The Admiration Of Circle Has Great Influence On Mongolian’s Art Deco

Based on achievements in The Research Project of Prairie Culture,this study employed a probe and analysis on interactive effects betweentraditional ideas and conventional decorative art of the nomadic culture.The conventional decorative art of Mongolians originated from culturalinfluence of some northern minorities since the Hongshan Culture, such asthat of the Huns, Turkic, Uighur, Wu Heng, Xianbei, Khitan, and Jurchen.Going through a long-term acculturation, it embodies the aestheticperception of northern nomadic minorities in China. Because of a lack ofhistorical materials of those minorities, the exploration into culturalconnotations of Mongolian conventional patterns is supposed to act asempirical data for the prairie culture research and a breakthrough point forThe Research Project of Prairie Culture.According to a deep analysis into nomadic culture of northernminorities in China, this research sought for the origination of Mongolianaesthetic preference of “circle preference”, as well as a study of graphicaesthetics in prairie culture. Meanwhile, a large number of convincingevidence is found in their daily production and life, including “circulardesign” aesthetics of Mongolian yurts, influences of circular timing and12earthly branches in designing Space alignment for those yurts, specificnomadic patterns,“Gulieyan” design of their tribe shapes, and their circulargeographic concept. Targeted on research on Mongolian traditional saddles,this study picked out some typical saddles and collected an amount ofdesign samples from206pairs of saddles in Erdos Mongolian Historical Cultural Museum, which were collected by Wang Dianhe, along with theothers from collection of local museum or persons. With a goodunderstanding of their life philosophy and aesthetic views, the author did athorough analysis of those samples from the graphic aspect. This paperlisted out some cultural characteristics of the northern nomads andevidence of intercultural influences in their developing periods. Eventually,this research collected a great number of circle or circular patterns anddesigns after a comprehensive analysis on decoration designs of thosesaddles, which embodied Mongolian aesthetics of “circle preference”. Italso summarized the circle types and the developing process of this circularart—from utilization-oriented to symbolization-then to decoration-,providing important reference for following Mongolian designs.This research is abstracting and selecting materials from traditionalcultural development, not conventionally a liner generalization orsummation, which is a reproduction of traditional nation spirits bycombining with modern concepts. It carried out a study of Mongolianaesthetics of “circle preference” and circle or circular patterns and designsfrom those saddle samples and explored their effects by prairie culture andnomadic minorities’ traditions. It offered a theoretical reference andpractical evidence for having a deep research into Mongolian conventionalaesthetics, exploring more art design heritage, and helping to improve thedevelopment of their art style.