“Dunhuang Costume Culture Research and Creative Design Centre" Opening Ceremony & Dunhuang Costume Culture Forum held

The opening ceremony of "Dunhuang Costume Culture Research and Creative Design Centre" (hereinafter referred to as "the Centre"), which was established by Beijing Institute of Fashion Technology, Dunhuang Academy of Traditional Arts, Crown Prince's College of Traditional Arts (UK), and Dunhuang Culture Promotion Foundation, was held on 6th June at Beijing Institute of Fashion Technology.

The "Centre" will integrate the advantages of the four parties in Dunhuang culture, arts research, education, cultural heritage, innovative design, social communication, mass promotion, international cooperation and exchange, etc . It also brings together the talents and resources of Dunhuang and Silk Road culture research, costume culture studies, artistic design, traditional skills, dissemination and promotion,  etc . The “Centre” will conduct in-depth research on Dunhuang costume culture, contemporary innovative design and development, and disseminate findings of research and innovative design. It will also build an international academic platform, engaging in Dunhuang costume culture and art protection research, cultural inheritance, innovative design, personnel training and exchange, social communication, and industrial transformation etc .

"China Natural dyeing Research Centre" of Beijing Institute of Fashion Technology was also launched.

The opening ceremony was presided by Jia Ronglin, Vice President of Beijing Institute of Fashion Technology.

Mr Zhao Shengliang, Vice President of the Dunhuang Research Institute, and Mr. Hu Xinyu, Chinese representative of the Crown Prince's College of traditional Arts (UK), Mr. Wang Yin, founder of the Dunhuang Culture Promotion Foundation, and Mr Ma Shengjie, Secretary of the Party Committee of the Beijing Institute of Fashion Technology, Mr. Chang Shana, former President of the Central Academy of Arts and Crafts, a famous educator and designer in China, and the honorary consultant of the Centre, and Professor Liu Yuanfeng, Director of the Centre, of the Beijing Institute of Fashion Technology addressed the public one after another.

Speech by Mr. Chang Shana

Speech by Professor Liu Yuanfeng of Beijing Institute of Fashion Technology

Speech by Mr Ma Shengjie, Party Secretary of Beijing Institute of Fashion Technology

Speech by Mr Zhao Shengliang, Vice President of Dunhuang Research Institute

Speech by Mr Hu Xinyu, Chinese Representative of the Crown Prince's College of Traditional Arts

Speech by Mr. Wang Yin, founder of Dunhuang Culture Promotion Foundation.

A snapshot of the exhibition hall

Group photo of guests

Address by Mr. Chang Shana. "Dunhuang Costume Culture Innovation Design Costume Design" exhibition is also held in the "Centre" at the same time. In the afternoon, the Dunhuang Costume Culture Forum was held in the conference room on the second floor of the Arts Building of Beijing Institute of Fashion Technology. The forum was chaired by Wang Ziyi, Associate Professor of Beijing Institute of Fashion Technology. Mr. Chang Shana, Honorary Consultant of the Centre, Vice President Zhao Shengliang, Dunhuang Research Institute, Professor Huang Zhengjian Research fellow, Institute of History, Chinese Academy of Social Sciences, Professor Yang Jianjun, School of Fine Arts, Tsinghua University and Associate Professor Xie Jing of Beijing Institute of Fashion Technology successively delivered special lectures. Professor Liu Yuanfeng, Director of the Centre finally made a concluding speech. The guests to the opening ceremony, the faculty, and students of the Beijing Institute of Fashion Technology attended the afternoon lectures, which were well received.

Chang Shana:  “Inheritance and innovation of Chinese Dunhuang art” Abstract: The Dunhuang Grottoes Art has lasted for more than one thousand years. The colorful sculptures and frescoes of various historical periods are very rich and wonderful, which are our inexhaustible source of art. Since the establishment of Beijing Institute of Fashion Technology, there have been many graduates of the Central Academy of Arts and Crafts who have entered here to engage in teaching and research work. The fine tradition of teaching and academic research of the Central Academy of Arts and Crafts has been inherited and carried forward here. Now, the "Dunhuang Costume Culture Research and Creative Design Centre" of Beijing Institute of Fashion Technology will take the Dunhuang dress pattern as a special topic for in-depth research and innovative application, and continue to contribute towards the promotion of our proud Dunhuang art! )

Zhao Shengliang, "Dunhuang Art and the Civilization of Tang Dynasty" Abstract: Buddhism was popular in the Tang Dynasty, from the emperors to the general, down to the ordinary people, life cannot be separated from Buddhism. Therefore, the Buddhist temples and cultural life of the people are inseparable, where temples and grottoes can best reflect all aspects of civilization in the Tang Dynasty. In era of the highly developed Buddhist belief, the temple was the space of cultural activities, and  entertainment of the public. The publisization of the temple activities and the gardenisation of the temple environment made the temple a space for people’s cultural life, art appreciation and exchange. Regardless of whether it was a Dharma activity or a festival event, the monastery would hold all kinds of singing and performing activities to attract believers from all walks of life. At that time, the best sculptures, paintings, calligraphy were displayed in such a place. You could even enjoy court music in the temple.

Huang Zheng Jian's "literature, people and time" – A reflection on the study of costume in the Tang Dynasty   

Abstract: Costume research can have many perspectives, such as craft, style, art, vision, and so on. As a historical researcher, what are the characteristics of the study of costume history? From the perspective of personal research practice, I would like to point out the following points: first, pay attention to literature. In addition to official history document "Yu Fu Zhi" and poets/novels, historical researchers should pay special attention to two kinds of materials in the literature. The second is to attach importance to "people", that is, the value and significance of life, society and even politics when a certain "person" puts on a certain dress. The third is the same as other historical issues --- we must study costume in the historical context.

Yang Jianjun:  costume patterns, dyeing and weaving technology in Dunhuang            

Abstract: For the study of Dunhuang costume patterns, dyeing and weaving technology, on the one hand, it is necessary to collect and collate as much as possible the documents recorded in the specific historical periods and the limited physical objects left behind, and use the "double evidence method" to carry out corresponding research. On the other hand, it is necessary to verify the corresponding textual research of documents and cultural relics through the research on the restoration of processing technology. Therefore, in analyzing the interplay between Dunhuang costume patterns and the corresponding dyeing and weaving process in various historical periods, there are three indispensable aspects: literature collation, cultural relics analysis, and practical testing. We need to use the "triple evidence method" to verify and explain each other.

Xie Jing: a study of the costumes of ethnic minorities in Dunhuang Grottoes. Abstract: Some of the ancient ethnic minorities have long become Chinese or have integrated to other ethnic groups. In other words, for the existing ethnic minorities, living customs are very different from the ancient times. Therefore, it is very difficult to study the costumes of ancient ethnic minorities. Xianbei, Tubo, Uighur, Dangxiang, Mongolia and other ethnic minorities ruled the Dunhuang area. In the caves built by these ethnic minorities, there are portraits of their supporters as well as a large amount of information about the costumes and ornaments of these ethnic minority figures in the sutra painting. They provide an extremely precious pictorial data for us to study these minority costume cultures.