A Study On The Pattern Of Ten Mile Red Makeup Wangong Car In Ningbo In The Late Qing Dynasty And The Early Republic Of China

As the number one palanquin in eastern Zhejiang,the "Wan Gong Sedan Chair" occupies an important place in the wedding folklore of eastern Zhejiang and is an outstanding piece of Chinese folk art.The "Wan Gong Sedan Chair",also known as the "Wan Gong Flower Sedan Chair",is named after its extremely luxurious craftsmanship.It is often used as a metaphor for the generosity of the bride’s dowry,with "a thousand acres of good land" and "ten miles of red make-up".The red dress of ten miles is an ancient characteristic wedding folk custom in eastern Zhejiang,and the gilded palanquin is an important part of the red dress of ten miles,full of people’s visions,and the scale of the red dress of ten miles and the exquisite prosperity of the palanquin developed to the peak in the Qing Dynasty,and the palanquin of ten thousand workers was born.The traditional art of the Qing dynasty placed great emphasis on auspicious symbolism,almost to the point of "the picture must be intentional,the intention must be auspicious",and this is also the case with the wedding motifs,which are expressed in the Man Gong sedan chair.However,with the change and development of the times,the wedding custom has been affected and the palanquin has gradually disappeared from people’s lives and vision,and the few remaining palanquins are now protected in museums around the world for viewing through glass.In order to promote the transmission of the relevant folk culture,and to enable more people to discover and understand this exquisite folk art of marriage,the author has targeted the few surviving Ningbo palanquin from the late Qing and early Ming dynasties for research and exploration.The aim of this paper is to study the designs on the ten-mile red palanquin in Ningbo,mainly through researching existing literature and conducting fieldwork and comparisons with the surviving palanquins in Ningbo,and the whole paper is structured around analysis of the current situation,cultural exploration,theoretical research and design practice.The production of folk artwork is often prompted by the environment,and chapters one and two fall under the category of basic research.The first chapter focuses on the field of pattern production,exploring the cultural background and factors of production of the Wan Gong sedan chair,as well as the types of craftsmanship involved,in order to set the stage for further research.The second chapter classifies and analyses the motifs of the palanquin,and clarifies the composition of the palanquin motifs.The third chapter further summarises the characteristics of the patterns of the palanquin through a comparative study,reflecting its regional and unique character.Focusing on the field of composition,cultural connotation and communication of the motifs is the focus of the fourth chapter,which explores the intrinsic links between the motifs and the specific contexts of their composition with a group-wide perspective,integrating them into the overall humanistic intent and connotation of the palanquin,and then generating a feedback process on people’s lives.The final chapter is based on the theoretical excavation mentioned above,and after sorting out the characteristics of the Wan Gong sedan chair motifs,the design practice of the new application of the Wan Gong sedan chairs is carried out with the current vision and needs,combining the traditional aesthetic connotation with the current technology,revitalising the tradition and considering its value and inspiration for the current design.