The Study Of The Symbolism-driven Ornament Theory In The Grammar Of The Lotus

American art historian William Henry Goodyear is one of the key figures in the history of art from the late nineteenth century into the twentieth century.Goodyear is unique in that he proposed a theory of symbolism-driven ornament in his book The Grammar of the Lotus and restored a history of ornamental art dominated by symbolism theory,unique among his contemporaries and somewhat related to the aestheticism-driven theory proposed by Alois Riegl.However,although the symbolism-driven theory also belongs to a major standpoint of ornamental theory,this theory nremains largely unexplored.Today’s interest in Goodyear comes in part from Rigel’s borrowing from and critique of his theory in Problems of Style,while no attention has been paid to the core and influence of the symbolism-driven theory of ornament.This paper examines the symbolism-driven theory of ornament in The Grammar of the Lotus,sorting out the background of the theory’s formation in the late nineteenth century,analyzing the theory’s presentation structure and the principles of the theory of decorative symbolism containing two major parts: the history of the evolution of the lotus and solar symbolism,and finally exploring the significance of this theory of decorative symbolism and the influence it had on Riegl.As a result of the study,Goodyear proposes a new theory of decorative drive that prioritizes symbolism,prioritizes the relationship between symbolism and decoration,and traces their intertwined developmental histories.By understanding the theory in The Grammar of the Lotus,it is possible to understand the importance of symbolism in the world of ornament and to study the decorative art from a different perspective.Ultimately,the book can also be brought back into the public eye and revisited in a way through this study.