China traditional patterns are of various kinds,and the performance of the content is also very rich.In the development of traditional pattern evolvement process,it experienced a plurality of historical period change,...China traditional patterns are of various kinds,and the performance of the content is also very rich.In the development of traditional pattern evolvement process,it experienced a plurality of historical period change,and it has a certain period of time the representative style, so the traditional patterns have more cultural meaning.We can say that development track Of traditional pattern have a close relationship with the Chinese history and culture ,which reflects the aesthetic characteristics of different cultural background of each period.In this paper, from the analysis of Chinese traditional patterns of aesthetic characteristics in different periods,it researches the cultural meaning of traditional patterns.展开更多
Envisioned as a practice-based research, this paper explored Chinese traditional folk arts and crafts with a focus on traditional decorative patterns, vivid colors, and symbolic motifs that enliven Foshan style paper-...Envisioned as a practice-based research, this paper explored Chinese traditional folk arts and crafts with a focus on traditional decorative patterns, vivid colors, and symbolic motifs that enliven Foshan style paper-cuttings, New Year wood block prints, paper kites, festival lanterns, and Shiwan pottery figures from the areas of Foshan and Shiwan, near Guangzhou, China. The goal of this research was to create a series of original paintings by investigating Chinese traditional folk arts and handcrafts and integrating them physically or ichnographically on Ho＇s new body of paintings. Chinese traditional motifs including Chinese characters and Buddhist iconographies had already been important motifs in the contemporary Western paintings of Kong Ho for the past 10 years. This paper examined not only the artistic, cultural, and historical values but also the impacts of Chinese traditional folk arts and era~ on Ho＇s painting through a personal research travel and studies of a certain amount of Chinese paper-cuttings, folk prints, pottery, and handcrafts found in the famous Foshan Folk Art Studio and Foshan City Shiwan Ceramics Factory in Foshan, China. Furthermore, this paper investigated the symbolic meanings founded in Ho＇s spiritual paintings with strong Chinese heritage and how he reinterpreted those artifacts in a contemporary context.展开更多
文摘China traditional patterns are of various kinds,and the performance of the content is also very rich.In the development of traditional pattern evolvement process,it experienced a plurality of historical period change,and it has a certain period of time the representative style, so the traditional patterns have more cultural meaning.We can say that development track Of traditional pattern have a close relationship with the Chinese history and culture ,which reflects the aesthetic characteristics of different cultural background of each period.In this paper, from the analysis of Chinese traditional patterns of aesthetic characteristics in different periods,it researches the cultural meaning of traditional patterns.
文摘Envisioned as a practice-based research, this paper explored Chinese traditional folk arts and crafts with a focus on traditional decorative patterns, vivid colors, and symbolic motifs that enliven Foshan style paper-cuttings, New Year wood block prints, paper kites, festival lanterns, and Shiwan pottery figures from the areas of Foshan and Shiwan, near Guangzhou, China. The goal of this research was to create a series of original paintings by investigating Chinese traditional folk arts and handcrafts and integrating them physically or ichnographically on Ho＇s new body of paintings. Chinese traditional motifs including Chinese characters and Buddhist iconographies had already been important motifs in the contemporary Western paintings of Kong Ho for the past 10 years. This paper examined not only the artistic, cultural, and historical values but also the impacts of Chinese traditional folk arts and era~ on Ho＇s painting through a personal research travel and studies of a certain amount of Chinese paper-cuttings, folk prints, pottery, and handcrafts found in the famous Foshan Folk Art Studio and Foshan City Shiwan Ceramics Factory in Foshan, China. Furthermore, this paper investigated the symbolic meanings founded in Ho＇s spiritual paintings with strong Chinese heritage and how he reinterpreted those artifacts in a contemporary context.
