The Research Of Designing Elements In Qing Dynasty’s Official Pattern Grade

The mandarin square is our country during the Ming and qing dynasties as a decoration on the robes to identity and status right from the art of graphics. Because of the different officer product system of Ming and Qing dynasties, this article only discusses robes to fill in the Qing Dynasty. Many of the Qing process design, design patterns to complement the mandarin square’s typical of traditional culture does not have much to resolve, it is hoped that this article can make mandarin square for future research, traditional culture play a valuable role.This article focuses on the Qing Dynasty robes complement the analytical sub-patterns, text will fill patterns are divided into sub-categories of animals, non-animal to be addressed in two parts, the main work is to summarize the general rule of sub-patterns complement the main composition and its various formats sub-patterns complement its own characteristics, and the relative ratio of Chinese folk patterns, graphic patterns and other traditional Chinese painting, demonstration of its features.Article is divided into six chapters in total, the first chapter some of the major sub-patterns to complement the concept, discussed methods to study the significance of the elaborate, also from the historical origins, heritage aspects of the evolution of two Qing Dynasty robes overall presentation.The second chapter describes their robes behind a strong cultural connotations, it is the national carrier of culture and Taoism culture, but also reflects the ethics system, officials also introduced different grades shown in varying patterns.The third chapter is the main part of the article, to complement the sub-patterns elemental resolution. First, an overview of the concept of patterns, due to its impact on the emergence of the totem culture is evolving patterns, which is the main source of patterns generated. Qing robes make sub patterns in design, has its main composition structure, in accordance with the added draw of this main structure patterns of different animals, both varied and harmonization. Section III of the article will mainly make up the sub-patterns into animals, non-animal patterns. Animal patterns mainly divided into categories according to officials of the dragon up, civilian and military attache make up the sub-sub-categories, from different grades of animal characteristics; complement sub-patterns composition, color, image and other animals of the same pattern (traditional auspicious patterns or painting pattern) contrast; according to the literature on animals and other aspects of moral resolve. Non-animal patterns complement the mandarin square in order to classify the major elements, parse its form and meaning through interpretation of design, image elaborate perspective.The fourth chapter discusses the Qing Dynasty robes make up sub-patterns of aesthetic, analytical implication from the humanities, decorative charm and craftsmanship of three parts, respectively. China’s traditional culture, the pursuit of Taoism " Neutral beauty," traditional culture is profound, make sub patterns as a traditional auspicious patterns, is a blessing for the people peace and happiness Auspicious joy sustenance thereon. So fill the sub-patterns pattern, or on behalf of longevity, or on behalf of the rich, or on behalf of Fluke are auspicious meaning. In addition, Swiss German poultry birds, mythical beast’s image, but also for civil and military officials of indomitable spirit, brave dignified self-encouragement, fill pattern from the mandarin square, you can see the traditional culture of the pursuit of "Heaven" state, reflects Chinese people inclusive, macro tolerance. In addition, in accordance with the laws of formal beauty, charm decorative part to the beauty of harmony, balance the aesthetic beauty of both analytical complement of sub-patterns. The third section introduces the concept of the fill the mandarin square process, a preliminary study and the national characteristics.As a sub-patterns complement traditional patterns, continued penetration in Western culture today, explore the remains of traditional graphics design called for the return of the local community is very important, is the fifth chapter discusses this issue. This paper introduces its importance, combined with modern visual works on how inheritance and innovation of traditional graphics to explore. The last chapter is the conclusion.Overall, the dig is particularly critical of traditional graphic culture, this article focuses more on design elements complement the sub-patterns analysis, I believe that only in-depth to explore the essence of traditional graphic design to better cultural inheritance and innovation of traditional design, development promote local design.