A Study On The Image Of Traditional Chinese Crane Patterns

In the long history,Chinese traditional patterns have always played an indispensable role in recording people’s aesthetic forms and spiritual pursuits.We can explore the track of cultural evolution from the traditional patterns.Crane patterns,as an important part of traditional Chinese patterns,not only record people’s artistic pursuit of aesthetic forms,but also reflect people’s yearning for a better life.Crane patterns appeared as early as the Neolithic period,developed in the Qin and Han dynasties,popularized in the Song and Yuan dynasties,and reached its peak in the Ming and Qing Dynasties.In recent years,with the awakening of Chinese design,more and more designers began to pay attention to the combination of traditional culture and contemporary design,and designed more designs with "Chinese style".Therefore,the analysis of the aesthetic expression and aesthetic connotation of traditional crane patterns is a topic worth further study.Taking Chinese traditional crane patterns as the research object,this thesis adopts the research method of image study to explore the following questions: first,the origin and evolution of Chinese traditional crane patterns;Second,the spiritual core carried by Chinese traditional crane patterns in different periods;Third,the composition and meaning of Chinese traditional crane patterns;Fourth,the combination of Chinese traditional crane pattern and contemporary design.In order to facilitate in-depth exploration of the above issues,the author studies the above issues from two pointcuts of "meaning" and "image",aiming at exploring the aesthetic form and cultural gene of traditional Chinese crane patterns,so as to better serve contemporary design.In addition to the introduction and the definition of crane pattern image,this thesis is divided into four chapters.The third chapter is the aesthetic expression of the traditional Chinese crane pattern "image".This chapter uses the image research method to deeply explore the crane pattern,and divides the development of the crane pattern into four periods: pre-Qin,Qin,Han,Song,Yuan and Ming and Qing.It is concluded that the crane patterns in pre-Qin period are mainly in geometric form and belong to the category of natural objects.The crane patterns in the Qin and Han dynasties were mainly realistic.The crane patterns began to put on the mysterious veil and appeared in the public view in the form of deification.With the rise of literati in the Song and Yuan Dynasties,crane patterns began to appear more in paintings,which realized the transition of art.The realistic crane pattern reached its peak in the Ming and Qing dynasties.Due to the polarization of economy,the crane pattern in that period formed the coexistence of nobility and common people.The crane patterns in the four periods carry different cores.The crane patterns have experienced four levels of transition: natural objects--deification--art--nobility/popular.The fourth chapter is the aesthetic connotation of traditional Chinese crane pattern "meaning".This chapter uses the method of literature research to summarize and sort out the crane culture in literary works and refine the aesthetic kernel of crane pattern.The five levels of spiritual appeals carried by the crane pattern are extracted,which are respectively the prayer for perfection,the prayer for the virtue of the gentleman,the prayer for solitude of the literati,the prayer for longevity and the warning of the loss of the toy.The aesthetic connotation of the crane culture is interpreted according to the literature works of different periods.The fifth chapter is the composition of the "image" of traditional Chinese crane patterns.This chapter adopts the method of case analysis to explore the collocation of crane patterns in different periods and the spiritual core it carries.The collocation of crane patterns is divided into four levels.The "plant" image pattern of crane pattern,the "animal" image pattern of crane pattern,the "human" image pattern of crane pattern and the "human" image pattern of crane pattern are respectively analyzed from the four aspects of the auspicious kernel carried by the crane pattern.The sixth chapter is the application of traditional Chinese crane patterns in modern design.It explores the path of the integration of crane patterns and modern products,and finds out that the path of the integration of crane patterns and modern products can be started from two aspects: the ontology cognition level of crane patterns "image" and the language cognition level of crane patterns "meaning",and the current design application of crane patterns is divided into four aspects.The applications of crane patterns in graphic design,product design,clothing design and environmental art design are respectively discussed.The spiritual core carried by crane patterns is verified and explored through cases.By studying the image of the traditional Chinese crane patterns,the "image" of the crane patterns is expounded,and the "meaning" of the crane patterns is interpreted.Based on the two,the path of the integration of the crane patterns and contemporary design is explored,so as to revitalize the traditional crane patterns in the contemporary design trend,better serve the contemporary design and provide ideas for the Chinese design.Then promote the formation of the new fashion of Chinese design,improve China’s international influence.