What is 2-square continuous pattern and 4-square continuous pattern?

The 2-square continuous pattern is a typical representative form of traditional Chinese pattern, which is an image culture with historical significance. We are y impressed by the unified expression of the 2-square Continuous Pattern and the varied skeletal structure and flexible color matching. The study of the causes, development and evolution of bipartite continuous pattern and its formal aesthetic law is of great significance to our understanding of traditional Chinese patterns.

1 Background

Mr. Lei Guiyuan, a pattern educator and theorist, in his book "Pattern Fundamentals", summarized the definition of pattern as follows: "Pattern is a pre-designed design of form, color, and structure in the practical arts, decorative arts, and architectural arts. Under the constraints of craft materials, use, economy, production and other conditions, made of drawings, decorative patterns and other programs of the general term. [1] (P.3) While traditional patterns are patterns with unique national art styles that have been passed down through the generations. The earliest record of Chinese traditional patterns is the colored pottery patterns of primitive society, which has a history of 6000-7000 years.

2 Bi-partite Continuous in Traditional Patterns

2.1 The Concept of Bi-partite Continuous

Patterns are divided into individual patterns, corner patterns, suitable patterns, edge patterns, and continuous patterns according to their organization. The bipartite and quadripartite continuity belongs to the continuous pattern, which is also the traditional pattern with national artistic style. One or a group of unit pattern to the upper and lower, left and right cycle, an unlimited extension of the continuous pattern is called bipartite continuous. Generally, the two sides of the continuous pattern is banded, up and down continuous called "vertical", left and right continuous called "horizontal", diagonal continuous called "diagonal". Quadripartite continuity is the pattern of infinite repetition and expansion of the upper and lower, left and right quadrants. [2](P.19) Because the two-square continuity and four-square continuity is just a different direction of the continuity, so the following two-square continuity is the main focus, focusing on the analysis of the reasons for its formation, development and evolution and the laws of form and beauty.

2.2 Reasons for the formation of bipartite continuity

The creation of bipartite continuity made the method of continuous banding of a single simple pattern spread slowly and matured with the change of ages. So what prompted traditional Chinese motifs to move from single to continuous, from scattered to dense, from bland to magical? This goes back to the earliest manifestation of bipartite continuity - colored pottery patterns to explore.

Colorful pottery pattern is the Neolithic ancestors according to their own life experience and feelings to express the praise of life, the pursuit of fantasy, they used simple tools to create a beautiful pattern, fully demonstrated their desire for a better life. The colored pottery patterns have been used up to now and have a strong vitality. The first colored pottery patterns were not continuous, but single geometric or animal and plant swirls (see Fig. 1A, Fig. 1B), the combination of these patterns is rich in the beauty of the arc, decorated in the vessel that swells the abdomen, not only appears to the overall shape of the fullness, but also gives a sense of roundedness and smoothness. [3] (P.7) the emergence of a truly mature continuous pattern is about six thousand years ago in the Yangshao culture of the early and middle Miaodigou type of colored pottery pattern (see Figure 1C), the late Majiayao type of colored pottery also appeared in the continuous water pattern and plant pattern (see Figure 2). From the information available from archaeology, the Neolithic site of Dadiwan type II to IV, equivalent to the early, middle and late Yangshao culture. The common colored pottery patterns of the second phase of Dadiwan are mostly broadband, straight edge, triangular, parallel lines and folded lines, basically not using curves and arcs, appearing simple and straight, and broadband patterns are generally decorated on the outside of the upper rim of the straight-mouthed bowl. [4](P.39)

Figure 1 Painted Pottery Patterns

Figure 2 Majiayao-type Painted Pottery Patterns

The reasons for the formation of the bipartite continuous patterns can be summarized from the evolution of the graphics by peeping into the following:

