The Evolution Of Chinese Traditional Decoration Patterns-twine Patterns

This thesis discusses the evolution of Chinese traditional decoration patterns-twine patterns. By adopting the methods of literature research summary and contrastive analysis, this paper studys on the evolution of twine patterns and the influence factor causing its evolution.From the primitive society to the Ming Qing Period, the development of Chinese traditional decoration patterns-twine patterns spans long in time and goes through many dynasties, the difference in social and cultural backgrounds of different periods decides the different characteristics in different stages. The paper studys the twine patterns based on characteristics of dermatoglyphic pattern, social and cultural backgrounds, divisions and classification.From the ancient times to the Shang Zhou Period, S-curve structure has appeared in geometric lines of ancient painted pottery, although the twine patterns had not been formed. The emergence of a large number of S-curve was closely related to nature worship and totemism in the primitive society. The geometric pattern and plant pattern were main decoration patterns in the period,the plant pattern was developed slowly. In the ancient times, the decoration patterns had the geometric characteristics, while the characteristics of plant had become increasingly evident in the Zhou Shang Period.In the Spring and Autumn and the Warring States Periods, the final amalgamating twine pattern with s-curve structure formed the embryo of the early twine pattern, which was closely related to aesthetic psychology of the masses, folkways regarding beauty as god, nature and world view of unity of heaven and man. But the plant pattern in the period mainly served as a foil amonst animal pattern, the S-curve structure of very few lacy pattern was not evident and the quantity was very few, but it made a good start of the newdevelopment of the plant lines in the Qin and Han dynasties.In the Spring and Autumn and the Warring States Periods, the final amalgamating twine pattern with S-curve structure formed the embryo of the early twine pattern, which is closely related to aesthetic psychology of the masses, folkways regarding beauty as god, nature and world view of unity of heaven and man. But the plant lines in the period mainly served as a foil amonst animal patterns, the S-curve bone of very few lacy lines is not evident and the quantity is very few, but it made a good start of the newdevelopment of the plant lines in the Qin and Han dynasties.In the Qin and Han dynasties, under the influence of the cloud pattern and animal pattern, the S-curve structure had become evident, twine pattern with fuzzy plant forms had appeared more clearly. It is closely realted to the idea of Xiantaoism and the social background.The Wei-Jin and Nan-Bei Dynasty was the important transformation of twine pattern of our country. The mainland twine patterns were few and far between, although it had formed. With Buddhism introduced to our country, the foreign patterns ruling all the twine pattern-honey suckle pattern was amalgamated with the imainland cloud pattern being all the rage at the moment in our country, which finally formed new-style pattern-honey suckle-cloud pattern. Acanthus leaf pattern had entered our country. These three helped to the twine pattern of Tang Dynasty-Tangjuancao.The Sui and Tang Dynasty is an active period of twine pattern of our country. Its range of use became more extensive, the subject content also became richer and the S-curve structure become freer. The characteristics of overall design experienced the evolution process being from fineness, variegation to portliness, Shulang. Tangjuancao was formed by the crystal of oriental and occidental cultures. It was closely related foreign policy of the day, the amalgamation of oriental and occidental cultures, the luxury life style.In the Song and Yuan Dynasties, the pattern characteristics was obviously subject to return to the mainland, its style became delicate and inside collect from splendidness and unchainedness of Tanyg Dynasty, the free characteristics of sarment, shape of flower head with flowers in flowers and flowers being bigger than leaves had basically steadied. On the techniques of expression, the painterlyness and the factuality became stronger, which is closly related to flower-bird works with traditional chinese realistic painting. While the citizen culture and the rising of the literary intelligentsia culture had a far-reaching impact on the evolution of patterns.In the Ming and Qing Dynasties, the structure feature of the whole profile did not change much in the foundation of Song and Yuan. In the period, a gust of western wind engulfed our country. There appeared foreign patterns in the field of decorative art. But our country is at the primary stage of culture model change, western culture was learned blindly. Our country just blindly copyed other shows. Our country did not absorb them for making them ours. Good manners of the Sui and Tang Dynasty were not gone down to the Ming and Qing Dynasties. The impact of the gust of western wind made the people neglect the development and continuation of the mainland culture, the mainland patterns came to a standstill. The phenomenon was closly related to the development of commodity economy, the rising of citizen culture and the western learning introduced into the east at that time.