Research On The Decorative Patterns Of Modern Architecture In Xiamen

This paper takes the modern architectural decoration pattern of Xiamen as the research subject,the integration of modern Chinese and Western culture as the background,the generation background,historical stages,the ontological,spatial and aesthetic characteristics of the pattern as the perspective,and the method of combining diachronic and synchronic to study the modern architectural decoration pattern of Xiamen,in order to reveal its development mechanism and Motivation,from the micro field to see the development of regional architectural decoration culture.From the perspective of diachronic dimension,the development of modern architectural decorative patterns in Xiamen presents a development path from single type transplantation to multiple types coexistence,and finally divided into two branches.The development of modern architectural decorative patterns in Xiamen includes three stages: “development stage(1840-early 20 th century)”,“development stage(the early 1920s-early 1930s)” and “differentiation stage(mid-30s-60s)”.The development stage is characterized by the transplantation of Western retro decorative symbols.The western style buildings built in this period are mainly for practical purposes,and they are used for architectural decoration not very much.From the early Republic of China to the 1930 s,Xiamen began large-scale urban construction.A large number of overseas Chinese invested in the real estate industry and built their own houses in Xiamen.The architectural decoration flourished.Various types and styles of decorative patterns have been greatly developed.The coexistence of local decorative patterns,western architectural components and different types of decorative patterns in the same single building has appeared.From the mid-1930 s to the 1960 s,the decorative patterns of modern buildings in Xiamen stepped into a period of differentiation,and there were two branches.The first one was the further blending of heterogeneous decorative elements,and on the basis of the earlier stage,the phenomenon of grafting and symbiosis of heterogeneous decorative symbols appeared;the other one was the derivative development of regional decorative elements,which was reflected in the creation practice of Jiageng architecture,with the south of Fujian Province as the example Based on the large roof style and the combination style of brick and stone on the wall of traditional residential buildings,the decoration techniques of regional roof decoration and brick and stone combination masonry on the facade are derived.From the perspective of synchronicity,Xiamen’s modern architectural decorative patterns are the result of the joint action of Chinese and Western cultures,dominated by Western concepts and technologies.As far as the noumenon characteristics of patterns are concerned,under the influence of Western materials and crafts,the transformation of morphological characteristics is shown.At the same time,Western decorative patterns also have some localization variation in modeling.In the composition features,they are compatible with the morphological composition characteristics of China and the west,highlighting the aesthetic feeling of form,but also expressing rich image connotation.As far as the spatial attributes and order characteristics of patterns are concerned,the decorative patterns of modern buildings in Xiamen are dominated by the physical characteristics of western buildings,and integrate the comprehensive expression of two different spatial orders between China and the West.The decorative patterns present the spatial characteristics of "additionality" and "substantiality",and pay attention to the interaction between patterns and buildings,patterns and people in order expression.As far as the aesthetic characteristics of patterns are concerned,the decorative patterns of modern buildings in Xiamen integrate the aesthetic characteristics of China and the west,and construct a new aesthetic system,which is manifested in the aesthetic construction of form and content,the emotional blending of subject and object,and finally through the context construction related to social culture,the aesthetic of decorative patterns is unified in the large cultural system.