The Uyghur Decorative Pattern Elements In Mural Application

Xinjiang is also known as the Western region in the ancient time, mainly inhabited by the Uighurs and other 13 ethnic groups, located in the middle of Eurasia and the silk road,is the center of the intersection of east and west, ancient cultures from the grasslands in western art, the south Asian culture (India and Persian), Islamic culture (Arab), the Central Plains of Chinese culture and Western culture collide with each other, in the region, arts and culture on the formation of a unique national style, in which art is a long history of decorative patterns of the hard-working people of the wisdom, and the Uighur ethnic group and the historical development culture, embodying the spirit. Meanwhile, the history of mural art and Western art forms one of the most ancient, ancient and modern Xinjiang mural art by local cultural resources and absorb foreign culture and enrich their own geographical and cultural characteristics. Today, in the knowledge of globalization and cultural diversity in the context of local, regional, and national character of the murals to establish the form of language is the inheritance and development of the mainstream of national characteristics, special regional culture is indispensable to develop a cultural trend.Firstly, through the art of decorative patterns formed by Uighur history, the artistic value of the decorative patterns and cultural factors related to the impact on the analysis of decorative patterns, through gathering information and photographs, decorative design elements in the mural on the use of historical evolution and The situation analysis, from the theoretical elements of the preliminary design of the Uighur decorative application of contemporary mural painting to explore, to try to find design elements and contemporary decorative wall paintings in the form of language integration points. Proposed to mural art in the context of regional culture and the visual effect of the feasibility and building space applications. Finally, the author used in the creation of Uighur cultural elements decorative patterns and expression.