etc. Various plastic arts have different material efficiency, different means of expression, different artistic charm, different definition forms and different development directions. So as to create different forms and styles of works of art, resulting in different artistic acceptance and different artistic values. The subject of fiber art should be a typical material art, characterized by fiber materials. Fiber, a natural material, has the closest relationship with human beings and has an innate affinity. This affinity comes from the nature of the fiber material itself: soft, light, warm and smooth. No matter in vision, touch and psychology, it gives people an inspiration.

Traditional weaving art and brocade art mostly use animal and plant fiber materials, and hand-woven expression means with charm and sentiment, which absorbs the aura of nature, shapes at will, or whimsy, or artistic decoration, or realism, which can arouse people's deep feelings for nature and express artists' thoughts and feelings. His works give people a "human touch" of returning to nature and a gentle aesthetic enjoyment, and can also remove the coldness and hardness brought by the extensive use of hard materials in modern life.

The emergence of modern fiber art is largely the result of artists' long-term attention and attempts to new fiber materials. They are not satisfied with the limitations of traditional means of expression and traditional materials. As early as the beginning of the 20th century, under the advocacy and influence of the French artist Jean Lurcat, the art of wall hanging has achieved unprecedented development and rapid progress in the world, especially in the form of expression. Especially in the early 1960s, he initiated and held the "International Biennale of Wall Hanging Art" in Lausanne, Switzerland on a regular basis, which attracted many painters and designers to devote themselves to wall hanging, incorporated new design concepts and thoughts and emotions, enriched and strengthened the expressive force of wall hanging art with modern decorative modeling and color symbolism, and made it a special form of modern artistic expression.

The first to the third International Fiber Art Biennale are basically works based on the ancient and traditional Aubisson expression techniques, with a certain storyline, complex background, realistic characters and exquisite craftsmanship. Since the fourth session, new forms of expression have appeared in the works. Especially in the fifth, sixth and seventh sessions, a large number of works with comprehensive materials and forms of expression began to be cited, and creative fiber art works appeared, which reflected the process of fiber art's transformation and transcendence from traditional art to modern art. This transformation and transcendence was mainly caused by the artist's long-term concern and application of new materials. By quoting different materials, different expressions are determined and different expressions are produced.

Traditional materials are mainly natural animal and plant fibers, wool, hemp and cotton, and the main means of expression are knitting and weaving. The use of modern synthetic fiber materials, such as chemical fiber, glass fiber, optical fiber, metal fiber, textiles and paper, makes artists have a strong sense of * * * in creative style and means of expression. Besides the traditional knitting techniques, they often use cleaning and winding. The overload of materials makes artists boldly compete with modern concepts and modern means of expression.

There is a strong desire to transcend in the fields of creation, values and aesthetics. Many works get rid of the concepts of viewing, furnishings and decoration, and become deep interventions in real life, applications of dialogue and communication between people and life, and pure art forms or abstract expression languages. Whether it is plane hanging art, three-dimensional soft sculpture art, or fiber composition art, installation art and fiber daily necessities in architectural space, it is the fiber art revolution triggered by the expansion and transcendence of fiber materials, which makes it move towards a "diversified" development era. Today, fiber art is the result of the efforts of generations of artists, the transcendence of ancient art to modern art, and the sublimation of traditional concepts to modern concepts.

Art needs constant innovation and development, and new fiber materials and new forms of expression will be produced. This requires us to think calmly: whether fiber materials are defined, whether fiber art forms need to be defined, whether fiber art works have defined scope and so on. Some works in modern fiber art seem to be at the critical point of "fiber art". If the fuzzy fiber art wants to develop and prosper, the scientific definition of fiber art category is an important issue worthy of artists' attention and discussion.

References:

[1] Lin Lecheng: Fiber Art, Jilin Fine Arts Publishing House.

[2] Yang Qi: Introduction to Art, Higher Education Press.

[3] Ni: "Review of China International Fiber Art Exhibition", 2003 China fiber art education and handicraft culture construction theory seminar manuscript.

Model essay 2 on fiber art: Looking forward to the development of fiber art in China Abstract: With the influence and spread of modernist literary thoughts, with artists' active exploration of fiber materials, continuous exchanges with other countries' fiber art and the development of fiber education in colleges and universities, China's fiber art will be full of vitality.

Keywords: China fiber art development

Fiber art is a form of modern art, which refers to all works of art created with fiber materials, including weaving, printing and dyeing, quilting, soft carving and so on. At present, with the influence and spread of modernist literary thoughts, artists' active exploration of fiber materials, continuous exchanges with other countries' fiber art and the development of fiber education in colleges and universities, China's fiber art is full of vitality.

First, fiber art materials

Throughout the ages, what people wear is made of textile fibers. Over time, fiber art has been formed in people's minds, and the materials are all images of textile fibers. Actually, it's not. The material of contemporary fiber art is far more than spinning fiber.

1. General requirements for "textile fibers"

Spinnability requirements, such as fiber length, thickness and strength; Comfort requirements, such as elasticity, hygroscopicity, air permeability, antistatic property, etc.

2. Classification of "textile fiber"

① Natural fiber. Traditional natural fibers include cotton, hemp, silk and wool. With the development of science and technology, new natural fibers have emerged, such as pineapple leaf fiber and bamboo fiber, which are widely used now.

