| With the constant development of the Silk Road and cultural collision and exchange,the Hui nationality began to form in the Yuan Dynasty and the early Ming Dynasty.At that time,the Hui nationality ushered in the peak period of the development of decorative arts.With the deepening of the integration with the Han people,the ethnic ornamentation of the Hui people began to gradually become localized.The decorative patterns were mainly characterized by rich Islamic style and integration Han aesthetic taste at the time.In the decorative pattern art,the abstract geometric patterns change rapidly,and the combination of lines,shapes and colors condenses and refracts the social contents including politics and economy of the times.Influenced by the Islamic concept,the geometric patterns of the Hui ethnic groups present the realm of religious philosophy,showing the beauty of rhythm and order in symmetry and repetition.This appears to be quite different in appearance from the geometric decoration prevalent in Han China in the Ming Dynasty.In fact,there are numerous connections.The research is focused on the following aspects: The development of decorative arts of the Hui ethnic group includes the historical background and style of its formation;the development of the Silk Road in the Ming Dynasty influences the geometric ornamentation in the decorative arts of the Hui ethnic group;The deep reason behind the process of art localization;digging deeply into the value of national art in textiles and trying to enrich the cultural and artistic content of textile design.This article,through the analysis,holds that the Hui ethnic geometric ornamentation has a high artistic value in the Ming Dynasty.This research is not only a regional study of the development of Islamic civilization in the Ming Dynasty but also a consummation of the minority part of Chinese traditional arts and crafts.At the same time,Modern fabric pattern design provides a reference for enriching its design form. |