As The Actual Situation To Observe Phase

Eaves tiles were the common specific drooping parts on the top of the eave canister in our ancient architecture, their functions were waterproof, dewatering and the protection of the eave. From the adaptation to the mature decorative components of initial civil structures to the indispensable decorative art of the traditional architecture, Eaves tiles not only represent distinctive Spirit of the times, but also are basic of the flow of history and physical evidenceof the culture and national collective aesthetic consciousness. In applications of the traditional cultural heritage and modern art design, eaves tiles are the important material wealth and spiritual wealth.The eave tile art started from the founding period of the western zhou dynasty, to the period of prosperity and development in spring autumn and warring states, flourishing period of qin and han dynasties, three kingdoms dynasty,jin dynasties, northern and southern dynasty, and the gradual decline period of ming and qing dynasties. It reflects the social, political, economic, cultural, religious beliefs, ethics and other social ideology of different dynasties. The eaves tiles were used only as the decoration of the magnificent buildings in the ruling class, and then spread in folks. The functions of decoration and utility coexisted, which became an attractive scenery line. During this period, the eaves tile art, affected by folk art ideas, on which the designs, letters, model and implied meanings reflect social concepts and folk culture of the various periods of different aspects.The first part will chiefly explore source of the eaves tiles at first, which derived the Chinese folk art model from a macro-perspective, namely the primitive consciousness and form of model, and analyses the relationship between the model of the eaves tile and that of folk art. The model of the eaves tiles, rich in varieties of language of shape and styles, stemmed from accumulation through thousands of years of Chinese ancient culture, from the collective aesthetic sense formed by the specific Chinese folk social and cultural structure, from the unique way of thinking and modeling consciousness of the folk artists. Secondly, the part will chiefly outline the development of the art of eaves tile, with five stages partitioned from the beginning of western zhou dynasty:the pre-qin period, qin and han dynasties, wei Jin and Southern and Northern dynasties period, sui and tang dynasties, from the song to the ming and qing dynasties. It can be observed, by analyzing the artistic models of the eaves tile in various periods, and looking into the folk culture in the periods from development of the eaves tiles, that the eaves tiles developed from exclusive owning by the ruling class to widespread use by folks, which leads to the questions:why was the eaves tile widely used by common people, why it received universal recognition, and how were the aesthetic experiences built?The second part will answer the question raised in the formal part to analyze culture features of eave tile art. This part will observe from folk art, namely through its general aesthetic art feature, so as to do research on eave tile art’s modal language, and to analyze the aesthetic characteristics of eave tile art’s language, and to further explain how the eave tile art’s aesthetic experience is constructed. Then it will take the traditional Chinese philosophy into account to explore the folk culture embedded in this art and the practical performance of folk culture awareness in eave tile art’s modal language.The third part is going to state the importance of doing research on eave tile art when trying to apply traditional culture elements in modern art’s design, which will be analyzed and summarized from the art origin of eaves tiles and its rule as a traditional culture element.