What are the ancient Chinese patterns

1. During the Neolithic period, workers created colorful pottery art, not only unique shapes, but also unique patterns, practical and beautiful, and endless art. The main patterns are: fish pattern, deer pattern, dog pattern, human face pattern, flower pattern, mesh pattern, water pattern, sea shell pattern, woven pattern, flame pattern and calendar sun and moon star pattern. The ancestors used the visual image of life and nature in their own understanding, and cleverly organized them to various utensils, forming a solemn and generous, natural and harmonious decorative pattern, and created a generation style.

2, the social period of Shang and Zhou slaves, the bronze art was the head of its. Whether it is a variety of styles, wine wares, musical instruments, etc., or various commemorative furnishings, it is decorated with exquisite patterns. Some also borrowed the shape of animal images, such as elephant Zun and Siyangzun.常用的装饰纹样有：饕餮纹、夔龙纹、夔凤纹、蝉纹、玉带纹、重环纹、鳞纹、乳丁纹、窍曲纹、云雷纹、涡纹、冏纹、四瓣Pattern and pictographic text pattern. The pattern is suitable for the production requirements of the casting process, mostly a very neat yang or yin -patterned pattern. The pattern is fine, the tissue is tight, and it is magical. Archaeologists call "brilliant bronze art".

3, the Warring States Period, the Qin and Han dynasties, the rise of the iron wares, the gold and silver error and the lacquerware, and other new exhibitions. The theme of decorative patterns is more widely made, which is a huge breakthrough than before. The main decorative patterns are: monster patterns, cymbal patterns, tattoos, dragon and phoenix patterns, various animals (deer, horses, cattle, sheep, tiger, geese, fish, etc.) patterns and four god patterns. The "Four Gods" is also "four spiritual patterns", which is marked by the four animal images of Qinglong, White Tiger, Suzaku, Xuanwu (Turtle, Snake). Qinglong is the god of the East in our country, Suzaku is the god of the south, the white tiger is the god of the West, and Xuanwu is the god of the north. They marked four directions. There are four colors: green dragon -appearance; Suzaku -red; white tiger -white; basalt -black. In addition, the characters are unprecedented, highlighting the Han painting stones, image bricks, and taiden, which directly reflect the scenes of human life, production, and war. The pen is simple and complicated, and it has opened a new way for the decoration of various generations in the future.

4, Wei, Jin, and the Northern and Southern Dynasties, due to the turbulent society, Buddhist art flourished. The pattern is also influenced by religion. Many of the subject matter and content of this period are related to the story of the Buddhist scriptures. The commonly used patterns are: Ling Winter Cao (that is, gold and silver flowers, also known as: treasure flower, the four seasons are evergreen, take their auspicious meaning), lotus pattern (alias "hibiscus", "whip 蕖", etc. The meaning of not dyeing and "stem -stem -flower festival" is a symbol of virtue), jade bird pattern (jade bird also known as Jialing frequency, auspicious bird, legendary people are born from jade birds, so there are often people in the pattern often people in the pattern often people often have people in the pattern. The image of the beast body), the deer pattern (also known as "Tian Deer", "White Deer", the symbol of the auspiciousness). The image of the "Flying" fairy in the character pattern expresses the beautiful ideal and the power of the human.

5, Sui, Tang, and Five Dynasties, in the middle of feudal society, increased foreign cultural exchanges, and the categories of arts and crafts have also developed unprecedentedly. The wonderful decorative patterns of Tang Sancai, Song Porcelain, Silk, Gold and Silver Products, etc. also appeared in a globe. The Tang Dynasty patterns are rich and full, rich and luxurious. The pattern of the Song Dynasty is beautiful and smart. The commonly used patterns are: curly grass patterns, treasure phase flowers (with patterns combined with lotus and peony, adopt a perfect ideal constituent method), sea pomegranate, flower and bird pattern, Huajiao pattern, linked bead pattern, band pattern, characters, characters, characters, characters, characters, characters, characters Tattoos and so on. There are many lotus and peony flowers. In addition, there are dogwood (traditional Chinese medicine) patterns, persimmon patterns, geometric patterns, etc. The decorative techniques are realistic, exaggerated, and adopt ideal methods such as flowers, flowers, and fruit in the fruit in the fruit, which constitute ingenuity, vivid charm, and gorgeous color. Tang and Song are traditional patterns in my country. An important historical period for development.

