As a unique visual symbol of the Mongolian nation, the Mongolian pattern has a variety of forms of expression and profound connotation, and has an irreplaceable role in the display and inheritance of national temperament and spiritual character, and the inheritance and development of national aesthetic values. As an important part of traditional ethnic art, Mongolian patterns have also become an important expression of promoting excellent national traditional culture in the current social context. But at the same time, there are several noteworthy problems in the process of Mongolian motifs being widely used in various emerging media, penetrating into all aspects of current life, and being accepted and recognized by the public.
The first is the "distortion" of the pattern shape. "Distortion" is manifested as a deformation of the pattern caused by the imbalance of the proportion of the pattern shape size, and the variation of the overall temperament caused by the incongruity of the elements in multiple pattern combinations. This is mainly found in the Mongolian patterns of the echo, hamur, pan intestine, Lanza, Fangsheng and other abstract patterns. Taking the most common Hamur pattern in practical applications as an example, it is a completely curved shape, but the curvature of the curve is not arbitrarily determined, and the length of the line is not arbitrary.
In fact, the Hamur pattern does not have a strict and accurate measurement standard, but only expresses the rounded, elegant, beautiful and dignified aesthetic quality of the Mongolian pattern in the final and complete presentation. This is also a beautiful feeling brought to people by the long-term formation of Mongolian patterns and the characteristics of the modeling with classic aesthetic forms. It highlights the Mongolian nation's admiration and pursuit of the "consummation" form.
In Mongolian, the word "pattern" is "Ho Ugaraji". The Mongols refer to the pan sheep as "Ugalaji", which is named after the coiled horns of the pan sheep. Because in the eyes of the Mongols, the round horns of the pan sheep are very beautiful, so the curly style shaped like the horns of the pan sheep is called "Ugaraji", while other forms of patterns are called "He". It can be seen that the Mongols are very partial to the curly and circular pattern, and the worship of "perfection" has gradually become the Mongolian philosophical pursuit of life and the aesthetic orientation of form. From the construction of the yurt, the invention and application of the Mongolian circular chronograph, to the stationing method of the early Mongolian tribes, and the main shape of the Mongolian daily necessities, all of them vividly practice the Mongolian people's admiration for the circle, showing the important position of "consummation" in the life of the Mongolian people. However, as a typical representative of the circular pattern in the Mongolian pattern - the Hamur pattern, if its length and width ratio is unbalanced, the overall shape is either flat or bloated, which not only brings the audience a sense of visual discomfort, but more importantly, it cannot accurately convey the Mongolian pattern art, and even the inner spirit and character of the Mongolian nation.
After rough measurement and calculation, the author believes that the Mongolian geometric pattern that follows the golden ratio is more in line with the aesthetic spirit and national temperament of Mongolian art. However, in practical applications, it can often be seen that such as Hamur, echo pattern, disc and intestine pattern, etc., due to the imbalance of size proportions and deformation; Or in the process of combining and matching multiple patterns, the size of each part is out of proportion and produces an unbalanced performance effect of the picture. The original intention of its application is worthy of affirmation, but the problems caused by the distortion of the shape should not be ignored.
The second problem is that the pattern application is "inappropriate". The application of Mongolian patterns in different media and different occasions not only as decorations, but also reflects its practical value. In the application of traditional media, the practical function of Mongolian motifs is more prominent. The traditional Mongolian boots are pointed and upturned, and the body of the boots resembles the hook corners of the cloud pattern in the Mongolian pattern, and the different parts of the boot surface are decorated with embroidery, collage and other patterns, which are beautiful and generous, and have distinctive characteristics. At the same time, it has the practical functions of riding ankle protection, waterproof and insect-proof, and easy to walk. The four corners of the box of Mongolian furniture are generally protected by the metal corners of the Hamur pattern and the echo pattern, which plays a role in strengthening the fixation and avoiding bumps. The corner not only reinforces the box, but also reduces the overall weight due to the hollow shape of the pattern, and at the same time achieves the purpose of decorative beautification, expressing people's love for nature and yearning for a better life. A piece of copper should be installed at the locking place of the cabinet door of the Mongolian furniture cabinet to prevent the paint wear caused by the cabinet door when the lock is unlocked. This piece of copper is mostly shaped by mongolian cloud patterns, or carved with patterns on square copper sheets, which plays a decorative effect, and is placed on the intention of protecting the house and praying for peace.
