The Application of Chinese Traditional Patterns in Modern Graphic Design (I)

Abstract: Chinese traditional patterns are numerous and varied, but their precious resources are still not fully utilized by modern graphic designers. This article hopes to study the development of Chinese traditional patterns and formal beauty rules, and thus to obtain an effective method of applying Chinese traditional patterns to modern graphic design, which can be used for learning and reference.

Keywords: Chinese traditional pattern modern graphic design

China's traditional patterns contain ancient Chinese cultural customs and aesthetic psychology. The Chinese nation has gone through 13 dynasties and has a history of 5,000 years. In the development of state-of-the-art art, it has a unique style and a high degree of art form. Some scholars once said that “arts and crafts are the standards for determining the level of national culture, where art and life are closely combined.” “Patterns” are the soul of arts and crafts. They are closely related to the pulse of life and are accompanied by modern people. In both spiritual and material civilization, the two are integrated with each other. Understanding, inheriting and developing Chinese traditional pattern style, visual psychology and internal spirit is one of the keys to modern graphic design. How to integrate traditional patterns into contemporary people's visual habits and how to inject modern forms into new cultural connotations are the topics that designers need to solve urgently today.

1. History of Development and Evolution of Chinese Traditional Patterns

Chinese patterns have a long history and brilliant achievements. As early as thousands of years ago in the Neolithic Age, ancestors used patterns to decorate their lives on the painted pottery. With the development and changes of the times, material conditions and lifestyles Change, so that the pattern of expression is more abundant and diverse. In the Neolithic period, decorative patterns were often composed of individual and continuous lines. The patterns were characterized by diversity, unity, contrast, and balance. They were easy to use with lines and were simple, bright, and harmonious. The Shang and Zhou dynasties were the heyday of the slave society in China. During this period, the bronze wares reached an unprecedented height from artistic style to production techniques. Various ornaments on bronze wares have various themes, unique techniques, strict structures, and exaggerated and concise patterns. During the Spring, Autumn and Warring States period, arts and crafts were represented by bronze ware and lacquer ware. Others were jade and woven embroidery. Patterns on artifacts such as bronze wares tend to be mature and sophisticated. They turn from mysterious to peculiar and unrestrained. They change from solemnity to vividness. The Qin and Han dynasties were the beginnings of feudal society in China. The terracotta warriors and horses of the Terracotta Emperor's Mausoleum, which was hailed as the eighth wonder of the world, and a large number of pottery, pottery, chariots, portrait bricks, tile and bronze mirror ornaments, represented the artistic features of the Qin Dynasty decoration. . The art of painting gradually rose during the Wei, Jin, Southern and Northern Dynasties. With the spread of Buddhism, lotus as a symbol of Buddhism became one of the main decorative subjects in Buddhist art.

During the Tang Dynasty, from the aspect of decorative art, it showed a more full, rich, rich, luxurious and noble style. The overall structure of the Tang Dynasty's designs strives to achieve harmony in balanced, symmetrical, and harmonious styles. The color is bright, rich, graceful, and harmonious. The lines are soft and varied. The decorative art achievements of the Song and Yuan Dynasties were mainly manifested in ceramics and silk weaving. The decorative arts of the Song Dynasty were based on realistic styles, with flowers and birds as the most basic decorative theme, with smooth lines, simple patterns, and elegant elegance. During the Ming and Qing Dynasties, the auspicious patterns were more prevalent, reaching the “map must have intentions and intentions will be auspicious”, and using homonym and knowing symbolism, such as “grainful harvest” and “excessive year after year”, reflected people’s longing for a better life.

2. Patterns commonly used in traditional Chinese patterns

The traditional patterns and patterns that have been accumulated by the Chinese nation for thousands of years are changing, not only allowing us to see the fashion of the time, but also seeing changes in the patterns created by the appearance of new technological methods. These patterns are carefully summarized. , it can be summed up in the main seven types:
(1) Dragon pattern. Dragon has always been a favorite theme for Chinese people in the field of decorative arts. Its form embodies the Chinese people's artistic imagination. The changes in the "dragon" styles of various generations are rich. From ancient times to the present, dragons are widely used in the forms of boats, furniture, ceramics, textiles, metal, jade, etc., which can be said to include various forms of arts and crafts.
(2) The phoenix pattern. Like the dragon, the phoenix is ​​a virtual creature of the ancestors. People have always regarded it as a symbol of beauty and happiness and an object of worship. Far from the Neolithic era of painted pottery that is the prototype of the phoenix, it gradually appeared on bronze wares in the Shang and Zhou dynasties and became the artistic image of the United States.
(3) Chinese character pattern. The pattern of Chinese characters is different from the general pattern. Because the principle of Chinese character creation is “hieroglyphic” instead of pinyin, “character” itself implies “image”. Therefore, the “Chinese character pattern” is to beautify the font structure. The artistic function often includes the meaning of words, such as a Chinese character such as Fu, Shou and Xi.
(4) Lady pattern. Officials in ancient times were called officials. Women were bureaucrats and women. They also referred to women in the upper classes, especially those in the feudal period. Since then, many outstanding women have emerged. Women and legendary female figures in these history have included middle and lower-level women. They naturally become common themes for painting and arts and crafts, and have achieved a rich and varied artistic image.
(5) Flower patterns. Hua Xia means five-colored flowers, since then it reflects the aesthetic consciousness of Han ancestors. China's flower plants have a high value of viewing and application, and are often a symbol of personality style, and also become a sustenance of ideal life. Since the Qin and Han Dynasties, flower patterns have appeared in the art and crafts decoration in a simple form. These flower plant decorative arts have evolved and developed over the past several thousand years, showing the emphasis on and emphasis on the ideal of the realm and the meaning of the performance of the importance of life and dynamic performance .
(6) Zodiac pattern. As early as in the primitive society, the ancestors thought that animal and human blood were similar, and it was the distant ancestor of mankind. The appearance of the zodiac signs in about two Han periods, and later became part of the life of the ancients. As far as the modern world is concerned, the Chinese zodiac is a symbol of the New Year in both the East and the West and the Chinese New Year. It enriches the content of people's lives and their charm, which shows the charm of the Chinese zodiac.
(7) Wild animal pattern. There are many kinds of Chinese traditional wild beasts and they have unique images. They have been given auspicious meanings and are widely used in decorative and plastic arts. The most typical of them are dragons, phoenixes, lions and unicorns. Others include Qinglong, Baihu, Suzaku, and Xuanwu. China's wild animal designs pay special attention to the sense of life and rhythm in the form of structure, and do not pursue the characterization of natural forms, focusing on expressing their vitality.

(to be continued)