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Author:

Hu, H. (Hu, H..) | Gao, S. (Gao, S..) | Zhao, J. (Zhao, J..) | Zou, F. (Zou, F..)

Indexed by:

Scopus

Abstract:

In the current era of deep integration of artificial intelligence and various fields effectively using AI tools for innovation in intangible cultural heritage revitalization has become a major challenge for contemporary inheritors. Therefore it is valuable to explore ways to help intangible cultural heritage inheritors and their collaborating designers. The goal is to enable them to use AI tools more effectively for innovative design. This exploration contributes significantly to the inheritance and development of traditional culture. This paper focuses on the innovative design of traditional patterns using Miao embroidery as the research subject. It selects reference graphics including the classic Butterfly Mother pattern the traditional fish pattern with clear semantics and the multi-semantic fish pattern containing human face images. These graphics serve as experimental objects. The goal is to transform traditional patterns into modern-style designs. From the perspective of intangible cultural heritage inheritors prompts are selected from representation elements to innovate traditional patterns. The input prompts are changed based on conditions including changes to the input prompts with or without reference pictures and different types of reference pictures. The representation elements to be presented are selected as prompts. Both the foreign Midjourney and domestic Wenxin Yige AI tools are used. A single-variable control method is adopted to generate flat patterns and three-dimensional products respectively. Using Pierce’ s symbol system from the three aspects of object representation and interpretation the study analyzes the correlation between the generated results and the prompts as well as the correlation between the presence or absence of reference pictures. This analysis helps identify the characteristics of AI tools from different cultures both domestically and abroad in the innovative design of intangible cultural heritage. The following conclusions are drawn through the experiment. In the input of plane pattern creation in terms of prompts when the input prompts are keywords containing various representational elements the patterns generated by Midjourney and Wenxin Yige are more consistent with the content of the prompts. In the output of plane pattern creation Wenxin Yige and Midjourney tend to transform traditional patterns into abstract and complex patterns. Although the effect of direct use on modern product packaging is poor it can be used as a decorative pattern. In the input of three-dimensional product creation in designing three-dimensional products although Midjourney and Wenxin Yige lack the creative ability Midjourney performs better than Wenxin Yige in three-dimensional product design. In the creative output of three-dimensional products the products generated by Midjourney and Wenxin Yige are both poor in three-dimensional effects. When the plane reference image is input the generated results tend to be flat. Overall Midjourney and Wenxin Yige select the self-representation element keyword-style prompts in the input of plane pattern and three-dimensional product creation which has a greater impact on the production effect. In the creative output when the plane reference image is input the results generated by both tend to be plane patterns but the results created by Midjourney are more realistic and Wenxin Yige has a more painterly feel. Three major conclusions are drawn. First there are several methods for intangible cultural heritage inheritors and their cooperating designers to use AI tools for innovative design of intangible cultural heritage patterns. In terms of the selection of reference images when using AI for innovative pattern design intangible cultural heritage inheritors should carefully select multi-semantic patterns that contain irrelevant associations as reference images for foreign AI tools. In terms of setting prompts intangible cultural heritage inheritors can communicate with designers starting from the type style shape color material style cultural attributes function target users traditional pattern content and meaning of the target product and select keywords as prompts according to the design goals. In terms of the selection of AI tools intangible cultural heritage inheritors and auxiliary designers can choose appropriate domestic and foreign AI tools according to the goals of designing flat or three-dimensional products. Second the prompt formula for intangible cultural heritage inheritors to effectively use AI tools for intangible cultural heritage innovation design based on the reference map of object elements and the prompts of representative elements is Prompt = A1 + B1 + B2 + B3 + B4 + C1 + C2 + D1 + D2. Third the AI design strategy for intangible cultural heritage inheritors to use AI tools to transform traditional pattern innovation into modern flat patterns and practical products is proposed design innovation strategy that integrates cultural connotation and symbolic meaning selection optimization strategy for establishing a multi-sample library and dynamic feedback and collaborative support strategy that balances intelligent creation and manual regulation. Through the above methods formulas and strategies the threshold for intangible cultural heritage inheritors to use AI tools for intangible cultural heritage innovative design can be lowered the strengths of intangible cultural heritage inheritors can be better utilized and new ideas and paths can be provided for research and exploration of how digital technology can empower the inheritance and innovation of intangible cultural heritage. © 2025 China Silk Association. All rights reserved.

Keyword:

intangible cultural heritage innovation AI tools Miao embroidery patterns Wenxin Yige innovative application design strategies AI tool application methods Midjourney

Author Community:

  • [ 1 ] [Hu H.]School of Art and Design, Beijing University of Technology, Beijing, 100020, China
  • [ 2 ] [Gao S.]School of Art and Design, Beijing University of Technology, Beijing, 100020, China
  • [ 3 ] [Zhao J.]School of Art and Design, Beijing University of Technology, Beijing, 100020, China
  • [ 4 ] [Zou F.]School of Art and Design, Beijing University of Technology, Beijing, 100020, China

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Source :

Journal of Silk

ISSN: 1001-7003

Year: 2025

Issue: 3

Volume: 62

Page: 21-35

Cited Count:

WoS CC Cited Count:

SCOPUS Cited Count:

ESI Highly Cited Papers on the List: 0 Unfold All

WanFang Cited Count:

Chinese Cited Count:

30 Days PV: 17

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