On Decorative Patterns Of Liao, Song, Xia And Jin Dynasty

Liao, Song, Xia, Jin dynasty is called the Southern and Northern Dynasty in the new situation and once again an integrated period of culture and arts in Chinese history with great depth and breadth including a large multi-ethnic. The dynasty of Liao, Xia and Jin represented by Khitan, Dangxiang and Jurchen has long-term counter, confrontation of the minority regime with Song in political, military, economic and other aspects. In the vortex of national integration, in the farming culture and the nomadic culture of the wave of agitation, the arts continue to blend and innovate, nurturing and molding another brilliance of decorative patterns of Chinese art.The decorative patterns in Song dynasty are the mainstream of the times. Technology improvement has promoted the prosperity of arts and crafts, benefiting the development of decorative patterns, and also broadened the application and subject matter of the decorative patterns than in the past, even beyond the Tang Dynasty. The prosperity of painting in the Song Dynasty has injected new vitality into decorative patterns. Decorative patterns reflects the scholar-bureaucrats’leading literati aesthetic taste, highlighting elegance, and it also caters to the aesthetic needs of general public class, reflecting their life and social customs, and the performance of secular, forming the decorative art suiting people in the higher class and common people. The deep integration of nomadic civilization and farming civilization, is the basis for Liao, Xia and Jin decorative patterns. As nomads, Liao, Xia and Jin nationalities show the North aesthetic point of view of bold step of the male spirit and simplicity in the decorative patterns. The decorative patterns of Liao, Xia and Jin coexisted and developed together with that in Song Dynasty, having gone through the process of imitating the art of the Han culture, integrating organically with the Han culture and the national culture, as well as being influenced by the foreign cultures, and ultimately forming the unique decorative patterns. Decorative patterns in Liao, Western Xia and Jin have in the mainstream of Han nationality, forming a unified Chinese decorative pattern of the multi-dimensional organ. Its unique feature enriched the mainstream of national patterns, promoting the two-way communication and integration of art between nationalities, hence there have been rapid development and common prosperity. Then there emerged new patterns in Song, Liao, Xia and Jin in the decorative arts, until the Yuan Dynasty which unified China, the ultimate Chinese decorative patterns of diversity and unity of appearance formed when nomadic and agriculture combined.All along, Chinese decorative patterns in Liao, Western Xia and the Jin dynasty have been regarded as a drop in the ocean, being discarded. Although the Khitan, Dangxiang and Jurchen in each of these three dynasties have developed innovative decorative patterns after culture integration, accepting and absorbing the Central Plains culture, but because of negligence they have not been considered or even submerged. This paper attempts to reproduce the long-neglected chapter in the history of Chinese decorative patterns. Generally speaking, the period of Liao, Song, Xia and Jin dynasty is an agglomeration of decorative patterns during development, having played a role inheriting the past and forge ahead into the future. It has produced enormous impact on the Ming and Qing decorative patterns and take an important place in the history of decorative patterns. The decorative patterns in Liao, Song, Xia and Jin dynasty of China have an overall trend from classical to modern, from the palace to the market, which have formed the developing foundation of Chinese decorative patterns.