The problem of traditional Chinese motifs

Traditional Chinese auspicious motifs in accordance with the general principle of change and unity of the premise, the more prominent modeling features are as follows:

1. Figurative themes, abstract use

The main themes in the auspicious motifs are directly or indirectly from the natural world and the civilian life of common plants and animals, utensils, appliances and so on. These figurative things, auspicious motifs in the modeling is not subject to the limitations of the specific image, often obey the visual pleasure, and break through the cage of the ordinary, reflecting the artistic beauty of the abstract form.

2. Symmetry and balance is the usual method of composition

Auspicious motifs often have a central line (or center point), in its left and right, up and down, or all around (three, four, more than one side) configuration of the same shape, the same color, the same amount of different shapes or different shapes (colors), but the amount of the same or similar patterns, the composition of this form of composition is called symmetry and balance of the composition. Among them, symmetry and asymmetry is based on the sample pattern occupies the space position of the situation, it explains the layout of the organizational unit of auspicious patterns; and balanced and unbalanced refers to the distribution of the power of each part of the pattern of the distribution of the situation, which determines the balance of the auspicious pattern of the aesthetics, through the symmetry and balance of the composition, auspicious patterns show the general depiction of the different visual effects of the pattern, more organizational, which is precisely auspicious pattern The important premise of decorative properties.

3. Complexity of change, order in chaos

Traditional patterns of complexity is a major feature of modern art, but the complexity of traditional auspicious patterns is different from the modern application of a major feature of fine arts patterns, but the complexity of traditional auspicious patterns is by no means a simple list of simple repetitions, which pay more attention to the complexity in the embodiment of the rhythm and rhyme, contrast and harmony, will be sparse and dense, large and small, Primary and secondary, real and imaginary, static and dynamic, gathering and dispersing, etc. to do a coordinated organization, to achieve overall unity, local changes, local changes to obey the whole, that is, "chaotic order", "flat in the pursuit of odd". This increases the level and connotation of auspicious patterns, but from the point of view of decorative applications, it is clear that the requirements of the processing technology is relatively harsh.

...... "Auspicious", the meaning of the signs of good luck, auspicious. Quote from "Zhuangzi - the world on earth": "The virtual room is white, auspicious stop." Cheng Xuanying said, "Auspiciousness is a sign of good fortune; auspiciousness is a sign of celebration." In ancient times, there was a form of sensual manifestation of good fortune and good deeds and signs of celebration, namely, drawings and paintings, commonly known as "auspicious drawings" or "Ruiying drawings". As early as in the Yin and Zhou period of jade carvings and bronzes, this is the beginning of "auspicious patterns" or "allegorical patterns". Such as in Beijing Pinggu, Henan Zhengzhou and other places unearthed in the Shang Dynasty bronze, often decorated with the head and tail of the fish pattern, reflecting the people at that time, has given the fish to the "auspicious" allegory or "auspicious" symbols, through the "fish belly many children "The reality of this biological form, to imply that people pray for more children and more happiness of the good wishes and visions. Later generations of such images with "auspicious" symbols, as the "auspicious" symbols are expected: "melons and gourds", continue. Such as the Spring and Autumn and Warring States bronze mirrors, the Qin and Han dynasty tile, portrait stone, North and South dynasty cave murals, Sui and Tang dynasty monument carvings, stone carvings, the Song dynasty ceramics, brocade, etc., are made of rich and wonderful "good luck" images or "good luck" pattern. Really have "auspicious" pattern of aesthetic cultural implications and its formal beauty performance characteristics, is painted in the Han Lingdi Liu Hong Jianning four years (171 AD) of the "Five Rui Tu", the left for the yellow dragon, the right for the white deer, under the left two trees and four branches of the four branches of "Lianli", in the middle of a harvest, the harvest has nine stems; the right has a tree with four branches of "Lianli", the right has a tree with nine stems of "Lianli", the right has a tree with nine branches of "Lianli". In the center, there are nine stems; on the right, there is a tree under which a person lifts a plate to "bear dew", which is the earliest surviving auspicious pattern in China. On the other hand, the three kingdoms of Wu Sun Liang, the production of glazed screen, on the skeleton "Rui Ying figure", up to one hundred and twenty kinds of more than one hundred and twenty kinds, can be said to be set of auspicious Ruiching pattern of the great success. ① After the Yuan Dynasty, auspicious patterns in the folk widely popular, to the Ming and Qing Dynasties and the great popularity of the time, become a popular folk phenomenon. Commonly referred to as "the picture must be intentional, the intention must be auspicious". At this time, the auspicious pattern, in addition to still used in construction, car and daily utensils, has been applied to the center of the fabric as well as clothing aesthetic cultural phenomena, such as hats and shoes, form aspects up. We have a general understanding and awareness of auspicious motifs, so that we can make a descriptive provision for auspicious motifs.

Auspicious patterns, that is, the use of harmonies, embedded words, symbols, symbols, or that is, "like virtue", metaphor or that is, "than virtue" and other means of expression, the use of traditional fomentation ② or that is, color, ball road, chain, arched wall, Han tile, eight with rhyme, four symmetry, continuous (i.e., "four-way continuous"). Continuous (i.e., "four-way continuous") and other traditional patterns, and used in ceramic aesthetic and cultural phenomena on top of the form, in order to express the blessing of the good things, Jiaqing signs and other aesthetic implications of the decorative patterns.