6, Yuan, Ming, and Qingfeng's end -of -the -term pattern of society, retaining national characteristics, absorbing the length of foreign craftsmanship, variety of color, and decorative styles have changed. Jingtai Lan was a new process at the time. Porcelain, brocade, brick carvings, woodcarving, etc. also made great progress compared with the previous, and the decoration themes increased a lot. The common animal patterns are lions, peacocks, bats, deer, herons, sheep, cranes, eagles, brocade and magical unicorn. The themes of flowers and fruits include plum, lotus, chrysanthemum, peony, orchids, glory, bamboo, pine, ganoderma, peach, pomegranate, loquat, pear, apricot, grapes, etc. The idealism of mutual borrowing and combination is also wider and more changing. Such as the combination of birds and flowers, insects and flower combinations, etc., which strengthens the decorative taste. In addition, the patterns of the composition of utensils are also very popular, such as: antiques, goldstone, ceramics, bells, trings, cups, plates, pots, bottles, calligraphy and painting, etc., with an elegant style, known as "Bogu pattern patterns "". There are also "eight auspicious" (also known as Buddhist eight treasures) composed of eight Buddhist confession, "Dao Babao" composed of Taoist holdings, and so on. Most of the patterns in this period are auspicious patterns, and the scope of application has reached unprecedented extensions. Daily necessities, clothing, architecture, and goods are everywhere.

The sources of traditional Chinese traditional pattern patterns can be roughly divided into three parts. First, it comes from folk crafts: ceramics, embroidery, window flowers, blue printing cloth, wax dyeing, paper -cutting, carving, weaving, etc. This is created by the working people according to their own will. Generally, it is relatively simple, rough, and rustic. The second comes from religious arts, such as religious legends and myths. The murals, algae wells, 楣, statue clothing, base, architecture, carvings and various supply decorations in temples and grottoes. The most typical Dunhuang pattern is the essence of the traditional Buddhist pattern. It is a unique artistic style created by my country's capable craftsmen to absorb foreign culture. These patterns are rigorous and ideal. The third is the furnishings, daily necessities, clothing, jewelry, architecture, etc. of the feudal emperors, princes and nobles, rich merchants, etc. There is no special workshop by special personnel, so the pattern is very fine and rich and luxurious. In addition to the traditional patterns as mentioned earlier, a considerable part of the decorative patterns of blessings, Shou, Lu, and literati calligraphy, paintings, and poetry. Most of them use "Mi" character and "Nine Palace" grids. The above three parts of patterns form the mainstream of my country's traditional patterns.

The stealing pattern
The stealing patterns, ripples, dragon patterns in the middle of the Western Zhou Dynasty, gradually abstracted, forming a new dominant pattern: stealing pattern. Its name is also according to "Lu's Spring and Autumn": "Zhou Ding has theft, long -shape, and songs up and down, to see the defeat of the pole." The S shape is in line with the characteristics of "all up and down". An important decorative pattern of the Zhou Dynasty. Also known as stealing curvature, poor song. It is a kind of animal pattern that meets the requirements of the decoration site, which is simplified and abstracted by animals. Since the Zhou Dynasty broke the decorative characteristics of straight lines, it also broke the symmetry format. Generally, a flat -shaped pattern is composed of the lines of the hook or the "S" shape. The middle is often filled with the shape of the shape, but it does not completely get rid of the prototype of the straight line. Essence
The traces of stealing patterns from bird patterns and dragon patterns are obvious. Try to discharge part of the bird pattern, it can be speculated that its specific process to stole the curvature. The earlier bird pattern was connected to a long tail behind the wings. Later The abstract decoration, after that, the bird's body was also abstracted, but retained the original long feather. Finally, the feather also disappeared, forming a typical stealing pattern.
This stealing texture is very adaptable and can be changed randomly. It is decorated with different parts of the utensils. The decoration composed of curvatures is generally not carved with lightning patterns. The abstract decorations popular with the stealing pattern also have heavy ring patterns and vertical scales. The heavy ring pattern is mostly continuously rowed for long circular and circular images as decorative bands on the mouth of the utensils or ring feet. The scales of the vertical scales are like the scales of the aquarium, which are staggered and arranged on the water heater. One of the ancient Chinese bronze wares. "Lu's Spring and Autumn · Shiwei": "Zhou Ding has the stealing (a poverty), very long, and the upper and lower songs are all songs." It is still useful.