At present, the medium of Mongolian pattern application is very rich and diverse, deep into all aspects of life, the decorative function of the pattern has become the main function, but it does not mean that it is suitable for the use of Mongolian patterns to decorate and beautify on any occasion. For example, the garbage bins that can be seen everywhere in the city are inappropriate to decorate the box with Mongolian motifs. As we all know, the garbage bin is a vessel for filth, dirty and disgusting. Many ethnic traditional motifs are symbols of auspiciousness, happiness and well-being, which are applied to daily production and daily necessities to pray for blessings and wishes. It can be said that the application media and occasions of Mongolian patterns are positive and beautiful, making people feel good, and also occupy an important position in people's hearts and have an important role and value in life. This is a vivid portrayal of the traditional mainland pattern "the picture must be intentional, the meaning must be auspicious". Decorating the garbage bin with Mongolian patterns is an inappropriate move that completely abandons the allegorical connotation of the pattern and reflects the beautification function of the pattern form in isolation and one-sidedness, and is also caused by the creator's lack of thorough understanding and grasp of the national culture.
The perception of cleanliness and impurity in Mongolian culture has its own characteristics, and it is precisely because of this that others misunderstand the application of Mongolian motifs. For example, cow dung, which is common in life, needs to be cleaned and discarded in the eyes of others. In the eyes of the Mongolian people, cow dung is not only an important fuel guarantee for grassland life, but also brings a unique emotional memory of grassland life to mongolians. In view of the special significance of cow dung to the Mongolian people, there will be careful collection, piled up cow dung walls, cow dung piles, and carefully decorated with Mongolian motifs symbolizing auspicious happiness. It is precisely because of the difference in culture and the partiality of cognition that the application of the current Mongolian pattern is inappropriate and incompatible. Other situations, such as printing ethnic patterns on the smoke and sand of hotel garbage cans and on slippers, are all inappropriate pattern expressions for application occasions.
The third problem with The current application of Mongolian motifs is that the pattern is "boring". Loss of interest is loss of interest, monotonous performance. Mongolian patterns are widely used in a wide range of materials, covering a wide range of areas, and the content of expression is diverse and comprehensive, including animal and plant patterns that express specific objects and images, as well as abstract patterns that express beautiful meanings, and are also different shapes and changes in terms of shape. The peony pattern is gorgeous in appearance and noble in temperament, which means that life is rich and noble, happiness and health; The butterfly pattern is flexible and colorful, symbolizing the vigorous development of life, and the combination of butterflies and flowers is a symbol of husband and wife love and family harmony; The pomegranate pattern is full of fruit, red in color, and contains many seeds, which means that life is red and fiery, and there are many children and many blessings. Abstract patterns are equally expressive. The echo pattern means continuous, far-reaching and long-lasting, the pan intestine pattern symbolizes endless reproduction and eternal life, and the Lanza pattern has the meaning of the communication of heaven and earth and the continuation of all generations. All three have an endless and endless meaning, but the specific meaning has its own emphasis and emphasis. In the traditional application practice, the Mongolian people can always accurately and delicately portray and highlight the theme of the pattern according to the different application occasions, media and allegorical expressions, and radiate the unique charm and profound connotation of the national pattern. At the same time, the same pattern will also produce different changes as needed. In terms of the disc intestinal pattern, the right angle edge type disc intestinal pattern is angular and the shape is strong and powerful, reflecting the mongolian national character of integrity, masculinity, firmness and steadfastness; Rounded and elegant, graceful and graceful shapes, the rounded edges of the disc intestinal pattern set off the restrained and subtle, comfortable and elegant side of the Mongolian personality.
Observing the practical application of the current Mongolian pattern, it can be understood that the existing pattern performance is basically based on geometric patterns, of which most of them are Hamur, echo pattern, and disc intestinal pattern. This kind of pattern is regular in shape and fixed in structure, suitable for corner decoration, so it is mostly used in the outer wall of buildings, plaques, commodity packaging and other media. In this way, while ensuring that the pattern effect is uniform and easy to perform, it will also bring about the problem of visual experience and psychological feelings of monotonous pattern elements, similar shapes, lack of interest and lack of novelty. In addition, the frustration is also manifested in the deliberate pursuit of the application of Mongolian patterns, simply and mechanically stacking and piecing together various patterns, lacking the focus of appeal and the level of the picture, the performance is complex, and the effect is dull.
These problems in the current application of Mongolian patterns are not only the shortcomings of the external form of the pattern, but also the lack of aesthetic quality and national sentiment carried by the pattern. Mongolian motifs are native to traditional application media, and their application performance has long become a classic paradigm. However, in today's diversified media development, the expression of Mongolian patterns in new media has become an important channel and way for pattern dissemination and inheritance. How to display the unique style of Mongolian patterns well in the current media context and highlight its profound cultural heritage is a problem that we need to actively face up to and focus on.
Author: Li Jie
Source: China Art News