Winter Olympics awards dress pattern - treasure phase flower
Figure 1 "Tang Hua Fei Xue" series
The two women's costumes and one men's outfit of the "Tang Hua Fei Xue" scheme (Figure 1) are the awards uniforms in the awards plaza. Inspired by traditional Chinese Fabrics of the Tang Dynasty, the series of designs is refined and simplified with the Baoxiang pattern and snowflake pattern, combined with the light pattern in the core graphic of the Beijing Winter Olympics (Figure 2), which is rich in Han and Tang Dynasty afterglow and contains the spirit of the times, implying that all countries in the world are welcome to participate in the event with an open mind. The race will be held at the awards ceremony in the awards plaza. So what is a treasure flower?
Figure 2 The pattern in the design of the "Tang Hua Fei Xue" series
Explore the treasure flower
Baoxianghua is a kind of traditional Chinese decorative pattern, but Baoxianghua is not a kind of real flower plant that actually exists, but a group of flowers synthesized by lotus, pomegranate, peony flower, cloud head pattern, honeysuckle pattern, leaf pattern and other patterns, and continuously explored, developed and evolved in various stages of the Tang Dynasty, showing different types, as shown in the figure [1].
Figure 3 Schematic diagram of the formation and change process of baoxiang flowers
The main constituent elements of the Tang Dynasty Treasure Phase Flower are explained in detail
1. Lotus pattern
The main prototype structure of the baoxiang flower is mainly a lotus flower. The origin of lotus culture is uncertain, but the earliest meaning of the lotus flower should be related to the cult of fertility, linking the lotus flower with the symbol of life. The lotus is the child, and the lotus has many seeds, indicating that there are many children and many grandchildren, a good harvest of products, and a prosperous life.
From the end of the Warring States period of the mainland to the unification of the whole country by the Qin, China was constantly conquering, and Taoism began to pray for stability, and the lotus pattern became popular, as shown in Figure 4.
Figure 4 Copper Ding unearthed from the Warring States
With the introduction of Buddhism into China, the lotus flower is known as the sacred flower of Buddhism. The lotus flower pattern symbolizes purity and purity in Buddhism, represents the Pure Land, and has been influenced by Buddhist culture to become an indispensable pattern during the Wei and Jin Dynasties, as shown in Figure 5 [2].
With the change of the concept of the times, the lotus flower influenced by Chinese Confucian culture has also been personified, and people have got rid of the blind pursuit of utilitarianism. The change of values has made the personified lotus a synonym for holiness and incorruptibility in the writings of the literati.
Figure 5 Lotus flowers in the Yungang Grottoes of northern Wei
2. Honeysuckle pattern
Tao Hongjing recorded in the "Notes on the Materia Medica" that "honeysuckle" is a kind of medicinal herb that grows on vines and leaves, and LingDong does not carve, so it is called "honeysuckle". It is characterized by its overwintering and living characteristics, becoming a symbol of tolerance, perseverance and health and longevity.
The Wei and Jin Dynasties period can be described as the heyday of the development of honeysuckle patterns, as shown in Figure 6. Japanese scholars Toru Nakano and Jessica Rosen of the United Kingdom believe that the leaf patterns in traditional Chinese patterns are influenced by Western decorative patterns, especially the architectural decorative patterns of Central and Western Asia[3], as shown in Figure 7.
It is composed of honeysuckle leaves, like a lotus petal. It is the most basic and important motif unit that constitutes the pattern of the treasure phase in the early and tang dynasties, and disappears after the formation of the tianbao at the end of the Sui Dynasty, as shown in Figure 8 [2].
Figure 6 Honeysuckle pattern of grottoes in Northern Weigong County
Fig. 7 Greek palm print Fig. 8 Peach-shaped honeysuckle lotus petal
3. Pomegranate pattern
Pomegranates, like grapes, are regarded as the fruit of many seeds and good harvests because of their many seeds.
Pomegranates are native to the West Asian region, and the indo fruit is regarded as a symbol of a bumper harvest. In ancient Egyptian tomb frescoes, fruitful pomegranate trees have appeared, which should be the earliest form of garnishing.