The stealing patterns on Da Ke Ding
Monteric patterns
Early stages: The original spin on the color pottery is a very typical abstract geometric pattern. Some scholars believe that they are early patterns. As an ancient cultural relic, it was not yet determined whether it had the significance of "cloud" at the time. From the perspective of the form, it seems that it can be seen: Chu and Han Yun's air patterns, pre -Qin rolls, and the colored pottery rotation of the new stone era and the Neolithic era have a relatively obvious inheritance relationship. However, people generally see the cloud -thunder patterns more commonly seen in the bronze of Shang and Zhou dynasties, and are regarded as the early form of the moisture pattern. In the history of the development of cloud patterns, cloud lightning patterns are of great significance.
The heyday: The Han Dynasty was the most widely used in the use of cloud patterns in my country, and it was also one of the most abundant and vivid periods for the formation of the cloud pattern. A new type of cloud patterns such as cloud and gas pattern, rolling cloud pattern, and cloud beast pattern appear. On the basis of cloud -thunder patterns, the rolling moisture patterns "simplify" their structure elements and "spread" the structural patterns. Established its own form of existence, and the simplified hook rolls have since become the generally used elements that are generally adopted by the formal interpretation of the cloud pattern. On the basis of rolling cloud patterns, the epoch -making cloud patterns appeared in the Han Dynasty. In addition to the hook curling shape of the main body, the new ingredient of "gimbale" appeared in the cloud pattern. In the composition of the pattern, it plays a role in strengthening strength and speed, and enhances a kind of momentum unique to the cloud and gas pattern of the Han Dynasty. At this time, the development of cloud patterns entered its heyday. The global liquid and vibrant atmosphere of Yunqi patterns in the Han Dynasty were maintained on the flowing cloud patterns of the Wei, Jin, and Northern and Southern Dynasties. As the most thorough and concise interpretation of China's cloud pattern intention, the flowing cloud pattern has strengthened the "simplified" change trend since the cloud and thunder patterns to the extreme, making the decorative space of the Wei, Jin and Northern and Southern Dynasties present the vitality of the wind and rush.
The maturity period: Sui and Tang dynasties are the period of flourishing cloud patterns. In the Song Dynasty, the cloud pattern was still a cloud -like style. The Yuan Dynasty cloud patterns often show a strong sense of combination. Since the Tang and Song dynasties, in accordance with the aesthetic requirements of the times and the increasingly abundant decorative elements, the structure of the flowers pattern appears heavy. The structure element units presented in the Yuan Dynasty must be strengthened. It is in the process of the formation of the clouds that the stacking moisture pattern is a type of surface -shaped and complicated cloud patterns. It is generally made by lush layer of louting cloud head, plus the twists and turns, smooth flowing line clouds. In the Chinese cloud pattern system, Ruyi Yunnan is the most abstract character and an universal and widely used type.
The overall evolution of the form of cloud pattern is presented as: on the basis of the original, the structure is becoming increasingly complicated, the shape is becoming rich, and the image is becoming more and more delicate. These can be summarized as a refined development trend, which basically reflects the continuous efforts of the Chinese nation to meet their own aesthetic needs. The general law of art formed development shows that once an increasingly enforcement aesthetic experience and performance requirements, once a certain degree of performance, it will break through the original form structure to seek a form of expression suitable for you.
In cloud patterns
one of the decorative patterns popular in the Han and Wei dynasties. It is a pattern composed of smooth round vortex lines. Generally, as the ground pattern of images such as gods, beasts, and four gods. There are also separate appearances. The moral meaning of the moisture is high and good. The root cause of the emergence of cloud and gas patterns is the salvation of nature and worship of fairy in the Han and Wei dynasties.
In cloud patterns are a pattern composed of smooth round vortex lines, which are traditional patterns in my country. From Shang and Zhou's "cloud -thunder pattern", "rolling cloud patterns" of the pre -Qin Dynasty, the "cloud gas pattern" of the two Han Dynasty, and the "flowers" and "Ruyi patterns" since the Sui and Tang dynasties, all of which were typical, settled patterns at the time. In pottery, bronze, lacquerware, bronze mirrors to ceramics, they can see its active figure.
