An Application And Research On The Chinaware Dermatoghyphic Pattern Of Ming And Qing Dynasties

In the continuous accumulation and development process, porcelain patterns gotinto the heyday and boom period in Ming and Qing Dynasties. The consummate skills,exquisite designs and complete constitution form of patterns formed a uniqueporcelain pattern style in the ceramic art history of our country. The porcelain patternsin Ming and Qing Dynasties contain a great deal of our traditional culture. Theporcelain products at that time, especially the constitution form of the decorativepatterns had a visual aesthetic perception of strong impact, respected and loved by thepeople. The elements of these patterns drew from a wide variety of sources, whichcontained people’s good wishes and aspirations on life. They were pregnant withmeaning, and the performance forms were diversified.This paper applies induction, illustration and other methods to study the historyevolution from inheritance, growth, development to recession of Ming and Qingporcelain patterns on the basis of the systematic collection and classification of Mingand Qing porcelain patterns. It conducts classified study of the patterns according totheir themes and performance process, and expands around the forms, contents andartistic features. Through the analysis and research of a large number of literatures, itcan be found that the subject matters of Ming and Qing porcelain patterns arecomplex and diverse, which can be divided into: plant decorative patterns, animaldecorative patterns, figure decorative patterns, scenery decorative patterns, geometricdecorative patterns and so on. According to the process, it can be divided intofive-colored porcelain, door-colored porcelain, color glazed porcelain, clashing colorporcelain, famille-rose porcelain, enamel painted porcelain and so on. The artisticcharacteristics of Ming and Qing porcelain patterns are mainly: variability of layoutcomposition, richness of porcelain patterns themes, symbolic meaning of patterns,differences of the manifestation of formal beauty, and diversity of decorativetechniques. From the the overall aesthetic features of pattern forms, the layoutcomposition forms of Ming and Qing porcelain patterns have two aesthetic features ofartistic style. One is with full composition, complex pattern element structures,ingenious connections between the elements, and strong overall sense of patterns.Another is that the patterns apply a large number of Chinese ink paintings in thepainting techniques, to be full of Chinese traditional culture and calligraphyatmosphere.The modern textile design should absorb and learn from Ming and Qingporcelain patterns. The legacy applications of traditional porcelain pattern formsshould avoid simple repetition, and also attach importance to the study of the combination of traditional porcelain pattern forms and modern textile. By absorbingand learning from Ming and Qing porcelain patterns, the design innovation of moderntextile should start with “spirit”,“meaning”, and “shape”. Both colors and patternforms have unique aesthetic values, and more importantly reproduce their goodimplications and blessings. In modern design, through the extraction, transformationand innovation of patterns elements, a large number of references to the Ming andQing traditional porcelain patterns make the shapes and performance forms morediverse and modern, without losing the traditional national features meanwhile.