As a "product" of the Silk Road, "durian flowers come to the west" reflect the curiosity, tolerance and love of Han culture for Western culture, and also permeate the aesthetic imagination and aesthetic surprise of the Han people for exotic objects. In the Tang Dynasty, pomegranate patterns were more prevalent, as shown in Figure 9, pomegranate patterns were also used on mogao caves.
Figure 9 Dunhuang Early Tang Mo 373 cave pomegranate pattern algae well Figure 10 Peony pattern
4. Peony pattern
Peony has been loved by the public in China since ancient times, and because of its magnificent posture, it is often compared to a symbol of wealth. At the same time, peony is also the national flower, symbolizing the unity spirit and national cohesion of the nation.
Peony as an ornamental plant and really popular is after the Tang Dynasty's Kaiyuan, after the Kaiyuan peony flowers shine brightly, the style characteristics are more obvious. The more obvious feature of the peony pattern is that the flower head is large and short, with multiple petals, and the edge of the petal is a cloud curved petal, and the flower shape is relatively plump, reflecting the connotation of "wealth" given by the world, as shown in Figure 10.
5. Cloud head pattern
The cloud head pattern appeared very early on Chinese arts and crafts utensils, and we can find the cloud head pattern arranged in a circular arrangement from the pottery and tiles of the Warring States and Han Dynasties, which appeared on the bronze ornaments of the Western Zhou Dynasty (Figure 11), and the basic shape was a ruyi cirrus cloud shape composed of circular curves. It can be seen that the Tang Dynasty motifs not only combine Chinese and Western styles, advocating new themes, but also taking the french tradition and intending to be ancient [1].
Fig. 11 Cirrus clouds of Zhou Dynasty bronzes
Figure 12 Evolutionary form of cloud head pattern
The cloud head pattern is one of the important matrix patterns that constitute the treasure phase flower, and it is also an indispensable part of the idealized shape of the treasure phase flower. The cloud head pattern is connected from head to tail, combined with the leaf pattern to form a rounded and plump counter-hook petal, which is the link between the center of the treasure flower and the outer layers of petals, and this nested structure makes the treasure flower appear rich and gorgeous, such as the cloud head pattern in Caves 41 and 123 (Fig. 12) [1].
6. Beaded pattern
The beaded pattern is shaped like a pearl jade, symbolizing wealth and perfection.
The bead pattern has been used as a decorative copy of pottery in China since the Neolithic era, and has continued to develop in the later period, as shown in Figure 13. During the Southern and Northern Dynasties, the beads came to China as a typical Persian Sassanid decorative pattern, allowing the beads pattern that had been silent to seize the opportunity, and by the Sui Dynasty, a large number of beads were widely used, and by the Tang Dynasty, the development of the beads had reached its peak [4], as shown in Figure 14.
Figure 13 Majiayao faience pottery Figure 14 Tang Dynasty animal beads
The Tang Dynasty Baoxiang Flower is the result of the fusion and reconfiguration of traditional Chinese patterns and Western patterns, the crystallization of the fusion of Chinese and Western cultures in the Tang Dynasty, and a kind of imaginary flower that pins people's beautiful yearning for life. What is particularly valuable is that the absorption of foreign culture by the Tang Dynasty Baoxianghua is selective, and the accepted parts must also be continuously transformed, inclusive, and yinghua, and do not abandon the inherent national traditions, and gradually precipitate the decorative pattern model of multicultural collection.
In eternity, there is a new change, and it is necessary to know its eternal and continuous spirit in the ever-changing.
The Beijing 2022 Winter Olympic and Paralympic Games Award Ceremony Costume "Tang Hua Fei Xue" series refines and condenses the combination of Baoxiang pattern and snowflake pattern, which is a re-integration of contemporary art civilization and traditional culture. Give Sheng Tang aesthetics a new interpretation in the new era, tell Chinese stories well, combine the spirit of the times, enhance cultural self-confidence, and greet people around the world with an open, inclusive, innovative and enterprising attitude.
bibliography
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ZHAI Tian. Historical rheology and modeling of Baoxiang pattern [D]; Xi'an Polytechnic University, 2014.
[3] Toru Nakano. Chinese samples[M]. Tokyo; Ordinary Society. 1985.
CHEN Yafeng. Study on the pattern of traditional Chinese decorative pattern "Lianzhu Pattern" [D]; Xinjiang Normal University, 2019.