Research On Wadang Lotus Pattern And Its Practice In Costume Design

Wadang is one of the important parts in ancient Chinese architecture.It has a long history of development and has a certain aesthetic value.The lotus tile is one of the most characteristic patterns in the Wadang pattern.Lotus pattern is separated from the literary symbol and becomes the main decorative pattern of Wadang in a certain period.It has become an important carrier for many scholars to study the ancient aesthetic culture.This paper mainly studies and analyzes the lotus pattern of Wadang from the following aspects.Firstly,this paper gives an overview of the research background,research purposes and significance of this paper.It analyzes the current situation of domestic scholars’ research on the pattern of Vatan lotus flower to determine the research scope of this paper.Because the current research on the pattern of Vatan lotus pattern mostly stays in archaeology.It is classified and staging,and there is less artistic analysis of the pattern of the Vatan lotus pattern in the field of decorative arts and clothing.Therefore,this article will use this as an entry point to explore.From the three aspects of the pre-Qin,Six Dynasties,and Sui and Tang Dynasties,the author will study and analyze many problems such as the pattern composition,aesthetic style and morphological evolution of the original Huadang lotus pattern.The paper carefully sorts out the parts of the Huadang lotus pattern,the theme pattern,the decoration and the edge decoration in each period,through the longitudinal comparison analysis of the Huadang lotus pattern in the historical process;the horizontal comparative analysis of the same period(six dynasties)Later,it was found that the pattern of the Vatan lotus in the period from the pre-Qin to the Sui and Tang Dynasties was inherited in the aesthetic culture and the composition of the art.However,due to the profound influence of the ideology of each stage on the artistic creation,there are also great differences.Secondly,using archaeological data to summarize the Huadang lotus patterns unearthed in various periods,it is found that the aesthetics of the pre-Qin period accompanied by cultural diversity and Confucianism and Taoism showed that the number of lotus petals was small,and the lotus form did not have too much abstract treatment.The variety of the decoration and the edge decoration is more realistic thanthe later Huadang lotus pattern.The overall pattern highlights the natural and simple aesthetic style.With the deepening of the Buddhist culture in the Six Dynasties,it was discovered after comparing the evolution of the various patterns of the Wadang lotus pattern in the Southern and Northern Dynasties.It has different styling characteristics in the early to late stage.Whether it is the beautiful Huadang lotus pattern in the Southern Dynasties or the complex Vatan lotus pattern in the Northern Dynasties,it is the rich variety of this period that laid the foundation for the style and style of the lotus flower in the Sui and Tang Dynasties.Inheriting the lotus pattern from the end of the Southern Dynasties,the lotus tile was pushed to the top,and its pattern shape was influenced by the relics of the Southern Dynasties under the influence of the Southern Dynasties.With the full-scale entry into the feudal society,the ideological Active to provide spiritual food for artistic creativity,the tiled lotus pattern therefore Full,costumes;influenced by Zen,Vatan lotus patterns began to evolve when the chrysanthemums to the late Tang Dynasty,the whole show and then go from simple to complex simple development process.Then,the pattern analysis of the Huadang lotus pattern was carried out,and a more specific understanding of the composition art of the Vatan lotus pattern was further reflected,thus reflecting the aesthetic pursuit of the ancients in the decorative pattern.Through this inquiry and analysis,the author hopes to help people to have a further understanding of the decorative patterns of ancient architectural components,and to have a certain reference value for modern dress design.This paper has 164 diagrams,4 tables and 54 references.