The Auspicious Implication of "Auspicious Pattern" (1)

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The ancient China was the birthplace of world civilization. Its long history and profound cultural deposits are the great treasures left by our ancestors. Traditional Chinese auspicious patterns are the most beautiful and most gorgeous part of this treasure. In the long years, our ancestors created many designs that yearn for, pursue a better life, and have good fortune. These patterns cleverly use characters, beasts, flowers and birds, moon and stars, wind and rain, lightning, text, etc. The myths and legends and folk idioms are used as themes to create symbols and auspicious meanings through metaphor, comparison, pun, homophony, and symbolism. Combined art form. We call this pattern with historical origin, rich folk features, and implication of auspicious hope as the Chinese traditional auspicious pattern. The Chinese traditional auspicious patterns are an important part of the Chinese traditional culture and represent a complete set of art forms that represent the history of the nation. First of all, through these intuitive and sensible perfect forms, expressing enthusiasm and eagerness for happy life and wealth.


I. A brief history of the development of traditional Chinese auspicious patterns

With the progress of society, the development of human civilization, people's sense of concept and aesthetic taste are also constantly changing, and all forms of art associated with it are also marked by a marked era. Traditional Chinese auspicious patterns, as formal arts, are also a reflection of human thinking and ideology. There must be a process of development.

Far from ancient totem worship, the ancestors were full of illusions and speculations about the mystery of the universe and the myriad of animals, flowers, birds, fish, and other animals and plants. Birth. During this period, animal patterns on the pottery craftsmanship, human face fishes, and the like all bear the meaning of respecting the gods and reclining chaos. Although this kind of totem culture can not be truly called the decorative auspicious pattern created by people's subjective initiative, objectively it lays the foundation for the development of traditional auspicious patterns, and defines its source site within the category of humanities and arts. .

During the Neolithic period, various shapes of monsters such as dragons, phoenixes, tortoises, birds, etc., as well as moire, water ripples, and fretwork appeared first. During the period of the Shang Dynasty, Western Zhou Dynasty, and Spring and Autumn Period, the auspicious patterns in the true sense were created in the class society. Because in the class society, people's ideology has undergone tremendous changes. With the rapid advancement of this level of craftsmanship, the rich content of thoughts has emerged in an objective form. For example, various patterns such as enamel patterns on bronze ware, lacquer ware, dragon patterns, bird patterns, elephant lines, etc., make people feel not only the spiritual essence of the particular age, but also the dignified, mysterious and ancient spirit. During the Qin and Han Dynasties, Buddhism was introduced to China, Buddhism in the karma, the immortality in Taoism, the yin and yang elements of Confucianism, and the integration of the three, coupled with myths and legends, greatly enriched the theme of auspicious patterns, and extensively Applied in architecture, sculpture and folk art, rich auspicious language began to appear. For example, a lot of auspicious designs have appeared on the Han Dynasty brocade, including “everything's best” and “longevity”. At this time, the blessings, Lu, Shou and hi patterns in traditional auspicious patterns have gradually begun to take shape. During the period of the Sui, Song and Yuan dynasties, the auspicious patterns became more and more popular and gradually spread. Especially during the Song and Yuan Dynasties, the auspicious designs were widely used in architectural paintings, ceramics, embroidery, fabrics, and lacquer ware. At this time, the auspicious designs entered a period of high popularity for development, even to the point where “it will be auspicious”. During the Ming and Qing Dynasties, the auspicious designs began to mature. The form of the pattern is more colorful, and the use of pattern techniques to perform, performance, make the auspicious pattern more mature and perfect. Auspicious pictures, auspicious customs, and auspicious words have spread far more profoundly, and their influence on social culture has gradually deepened.

Looking at the development history of Chinese traditional auspicious designs, it originated from the primitive culture, which began in Shang and Zhou Dynasties and developed rapidly in the Song and Yuan Dynasties. It reached its peak in the Ming and Qing Dynasties. Auspicious patterns have their own limitations in various periods, but their development has never stopped. Until today, traditional auspicious patterns still have extremely strong vitality.

Second, the development of Chinese traditional auspicious patterns of philosophy and spiritual characteristics

1. Philosophical concepts of Chinese traditional auspicious designs

According to ancient Chinese cosmology, the universe is composed of five basic elements or materials: gold, wood, water, fire, and earth. All things can be divided into two, and the opposite is transformed into a whole. The things yin and yang are in phase with each other and become "gold, wood, Water, fire, and earth are the driving forces of the Five Elements Movement. This is the idea of ​​"Yin and Yang Five Elements." It constitutes the foundation of Chinese traditional philosophy. It not only provides the guidance of the most universal sense of the universe for the birth and development of Chinese traditional auspicious designs, but also sets a concrete model for the design of Chinese traditional auspicious designs. The dialectics of Chinese traditional auspicious patterns, namely, the dialectic of yin and yang and the five elements of ideology in composition, are the dialectic of movement and static, emptiness and reality, possession and dew, and black and white. The red, yellow, blue, black, and white originating from the Five Elements theory are regarded by the ancients as auspiciousness and gratitude. It is the basic criterion for the use of color in traditional Chinese art. The comprehensive use of the five elements of color, which has accumulated the profound essence of historical culture, has become the highest standard of Chinese national aesthetics.

Chinese culture has a prominent feature in ideological concepts that emphasizes the harmonious unity of man and nature, namely, the philosophy of "Heaven and Man are one". From Confucius' thought of "being benevolent and affectionate" to paying attention to people, to Laozi's "Taoist-nature-nature", the idea of ​​returning nature among nature, solitude and inaction, lays the foundation for the formation of "the harmony of nature and man". The phenomenon of external natural things and the emotions of the subject penetrate and merge with each other. The perfect combination of the subject and the object is the highest realm of art design. All in all, the idea of ​​"Heaven and Man" has a wide range of influence on the design and application of Chinese traditional auspicious designs.

2. The spiritual characteristics of Chinese traditional auspicious patterns

Through the observation, experience, and comprehension of traditional auspicious patterns, through these gorgeous and colorful forms, we discovered the aesthetic rules of traditional auspicious patterns. In general, it can be summarized as the following traits: First, the essence of spirit: the spirit, vitality, vivid and natural beauty. The aesthetic concept of "likeness" is greater than "likeness" is its embodiment. Second, ideal romance: It greatly expands the free space of art, breaks through the shackles of nature, and brings together beautiful things scattered throughout, such as the combination of a variety of animals. Ideal romance is the most common spiritual characteristic of traditional Chinese auspicious patterns. Third, empty and empty: empty and empty is the perfect embodiment of Taoist ideas in Chinese traditional auspicious designs. The picture focuses on subtle and natural, and if there is nothing, it will leave people with a vast space for imagination. Fourth, the euphemism is subtle: The beauty of Chinese traditional auspicious designs often speaks little or self-evident, which fully reflects the Chinese's preference for subtle and uncomfortable habits. In Chinese traditional auspicious patterns, homophony, symbolism, and metaphor are common tactics, such as the use of 鸳鸯 symbolizing the "love couple".

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