The original sources of the original art form and the original source of the entire human beings are closely related to the external environment of human survival and the sensory experience given by this environment. In the Neolithic era, farming culture requires a more thorough observation and gaze of sky, terrain, and plant habits, which can be regarded as the first attention to "cloud" as a natural phenomenon. For example, the "lightning pattern" on the Bronze of the Shang and Zhou Dynasties has the same shape as the word "lightning", which reflects the simulation of the natural phenomenon and image characteristics of the primitive ancestors.
The pre -Qin and two Han Dynasty, as a typical decoration on the Bronze of Shang and Zhou Dynasties, the lightning patterns with independent decoration were replaced by the rolling cloud patterns of the Spring and Autumn Period and the Warring States Period, and became the pioneer of the Qin Yunyun pattern of the Han Dynasty. From the beginning of the Han Dynasty to the majority of the Han Dynasty, the explanatory and interpretation appearance has evolved into an artistic image that was gradually artificial in the late Han Dynasty. "Yunqi pattern" is related to the heavenly world and the thoughts of flying ascending. It lays a deep practical foundation for the gradually sublimation and development of the moisturizing and development of the morale and the level of philosophy.
During the Wei, Jin and Northern and Southern Dynasties, metaphysics and Buddhism prevailed, and the Wei and Jin people began to study the connotation of the works from the perspective of "qi, rhyme, shape, and god". It is manifested in the image, from the development of the emphasis to the emphasis to the emphasis, from the cool object of the pursuit of the appearance to the pursuit of the inner aesthetic characteristics. Since then, the Chinese people's aesthetic ideals have begun to develop in the aspect of art.
The most basic styles: single hook rolls and double hook rolls in the Tang Dynasty, based on the intention of the "derivation" of the spirit of the spirit and the "derivative" shape of the spirit of the cloud, concentrated on the turbulence of the moisture pattern, vivid and elegant, vivid and elegant. Form meaning. During this period, the artistic style was magnificent, graceful, luxurious, magnificent, round and full of aesthetic orientation. The fluttering of the rising gesture is also of its representative significance for the development of the entire Chinese cloud pattern.
Themontic decoration of the Song Dynasty gradually developed towards small and exquisite development, and the development of static introverted and symbolic development was still the style of cloud patterns. It just increases the twists and turns curve, which looks more complicated in shape. This may be due to the concentration and strengthening of the imperial power, which allows the Song people to reflect the aesthetic psychology of conservative, closed, concessions, intimidated, and quiet directions for the cultural psychology represented by Confucianism. The Yuan Dynasty Yunnan pattern became more complicated on the basis of the Song Dynasty. While maintaining the overall sense of "cloud", it has a sense of combination. The format of the Yuan Dynasty was relatively loose and quiet in the format, but it was full of peace, but it was full of anger. It also makes the cloud decoration began to gradually leave the essence of the objective object. Become a decorative form that obeys and serves the subject's state of mind and has relatively independent aesthetic value, making it a general and constant aesthetic model that has the characteristics of existing times and exceeds the limitations of the times.
The dragon pattern
The decorative patterns carved on the ancient bells are mainly popular on the Ming and Qingjing Dezhen porcelain. It is said that the dragon is a strange animal, which looks like a dragon and has only one foot; there are also records that they are the two ministers of Shun, which refer to Leguan and eunuchs.
This Jong Dingyi [1] device and other objects carved on the shaped pattern. Also known as 夔 夔.
Ilads: a porcelain decorative pattern.的 is a strange animal in ancient legends, like dragons and only one foot. Xu Shen's "Speaking Words" in the Han Dynasty described: "夔 夔".
This patterns are popular on Shang, Western Zhou bronze and jade. The white pottery of the Shang Dynasty imitated the bronze in the shape and decoration, so there were also printed tattoo decorations. The porcelain patterns on the porcelain are mainly popular on the Ming and Qing Dynasty Jingdezhen porcelain, such as Xuande blue and white tattoos, Jiaqing blue and white dragon Fulu Wancai Guajie Gourd Prism bottle, etc.
