Combination of Daur Clothing Decorative Art and Modern Fashion Design

On today＇s clothes market and international fashion stage, the dress adornment elements of ethnic minorities have always deeply impressed design masters, received great attention and, are constantly surprising fashion designers. China is a country with multiple ethnic minorities, which have extremely rich ethnic minority dresses and adornment elements. On studying the major dress adornment elements of the Daur, a typical ethnic minority in northern China, we have discovered their strong ethnic features. The major dress adornment elements of the Daur were with the purpose to explore and continue traditions. Combining the modern faskion design with the delicate decorative art that the Daur people sew various laces and embroideries on their dresses, was to discover and use the essence of Chinese ethnic dress and adornments, and demonstrate the talent of ethnic minorities in clothes design. Given what have been founded, combined with the application of modern design methods, the adornment elements of ethnic dresses can represent their ethnic characteristics as well as reflecting the sense of the modern age.

Application of Facade Decorative Arts of Traditional Architecture in Archaistic Blocks:A Case Study of Shengjinta Food Street in Nanchang City

Architectural decoration is a key demonstration of architectural styles, and traditional Chinese architectural forms originating from diversified architectural decorative arts. This paper explored facade decorative art of traditional architecture from the perspectives of carving art decoration, roof type, stylobate and railing, window and door type, and ground pavement, and also elaborated artistic methods of different forms in each aspect. On the basis of investigating Shengjinta historic and archaistic block, the paper also introduced application of decorative arts, and provided references for applying facade decorative arts of traditional architecture in the future archaistic blocks.

Decorative Art of Doors and Windows in Southern Jiangxi:Taking Bailu Ancient Village as an Example

China,as a country with 56 ethnic groups,has different geographical location,historical development and national customs.Residents in different places have incorporated different cultural characteristics when building local houses.This differentiated cultural and artistic feature is a reflection of the cultural connotation in a specific age and region.However,cultural protection is not always perfect.Many details are missed in this torrent of conservation culture,and door and window decorations are in this position.When collecting data,it is found that there is very little research on door and window decoration in Jiangxi.In this study,taking the doors and windows of Bailu Ancient Village as an example,combined with the cultural history of door and window decoration in southern Jiangxi,the artistic essence and historical value of the decorative patterns of houses were discussed.After searching a large number of documents,a field investigation was conducted in Bailu Ancient Village.Through direct observation of doors and windows and asking local residents about their understanding of door and window decoration,the history,current situation and future of door and window decoration in Bailu Ancient Village were described in detailed and predicted roughly.

Chinese knot development in the atmosphere of Modem decorative art

As an art, Chinese knot is aged and refreshing. Those kinds of knots have come down from time immemorial. It exemplified the wisdom of the working people. The knots have the beauty of plainness and nature. Applying it in modem decoration would give the Modem decorative art personality and all kinds of form are available. The two parts would interact and help each other forward. Through the research, this paper analyzed the styles and features of Chinese knot. As well as the development and application of Chinese knot in Modem decorative art. In order to make the theoretical bases, for the sake of inheriting and continuing fine folk arts.

Chinese Objects in Eurasian Empire： On the Cultural Meaning of Chinese Art in Russia in the Late 17th-Early 18th Centuries

This article fashion＂ （＂Kitaischina＂） reign of Peter the First demonstrates the role Russo-Chinese cultural examines special features of ＂Chinoiserie＂ or ＂Chinese in Russia from the late 17th to the early 18th century： The It discusses this cultural phenomenon＇s historical origins, of Chinese luxury goods and art objects in the era＇s exchange, and illustrates how Chinese decorative arts were used in Russian palaces. While Chinoiserie in Russia was influenced by similar trends in Western Europe, it was rooted in the unique history of regular contacts between Russia and the Qing Empire. Chinese objects not only appeared as commodities in the higher levels of Russian society, they also contributed to the prestige of the Russian state. Peter the First had a political purpose behind the collection, display and imitation of Chinese art objects in Russian palaces, as these practices demonstrated the growing wealth and power of newly established Russian Empire, which enjoyed trade connections with the Qing Empire. While contemporary perceptions of China in Russia were derived mostly by the exotic images of export art, ethnographic collections of genuine Chinese utensils, which were founded during that period, also contributed to Russian views of China. This research uses a comprehensive methodology, combining studies of material objects preserved in Russian museums and written sources, including archival records.