Research On The European "Pattern View" In The 19th And 20th Centuries

At the end of the 19th century,ornaments began to enter the field of art history research as an independent art category.Based on the etymological examination of Chinese and Western "ornament",this article tries to establish a more comprehensive understanding of ornaments by combing the "ornament view" of the European art world since the late 19 th century,and to try to give an answer to "what is a ornament" in the current context.In fact,since the mid-19 th century,ornaments have emerged in modern art in their forms.Owen Jones.Gottfried Semper.Goodyear and others have successively discussed the form of the ornament and its ideology,but the ornament at this time is still considered as a sub-part of the thing,and has no independent value.This situation did not change until Alois Riegl of the Vienna Art History School made a historical analysis of the ornament style,and proposed the artistic will in the pattern ornaments,This self-disciplined artistic will makes ornaments an independent discipline in art history.The research object of this discipline is the evolution of pure form elements and perceptual methods.This change has had a huge impact on the western ornament view since the 20 th century.After Riegl,Wilhelm Worringer,Georg Luacs,E.H.Gombrich,etc.all broadened the study of ornaments in different directions.Worringer explored the style development of ornaments from a psychological perspective,and proposed that abstraction and empathy play an important role in ornaments;The Marxist Georg Luacs analyzed the aesthetic principle of the ornament and put forward the aesthetic characteristic of the ornament as a special form of aesthetic reflection.Gomberich of the New Vienna Art History School explains the sense of order in the ornament based on perceptual psychology and so on.Therefore,it can be said that the ornament exploration of the European art theoretical community during this period has experienced the overall ornament view with the style and era as the Starting Point,ornament View in Psychological Perspective with Abstraction and Empathy as the Starting Point,the aesthetic view in the aesthetic field,And then to the comprehensive ornament view that takes form characteristics,creators and viewers' perceptions as the starting point.Different viewing methods and different research methods represented by these four scholars have jointly confirmed the unique value of ornaments in an art category,and their research results are of great significance for constructing therelatively independent artistic characteristics of ornaments.In the interpretation of ornaments by European art theorists since the mid-19 th century,we introduced their ornament views,and in this interweaving of ornament views,realized a richer and more comprehensive understanding of ornaments.In the interpretation of patterns in modern European art theorists,we deduce their view of ornaments to achieve a richer and more comprehensive understanding of ornaments.In the intersection of these art theorists' cognition,we can get the narrow ornament concept,That is,the ornament is an art that reflects the laws of the objective world in its linear and abstract form.It follows the laws of order such as symmetry,rhythm,and proportion.In the course of its historical development,it shows a certain degree of regularity and historical continuity.