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Traditional Chinese visual design elements: their applicability in contemporary Chinese design (Master of Science in Design thesis). Arizona State University. Welch, Patricia Bjaaland (2012). Chinese art : a guide to motifs and visual imagery. Boston, US: Tuttle Publishing. ISBN 978-1-4629-0689-5. OCLC 893707208. Williams, Charles (2006).
Following the Mongol invasion, Chinese influences on the arts of Central Asia and Iran reached its peak during the Islamic period; it was a period when Chinese models and motifs influenced Persian designs and thus, the Chinese ways of depicting clouds, mountains, trees and facial features were imitated and adopted.
Auspicious symbols and motifs continue to be used in present-day China in industries, such as home textiles and clothing; they are also used in modern design packaging and interior design. [5] Some of these Chinese auspicious ornaments were also adopted by European countries during the era of Chinoiserie, where they became decorative patterns ...
The most common motif is the taotie, which shows a mythological being presented frontally as though squashed onto a horizontal plane to form a symmetrical design. The early significance of taotie is not clear, but myths about it existed around the late Zhou dynasty .
Chinese motifs grew popular in European fashion during this period. [39]: 239 China and the Chinese people also supplied the materials and aesthetics to American fashion. [38] Original Chinese fashion also influenced various designs and styles of deshabille. [40]
The meander is a fundamental design motif in regions far from a Hellenic orbit: labyrinthine meanders ("thunder" pattern [3]) appear in bands and as infill on Shang bronzes (c. 1600 BC – c. 1045 BC), and many traditional buildings in and around China still bear geometric designs almost
The yunjian also started to be worn by the Non-Chinese, the Tartars of northern China and Manchuria in the later medieval period. [4] The yunjian motif was also used in Chinese ceramic work around the necks of vases and jars; [4] mainly in the ceramics of the Yuan, Ming, and Qing dynasty period. [5] It was used to decorate blue and white ...
The decorative patterns and visual motifs used by the Manchu rulers were adopted from the Han Chinese's adornment designs, decorations, and symbols rooted in Taoism and Buddhism; they were then adapted into new set of designs. [15] [2] [7] Lishui was thus added to on the bottom hem and/or on the sleeves of the court robes. Lishui found on the ...
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