Firstly, the revelation of the natural landscape. The ancestors of the Neolithic period lived in an almost first-nature world. They came into contact with purely natural things that had not been processed by human beings, such as stars and clouds in the sky, water patterns on the ground, plants, beasts, etc. All these natural landscapes inspired the forefathers to start imitating, and the imitation over a long period of time prompted people to reflect on the natural things, and then they began to deconstruct and reorganize them, and gathered the geometrical patterns into clusters, and arranged them into rows; secondly, the feeling of life and the accumulation of experience. Most of the social activities engaged in by the ancestors in primitive society were at the level of survival, such as fishing and hunting, etc. The tools used for these activities, such as fishnets, ropes, and braided fabrics, etc., were made up of repeated arrangements of individuals in a unit to form surfaces. The recurrence of these forms made the ancestors naturally add the concept of repeated arrangement in the process of making things; thirdly, the coincidence with the modeling. Most of the household objects in the Neolithic period were cups, bowls, pots, jars and so on, and their shapes were mainly round, especially the positions along the mouth of the round shape often needed certain decorations. This makes it natural to form a continuous pattern of bands by wrapping a single motif along the circular rim. This, coupled with the excellent connectivity and infinite stretch between geometric patterns, led to the creation and development of continuous patterns. From the visual point of view, the lifestyle of people at that time was to sit on the ground or lie down on the ground, and the height of sight was not far away from the ground, so the decoration of the middle and upper part of the pottery was more decorative, which was a combination of modeling and lifestyle; fourthly, the enhancement of the decorative effect. From the previous patterns we can see that the single pattern of the Neolithic period is relatively simple and rustic, basically with the existence of separate points or surfaces, the expressive power and artistic tension are relatively thin. Therefore, the band-like continuity formed by the repetitive arrangement of monoliths in form can produce visual expansion and extension, and the decorative effect is also strengthened. It can be said that this is a process of re-creation by the primitive ancestors.

If a single pattern is an imitation of the natural world by the ancestors, then the creation of a continuous pattern of bands shows that the ancestors did not only stay at the stage of imitation, but on the basis of imitation can be changed, broken up and reorganized. This is the germ of primitive artistic creation, but also for the later pattern of various changes laid the foundation.

2.3 Development and Evolution of Bifurcated Patterns

Looking at the history of the development of bifurcated patterns, it can be summarized as follows in terms of subject matter, craftsmanship, and styles:

From the above table, it can be seen that the original bifurcated patterns originated from Neolithic pottery, and then evolved into symmetrical banded patterns. The later freestanding and suitable shapes are all independent on the basis of continuous patterns after the formation of a richer and fuller form of artistic expression.

3 bipartite continuous formal beauty analysis www.dolcn.com

The bipartite continuous pattern has a very wide range of applications, not only can be applied independently, but also with other forms of art can be applied in a variety of media at the same time. This is inseparable from the composition of the bipartite continuous pattern. The following is from the two sides of the continuous skeleton, color and composition of the three aspects of the analysis of its formal beauty.

3.1 Skeletal analysis

The skeletal structure of the bipartite continuum is mainly the following: (see Figure 3) Design - design 2 in @ line. China

1, scattered points: a point as the main monolithic repetitive composition, has a dense effect, appears neat and orderly.

2, linear: ① have a clear direction, can be vertical, can be horizontal, can be up or down, can also be up and down alternately; ② tilted arrangement, there are juxtaposed, interspersed, and other forms; ③ in the form of folded lines, there are right-angled, acute and obtuse angle arrangement. The overall effect is crisp and clean.

3, ripples: wavy line as the skeleton, other patterns attached to the wavy line, divided into a single line of ripples and two lines of ripples, can be arranged in the same direction, can also be arranged in reverse. The rhythm of the ups and downs are obvious, and the sense of movement is strong.

4, a whole two broken style: the center has a complete shape, up and down or left and right have a half broken shape. This combination is arranged as a unit.

5. Comprehensive style: several forms are superimposed together.

Figure 3 Skeletal structure

From the skeletal structure of the bipartite continuum we can see that the basic form of composition of the bipartite continuum is the line. Whether it is dots, circles, long lines or short lines, the ultimate convergence is a band-like group of lines. The combination of lines can be gathered or dispersed, crossed or looped, so that they can be repeated indefinitely to form a band pattern. The charm of lines lies in the fact that both straight and curved lines can bring a strong reaction to the human psyche. The crispness of straight lines and the undulation of curves bring visual enjoyment to people. This is precisely the initial use of lines in traditional Chinese patterns. As each nation has a different understanding of the arrangement and reorganization of lines and the methods of expression, these varied elements form a unified but differently flavored continuous pattern. As a result, the bipartite continuity has become a traditional pattern with national artistic style and has been handed down to the present day.

3.2 Color Analysis Design Online. China

Objectively speaking, the key to the bipartite continuous pattern is its skeletal composition, because the bipartite continuous pattern can not exist independently, it must rely on certain carriers or media to express. Therefore, the color of the bipartite continuous on certain carriers or media is particularly important. At this time, the color often becomes a means to make the pattern more vivid - that is, to achieve the "color to help shape" purpose.