In said that the two ministers of Shun.为 夔 夔, dragon is a eunuch. "Book. "Shun Dian": "Bobley's head, let Yu Long." Kong Chuan: "夔 夔, the name of the two ministers." Tang Dufu's "Gift to Xiao Xie Jun Jun" poem: "Chaoshan Lin Zhi, the Dragon Gallery Temple. "Later, it is used to refer to assistant ministers. The dragon pattern on the ancient utensils. The dragon is also called Jiao Dragon. 3. The 于 person is found in "Book · Shun Dian", "Mandarin · Lu Ling", "Zuo Zhuan · Gong Gong twenty -six years", either a music official, or a monster of wood and stone, or the name of the country. Also as a place name, ... 夒,,, the glyphs are similar, and the righteousness is quite similar. "Said the text" "魖, gods also, like dragons, one foot. From 夂. The shape of the horns, hands, and human face."
夔, the shape is similar to the dragon, "Han Feizi": "Ai Gong asked in Confucius said: 'I heard 夔 夔 夔 夔: 夔, people, why is it? There is no difference between him, but to the sound of sound. "; Charm, such as dragons and one foot. "On the bronze ware, all the images of dragon -like dragons that show a foot are called 夔 or dragon, and some of the tattoos have evolved into geometric figure decorations. The structure of the shape is suitable for the structure line of bronze, with straight lines, supplemented by arcs, and has a ancient beauty. The dragon pattern on the bronze is often referred to as a tattoo and a dragon pattern. Later generations referred to the image of bronze, and the image similar to dragons were called 夔, and the pattern was called a dragon or dragon pattern.
Wanlings
one of ancient Chinese traditional patterns. Wan -character pattern is the "形" -shaped pattern, and the decoration is written as "卍". The word "卍" is an ancient spell. It is often considered a symbol of the sun or fire. The word "卍" means "auspicious" in Sanskrit. Buddhism believes that it is a Ruixiang appeared in the chest of Shakyamuni. Chinese characters are read as "Wan". Extending outward with the four ends of the "端", it can be evolved into various brocade patterns. This chain pattern is often used to mean that the meaning of continuous longevity and Wanfu Wanshou is also called "Wanshoujin".
"Ci Hai" contains: "卐" (sound "thousands") is "an ancient spell, amulet or religious symbol". This sign has appeared in the history of ancient India, Persia, Greece and other countries: It was later used by some ancient religions, such as Brahmanism and Buddhism. Later, the development extension of development was solid, eternal, wicked, and auspicious symbols, and auspicious symbols that represent eternal auspicious symbols. "卐" originated from prehistoric culture. On the Pottery of West Asia Mesopotamia around 5000 BC, the "卐" symbol was found. Entering the descendants of bronze, the "字" lines are also very popular in Europe. As decorative symbols, it is also common in early Christian art and Byzantine art. In the past research, the "曾" shape was introduced to China through Buddhism, but in fact, the "卐" shape pattern in China can be traced back to the Majia kiln culture in the late New Stone Age of about 4,000 years. It was only introduced to China during the Eastern Han Dynasty. However, with the introduction of Buddhism, the popularity and use of "卐" symbols in China are indeed even more common. Between abound. However, most of the "物" patterns used on these utensils are mostly the meaning of auspiciousness. The once strong religious meaning gradually lost its original meaning, and the aesthetic components became stronger and stronger, and gradually evolved into the aesthetic object of the national tradition.
Religious meaning
"卐" character is a symbol of the sun in Tibetan benzonism. The sun god is one of the biggest gods of benzbnism, so the religious pattern "卐" character is very frequent on Tibetan clothing. In the minds of Tibetan women, it is a symbol of a beautiful symbol and considered auspicious things. In the New Year, women always use "卐" characters at their doorstep to show the "卐" characters in white liminity to show that in the coming year, Tibetan women in some places also like to embroider "卐" characters on the back of the clothes. They believe that this can avoid natural disasters and human disasters and bless Ping Ping An. In Qinghai folk embroidery and knitted artworks in Gansu, "卐" characters and its variants are extremely wide. Its texture changes, and the momentum is full of strong national atmosphere. The braids worn on the head and face of Tibetan women, the lotus bags hanging on the waist, belt, cuffs, collar, shoe, sock pads, etc. body.
Wedding meaning
"卐" characters present the blending of religious emotions and aesthetic emotions at the wedding. There is a habit of Tibetans living in Sun Moon Township, Qinghai, Qingyue Township. When they marry, their in -laws put sheepskin in the yard and drawn "卐" characters on the sheepskin. When the bride enters the door, she steps on the center of the "卐" character. The meaning of showing "men and women, matching yin and yang, auspiciousness, solid permanent". The "卐" characters are from simple to annoying, from single to double, and the characters are extended vertically and horizontally, and they are connected to each other. The window walls, door grids, and beams of Tibetan Buddhist temple buildings are often engraved with such "卐" characters. The meaning of "wealth is constantly".