Study on Decorative Patterns of Ceramic Landscape Paintings in Qing Dynasty

Compared with the previous generation,the ceramic art of the Qing Dynasty made a great breakthrough in modeling and decoration,reaching the peak of Chinese ceramic production.At this time,the ceramic decorative patterns continued to innovate in inheritance and add new themes.Among them,the emergence of landscape painting decorative patterns reflected the unique artistic charm of ceramics in the Qing Dynasty,which not only found a new space for Chinese landscape painting,but also added new vitality to Chinese ceramic art.This paper makes a preliminary introduction to the development of ceramic landscape decoration in the Qing Dynasty.

Study on Traditional Architectural Decoration Patterns of Temple of the Three Sus

Temple of the Three Sus,which was first established during the Yuan Dynasty,features a natural,unrestrained,and classically elegant garden architectural style.This paper discusses the multiple characteristics and meanings of traditional architectural decorative patterns at Temple of the Three Sus from a semiotic perspective.First,it analyzes the denotative aspects of these patterns,including their stylistic forms,structural frameworks,and craftsmanship techniques.Second,the paper classifies the traditional architectural decorative patterns of the Temple of the Three Sus based on the types of sources of these patterns and interprets the implied meanings of each.Finally,the paper explores the application of these traditional decorative patterns in modern urban design,specifically in Meishan City,discussing the inheritance and innovation of these patterns in contemporary urban design and emphasizing the importance of integrating tradition with modernity.

Study of the ornamentation of Bhong Mosque for the survival of decorative patterns in Islamic architecture

Islamic architecture is rich in decorative patterns. Mosques were constructed in the past as simple buildings for offering prayers five times a day. However, in subsequent periods, various features of ornamentation in the form of geometry and arabesque were applied to the surfaces of mosques to portray paradise symbolically. This research applied descriptive approaches to examine the surviving patterns of the Aga-Khan-awarded Bhong Mosque and categorized these patterns as geometric and arabesque. This categorization was achieved by photography, use of software for patterns, and conducting interviews with local elderly persons in the region. The geometric patterns were simple 6- and 8-point star patterns. Several of the eartiest examples of rosette petals exhibited 8- and 10-point star patterns and were categorized by incorporating the geometric style and location of mosques. This research investigated different arabesque categories and inscription types and determined the aesthetic and cultural reasons for their placement on various surfaces. Frescoes had different types of flowers, fruits, and leaves, and a few of them belonged to the local region.

Process and Manufacturing of Ceramic Pattern and Its Digital Analysis by Computer

This paper compares Ceramic Decal design and traditional printing design through computer; show the innovation advantages of computer Ceramic Decal design prominent, such as computer color advantage, computer design software brings innovation advantage. The computer brings to the thinking innovation advantage and computer Ceramic Decal design than the traditional ceramic decal in the design process. Through the design advantage that computer has very important influence and significance of ceramic decal.

The Wild Boar Head Motif among the Paintings in Cave 420 at Dunhuang

This paper focuses on the representation of textile decorations that embellish the garments of Buddha and bodhisattvas in Mogao cave 420.The decorations on the robe of Buddha deserve special attention since they include also isolated wild boar heads within pearl roundel frames.The wild boar head was particularly popular among Buddhists and there is no reason to make any association between this motif and Zoroastrian deities.It could have been just a symbol of kingship that was particularly appreciated by high classes in Central Asia such as in western China and Persia.