Apparel patterns are derived from life, and clothing patterns are formed in people's minds. Therefore, as a clothing pattern that originates from life and is formed in concept, it naturally develops with the continuous advancement of society and the improvement of people's ideas. Developed by the development of society.
Shang Dynasty clothing pattern
China's clothing patterns have experienced thousands of years of development and have a long history. According to the initial inspection of the costume pattern, there is a written record of the Shang Dynasty. At that time, the slave owner wore a costume with thunder and tortoise. The decoration of the pattern is mainly manifested in the neckline, cuffs, front hem, hem, trousers and other edges of the garment and on the belt; the expressions are mainly regular turret, diamond, and thunder, and are in the form of two-sided continuous composition. To show. This shows that at that time, the original ancestors of our country not only designed and produced the more fashionable clothing with patterns, but also used the design skills to decorate the clothing. So far, this two-way continuous composition form is still commonly used in clothing design, and it is not rare in other design. From the slave society to the decorative patterns of the costumes of the feudal society, it is mainly inspired by the pleasure of the shape of the animals, but the subjective color is not strong, which is a reproduction of natural objects. Patterns in the performance of clothing, mainly in the cloud thunder, back to the turtle, geometric patterns. The use of patterns is much more clever than the use of bronzes. The cloud thunder on the bronzes of the slave society appears as the shading, the main pattern is mainly the animal face pattern, and the cloud thunder pattern on the clothing appears as the main pattern.
This cloud-ray-decorative theme appears on the clothing, which adopts a two-sided continuous composition form, and pays attention to the pattern of the craft body, and emphasizes the regular beauty of the shape. Since the cloud-ray-decoration decoration needs to serve the theme, it gradually develops from a single parent (s) into a continuous combination of a unit pattern and another unit pattern, that is, multiple children, and at the same time adds subjective consciousness to exaggerate. This kind of "s" shape, which is similar to the fall, is also a turning point of the s shape, which has an important direct influence on the formation of the pattern structure in the future.
With the development of society, people's pursuit of patterns has shown subjective consciousness, which is also the sprouting consciousness of totem. At that time, some animals were used as totem worship objects (such as birds, fish, tigers, etc.), and their patterns were first displayed on the utensils (ware, utensils, and daily necessities) used by people, but they were quickly reflected in the costumes.
This kind of imprint is also available in various jade ornaments, hat ornaments, gums, etc. used in the Shang Dynasty and men and women.
Zhou Dynasty clothing pattern
In the Zhou Dynasty, with the transformation of society and the development of productivity, the textile industry came into being, and there were gorgeous scarves and colorful embroidery. People used it to make clothing, so there was a swearing. In the article "Yu Shu Yi Yi", there are: "To the image of the ancients, the sun, the moon, the stars... the colorful colors are applied to the five colors, and the service is clear." Here, the five colors are applied to the clothes, that is, the twelve chapters are applied to the clothes with the method of painting and embroidering, indicating that the costume patterns at that time are very characteristic. According to the twelve chapters written in the book "Yi Shu Yi Yi", the order of the ornamentation is day, month, star, dragon, mountain, Chinese insect, fire, ancestral, algae, rice, glutinous rice, glutinous rice. Each of the twelve chapters has its meaning and symbolic meaning. Day, month, star: take its light, such as the light of three lights; Dragon: can change, take the meaning of its god, symbolizes that people should be good at teaching and change; mountain: take its cloud or rain to say its weight Character, symbolizing the king's town is quiet and quiet; Chinese worm: genus, take its article (literary literary), also said that the nature of 雉 耿 耿 , , , , , , , , , , , , ; ; ; ; ; ; ; ; ; ; ; ; ; ; å½ å½ å½ å½ å½ å½ å½ å½ å½De: Fire: Take its own, fire and inflammation, the rate of the group of people to return to the meaning of life; powder rice: take its white and can support people, if the shape of the rice is a virtue of good health; Draw a gold axe, white blade and dark, take the meaning of its ability to cut.é»»: The two paintings have been opposite each other, and the painting "quot; â–¡" is a shape of the word, which means that the monarch and the minister can be in harmony, seeing the improvement of evil, and at the same time having the meaning of taking the subjects to the evil; the twelve chapters are the meaning lines. It is the source of the pattern used in the costumes to look up at the image of everything in the world.