② Chemical fiber. Chemical fiber is rising with the development of chemical industry, and now it has become the main body of textile fiber. It includes regenerated fibers and synthetic fibers. Regenerated fiber, also known as man-made fiber, is made of natural materials through pulping and spinning, and can be divided into regenerated cellulose and regenerated protein. Synthetic fibers are made from petroleum by chemical polymerization. The main fiber materials are polyester, nylon, acrylic, vinylon, polypropylene, chlorine and so on. They can be cut into different lengths as required or directly used as filaments. Its unified combustion feature is melting into droplets.

3. The openness of modern fiber art.

Since ancient times, any artistic creation and visual image can not be separated from materials. In every specific art field, artists always strive to explore and explore all possible new materials. With the influence and spread of modernist literary thoughts, artists in China have broken through the shackles of traditional materials, made extensive explorations, bold explorations and experiments, and made fiber art materials more extensive and diversified.

Second, the development history of fiber art in China

As early as the pre-Qin period in China, it was very common to make clothes and decorations with animal and plant fibers. For example, clothes made of animal hair are embroidered with colorful patterns. During the Spring and Autumn Period, the weaving and dyeing levels of Wu, Yue, Zheng and Wei countries have reached a certain level. By the Warring States period, silk fabrics could not only weave fine plain weave, but also weave complex twill, jacquard and embroidery. China is also the first country in the world to use silk as a textile material. Silk reeling with more complicated technology appeared in Han Dynasty. Because silk reeling technology is mostly a luxury of royalty, it only pursues exquisite craftsmanship and rarely considers labor costs.

The application of Mother and Child Classic in Song Dynasty made the neatness of silk reeling art at that time better than meticulous painting. At that time, copying the original paintings and calligraphy by reeling method has reached a vivid situation, and its exquisite craftsmanship is amazing. Although the weaving materials used for reeling are different from European tapestries, the weaving techniques of warping and weft breaking are the same. In Qing Dynasty, the center of silk reeling moved to Suzhou. At this time, there were more than 6,000 colors of colored weft.

After the founding of New China, the achievements of fiber art are mainly manifested in the carpet industry. Carpet, as one of the mainstream varieties of traditional arts and crafts in China, has always taken weaving 120 tapestry as the established technical and quality standard. Using traditional velvet planting technology, following the principle of realistic creation, pursuing realistic picture effect, and restoring the true face of life in works of art, China's carpet work "The Great Wall of Wan Li" was presented to the United Nations Headquarters as a national gift, which became a much-told story for a while. In 1980s, China entered the fast lane of reform and opening up, and fiber art also ushered in a bright spring. "... a group of young artists rose up and cut into the exploration of fiber art language, shaping some artistic images with strong fiber sense. "

China's contemporary arts and crafts artists began to create independent fiber art in an extremely simple working environment by learning the knitting technology of European Gobelin. A number of fiber art works, such as "Mountains rise high" and "Autumn Water grows long", which express China's traditional aesthetic interest by using Kobilin's knitting technique, have been highly praised by the art world.

Third, look forward to the development prospect of fiber art in China.

The hand-woven characteristics of fiber art make this traditional handicraft unique in national culture. Only by combining skills with culture can we remain young and remain invincible on the road of art.

1. International Fiber Art Exchange

In 2000, the "From Lausanne to Beijing" fiber art biennale gathered more than 200 fiber artists from China, the United States, Japan, Georgia and other six countries. The works of these artists are exhibited in Shanghai, the most modern metropolis in China, providing exhibition space and discussion hall for various traditional and modern fiber arts around the world. This in itself is a great event to promote the development of fiber art in China and show the fiber art culture in China.

In 2002, with the joint efforts of national 12 college fiber artists, the second "From Lausanne to Beijing" International Fiber Art Biennale opened in Beijing. This indicates that China fiber art has entered a new stage of development, leading the world fiber art trend and building a platform for international academic exchanges. China has become a hot spot of fiber art in the world, and fiber art is full of vitality because of the China stage.

2. The development of fiber art education in China

Professor Cheng, the pioneer of fiber art higher education in Tsinghua University Academy of Fine Arts, opened the course of weaving wall hanging design and production for the first time on 1985, which should be the first lesson in the history of education in China. In 2000, he took the lead in formally enrolling the master of fiber art research, which should be the first master of fiber art research education in the history of education in China. His social practice and educational exploration are fruitful. In 2000, the Fiber Art Studio of Arts and Crafts Department of Tsinghua University Academy of Fine Arts was formally established. In recent years, students of Fiber Art Studio have won awards for their practical works. The book Fiber Art published by Professor Cheng is the crystallization of his years of educational research, and it is the first monograph on fiber art with academic and applied value in the field of fiber art education in China.

Nowadays, fiber art has blossomed everywhere in domestic colleges and universities, and a group of educators who love fiber art are working tirelessly in the pulpit and studio. Fiber art education in China has begun to take shape. At the same time, the construction and research of theoretical culture has gradually moved from perceptual to rational, from surface to deep.

China's fiber art has a long history, and it is developing more rapidly in today's reform and opening up. Fiber art constantly communicates with the international community, absorbs the open thoughts of European and American fiber art concepts, retains and develops China's ancient and unique feelings and profound and implicit interests, and basically realizes the perfect combination of traditional handicrafts and modern science and technology. We have reason to believe that under the background of China's ever-changing economy and stable political environment, constant communication and study with the world, the popularization of domestic fiber art education and the continuous improvement of China people's aesthetic taste, China's fiber art will certainly open up a bright future.

References:

Wang Kailin Lecheng. Fiber Art. Shanghai Pictorial Publishing House, 200.6438+0.

[2] Zhu Jinhui. Modern fiber art design. Shaanxi People's Fine Arts Publishing House, 2002.438+00