Color contrast is the difference in color when two or more colors are juxtaposed together. [5] (P.72) Among them, the three primary colors that is, the contrast between red, yellow and blue is the strongest color contrast, the contrast between them has the strongest visual impact. The contrast of lightness formed by using the degree of lightness and darkness of the colors can also make the traditional patterns show regular color gradient changes and produce a tonal effect. The addition of neutral colors is a common means of reconciliation in traditional color schemes. With the buffering of neutral colors such as gold, silver, black and white, the patterns with strong contrasting colors show various styles such as opulent, simple and generous, and light and elegant. As shown in Figure 4A, in the high purity of blue-orange contrast with the black background buffer visual, the middle of the orange dot jumping but not harsh, lively and dignified, very good will be in the black-blue-orange harmony continues; Figure 4B in the use of luminance and the means of reconciliation, by changing the same hue of the light and dark to achieve the purpose of reconciliation, it seems to be fresh; Figure 4C in the successive patterns of colorful, the use of a variety of primary color contrast, which adds the same color - white, light and elegant show. Which added the same color - white to achieve the purpose of reconciliation, this means of reconciliation of the same hue so that the whole pattern does not look harsh and cluttered, complementary colors in the contrast of mixing with each other in unity.

Figure 4 Colorful bipartite continuous pattern Design Online. China

3.3 Analysis of Formal Laws

The composition of patterns is based on the visual psychology of points, lines, surfaces and colors, applying the principle of beauty of form, and combining the material, craftsmanship, technology and function to make a general intention. In the bipartite continuous pattern embodies many of the plastic arts **** the same laws and laws of beauty.

①, change and unity. Change refers to the differences between the components of the pattern, unity refers to the cooperation, correlation and consistency between the various parts. The bipartite continuous pattern is precisely the constant repetition of a basic element by an organized arrangement. As mentioned earlier, a continuous repeated pattern is more decorative and appears to be well organized and majestic. In addition, the various forms of arrangement also increase the interest and diversity of the bipartite continuous pattern, making the bipartite continuous pattern more ornamental while being able to be produced uniformly. As the form, arrangement, color and so on of the two-party continuous pattern are all regular, on the whole, the two-party continuous pattern is tending to be unified. But we can't ignore the differences in image, color and other elements hidden in the unity. The contradictions, conflicts and contrasts between various images, colors and shapes ultimately result in a relative balance in shape, color, quality, space and quantity, which forms a harmonious, master-slave, balanced unity. This unity of diversity makes the two sides consecutively tend to harmonize.

②Symmetry and balance. Symmetry is the most prominent form of composition in the bipartite continuous pattern, any single bipartite continuous pattern is symmetrical, bipartite continuous pattern with a single pattern of infinite repetition, expansion, the formation of absolute balance. Balance, on the other hand, is a relative balance. There are some jumping elements in the bipartite continuum, which give people the feeling of the same quantity but different shapes, realizing the balance in psychological quantity. Similarly, in terms of color, it also reflects symmetry through the correspondence in light and darkness, purity and brightness, and the combination of real and imaginary movement and static to achieve the unity in visual effect.

③Rhythm and Rhyme. The repeated arrangement of the bipartite continuous pattern and the repetition of color shades and hues are destined to have a strong rhythm. Harmony is rhyme and regularity is rhythm. The speed of these straight lines, the flow of wavy lines, the shape of the high and low length of the changes in the formation of the rhythm of the continuation of the curly grass pattern, the fluttering fire pattern, the rich internal structure, the distinctive level, ladder of colors and so on are from different aspects of the rhythm of the beauty of the embodiment.

All in all, the designers of the two sides of the continuum are good at symmetry, balance, change, unity, rhythm, rhyme and other phenomena felt in life, with points, lines, surfaces organized into an abstract and beautiful variety of "theme". And with the recurring artistic techniques, to bring pleasure to the audience, just like the original music and dance, stirring in people's hearts. [6](P.14)

4 Conclusion

The unchanging forms of expression and changing bone structure, flexible color matching in bipartite continuous pattern have left a deep impression on us. People constantly innovate the stylistic content of the Erfang continuous pattern, enrich its humanistic connotation, make it develop from the ancient, simple and vivid colored pottery pattern to the present diversified, gorgeous and vivid various ornaments, and the Erfang continuous pattern of different ethnic groups in different periods have their own characteristics. Design Online. China

From the development and evolution of traditional patterns, it can be seen that the bipartite continuity is a basic form of traditional patterns in China. From the inference of the reason for the formation of bipartite continuous pattern can be seen, the original bipartite continuous pattern records the process of people's re-creation of natural things, but also records the living environment of the forefathers, the way of life and thought dynamics. In the analysis of the formal beauty of the bipartite continuous pattern, the composition of the line brings a strong reaction to the human psyche, and the straightness and curvature of the line constitute a variety of pattern beauty. It is precisely because of this that the bipartite continuous pattern, which responds to all changes with no change, gives us a broad space for thinking and unlimited imagination in understanding history and culture

.