Twelve chapter patterns. Judging from the twelfth chapter of the pattern and symbolic meaning, these patterns did not exude the spirit of totem worship at that time. At the same time, it also showed that people have not only decorated totem worship as the only costume pattern, but also have been able to use various kinds of The imagery of nature symbolizes itself and shows the aesthetic consciousness of the people in the slave society. However, this aesthetic consciousness has social limitations, mainly manifested in the hierarchical difference between slave owners and slaves. That is to say, the ruling class regards these patterns as the division of classes, and casts a strong class color on the beautiful objects that are originally natural. For example, the emperor costumes can enjoy twelve chapters of the pattern; the princes descend from the dragon to the scorpion, the singer, the fire, the doctor and the rice. In this regard, we can see that the clothing patterns of this period pay attention to the performance of art in design. As a cultural performance, it shows that people's aesthetic consciousness has been greatly improved.
Warring States period costume pattern
During the Warring States Period, it was the period of great change in ancient Chinese society. In the field of ideology, hundreds of bets began to scream, and the social thoughts and concepts were unprecedentedly active. At this time, the decorative patterns of the utensils have changed a lot: the strict and sturdy crepe lines and crepe lines give way to the lively and lively human subjects, and the rigorous design in the costumes has been stretched.
Judging from the clothing patterns of the Warring States, many figures are not directly depicted by natural objects, but by the changing patterns of natural objects. This shows that people have added their own subjective aesthetic consciousness to the design of the pattern, and the idealized things have increased. This not only shows the improvement of people's aesthetic taste, but also makes the clothing pattern have a higher artistic appreciation value. Everything has a process of occurrence, development and gradual improvement. The costume pattern of the Warring States period experienced the development process from Yin Shang to Zhou, which made the costume pattern reach a higher level in design form. People began to change the rigorous and delicate design style to pursue a lively and generous artistic expression. Influenced by the influence of Qin Wadang art, the costume pattern began to pay attention to the integrity of the artistic image, rather than sticking to the details and partial depictions. In the art processing, it is more to use less and more, to use the virtual reality, the shape to sum up the realistic contrast method to express the simple and rich beauty. The ups and downs of this style are inseparable from the active thoughts of people at that time, which shows that cultural progress must be manifested in material. If the clothing pattern before the Warring States was characterized by rigorous planning, then after the reunification of Qin, the costumes were expressed in a clear, generous, lively and unrestrained way.
The "Feihong Yannian" map is a typical auspicious Vatan. The screen uses a flying geese neck to separate the word "Year" from the two sides, which is naturally divided into two halves, which is consistent with the symmetrical beauty of China's central axis. Hongyan has a cross-shaped soaring attitude, generous, free and easy, unrestrained. The neck of the geese is exaggerated for a long time. The head stretches out above the tile and is screaming. It seems that people can hear the sound of Yanming. This combination of sound and shape is ingenious. The word "Year of the Year" is square, flat and stable. The whole pattern is square. The curves, lines and arcs are ingeniously operated. The combination of movement and static is perfect. There are changes in symmetry. It is balanced, rich and magical, giving people visual and psychological. The aesthetic enjoyment on the top also reflects the psychology of the people who demanded "Corning" after a long period of war. Qin's moire-style style gives people an atmosphere and a broad sense of the atmosphere, giving full play to the artistic characteristics of the line, seeking lightness in the thick and deep, and seeking liveliness in the strength. These moiré patterns emphasize a "change" word according to the natural variation of the "cloud". They look the same at first glance, but each taste has its own unique style. This tile pattern was used in the clothing of the Qing Dynasty.
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