The Evolution Of The Decorative Arts Of Qing Huimo And The Research On Its Reasons

The Huimo one of the four treasures, is daily consumables. Since the late Ming Dynasty, along with the rise of the visual arts, decorative arts of Huimo also flourish, so that Huimo possesses the identity of the craft. The Superposition of use value and artistic value effectively evokes the enthusiasm of painters and collectors to collect and research Huimo. So far, there are many books about Huimo, but they are merely introductions, rather than Academic works; rich catalogs of collectors and museums contain abundant material, but the system is not strong. Clues to the evolution of Qing Huimo decoration, as well as reasons of the evolution were never seriously thought about. They are problems to be solved in this article. My research helps to form a more in-depth, comprehensive, three-dimensional understanding of the generation and change of some decorative arts in aspects of social needs and cultural.The Object of my study is the decorative arts of Qing Huimo. They are researched in three areas:shape, decoration, inscriptions. In the second chapter, I apply artifacts dating method of credit to build the framework of the evolution of the Qing Huimo decorative arts to lay the foundation for further study. Acceptable aesthetic thinking is applied in Chapter Ⅲ & Chapter IV in order to research the effects of literary taste on Huimo design. Scholars’attitudes toward Huimo decorative arts determine what kind of attitude they participate in Huimo manufacturing. Depend on inscriptions in Huimo charts of Ming & Qing Dynasty, we can see changes of scholars’attitudes toward Huimo decorative arts clearly. Calligraphy & painting is literatis’love field, and there is synchronization between its development context and the decorative arts of Huimo, so I can explain the strong influence which is exerted from the former to the latter. In the first period, Xin’an Painting School changes the subjects and performance practices of Huimo’s body ornamentation; In the second period, the renaissance of epigraphy and the rise of cultural relics collection epigraphy, give new reference objects to visual arts of Huimo; In the third period, the study scope of epigraphy expands, so the phenomenon of imitating vatan modeling and inscriptions appears in large numbers on Huimo; monument-calligraphy takes the place of a single inscription of Guange-calligraphy; Shanghai painting goes into the body decoration, and gives birth to an unique Shanghai Huimo.