The Characteristics of Chinese Traditional Auspicious Patterns in Design

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The Characteristics of Chinese Traditional Auspicious Patterns in Design

Sun Jing^1*, Arabaiyah Ab Aziz¹

1 Art & Design, Universiti Teknologi Mara (UITM), Kuala Lumpur, Malaysia

*Corresponding Author: [email protected] Accepted: 15 March 2023 | Published: 31 March 2023

DOI:https://doi.org/10.55057/ajress.2023.5.1.13

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Abstract: This study identifies the design characteristics of traditional Chinese auspicious motifs. It studies frequently used auspicious patterns in Chinese daily life, mainly after the Yuan Dynasty, i.e., those with multiple element combinations and with symbolic meanings.

Qualitative research, purposive sampling, and descriptive statistics were used to complete the analysis of about 50 auspicious motifs. According to the basic steps of the design, the characteristics of the auspicious patterns are summarized by their innovative, formal, and color features, respectively. It is concluded that the standard creation methods for designing auspicious patterns are the symbolic method, harmonic method, and schematic method. The common forms are full versions, balanced and symmetrical compositions, suitable and separate patterns, and more number and variety of elements, mainly figurative and complete, so the patterns are very complex. The color is rich and bright colors. The study of the characteristics of auspicious pattern design expands the scope of their study and deepens their comprehensive understanding. It also provides some reference values in the field of auspicious pattern design.

Keywords: Chinese traditional, auspicious patterns, design, creation, form, color, characteristics

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1. Introduction

In terms of design, the method of creating auspicious patterns is the guiding idea of its design.

The form of the pattern is it shows the appearance form. The color is then the final visual effect of the design of the complete pattern. This paper examines these three aspects. The study of the trait aspect of the creation is carried out by qualitative analysis based on previous studies and pattern analysis and is the result of our ancestors' wisdom. In this paper, we study the characteristics of creation from two aspects. One is the creation method, and the other is the creation form. There needs to be more research on the form and color characteristics of auspicious patterns. This study concludes by analyzing five groups of auspicious patterns. In this paper, 46 auspicious motifs were purposefully selected, and the study results were obtained through descriptive statistics after qualitative analysis. This study was conducted in five groups according to different themes. The first group has four auspicious patterns with the same name, 16 in total, and the second group: has two auspicious patterns with the same kind of content, 10 in total. The third group: 2 kinds of similar auspicious patterns, a total of 10. The fourth group is auspicious patterns with different content and categories, 10 in total. These four groups are mainly for the analysis of pattern form characteristics. The fifth group: 10 colored

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auspicious patterns, is to choose ten colored patterns from the previous four groups for the analysis of color characteristics. Each group chooses an auspicious representative pattern.

2. Literature Review

Most of the studies on the characteristics of traditional Chinese auspicious motifs are based on the development of their origin, classification, and creation. Some do not state it directly but only mention the specific creation methods when describing the patterns. The main reason is that it is easier to understand the meaning of these auspicious patterns by explaining the creation methods.

In the book "Chinese Traditional Auspicious Patterns and Modern Visual Communication Design" by Wang Li Zhi in 2010, the historical source content, development, classification characteristics, and internal and external characteristics of auspicious patterns are written. In

"Chapter 3: The Classification of Auspicious Patterns", in "Section 3: Depiction of Objects and Artistic Characteristics", he writes a section on expression techniques and summarizes them into three categories: one is the harmonic method: this is the most common expression technique, through the harmonization of This is the most common method of expression, through the harmonization of words, to get another very different meaning. The second type of time and space jump method: refers to the time and space not in the usual order of nature to organize the structure but according to the pattern's needs. Time and space are not together in the combination of objects in a picture. Three types of symbolic and allegorical methods: This technique symbolizes the natural properties of objects. For example, cranes and turtles have a long life span and usually indicate longevity. These are also the methods of creating auspicious patterns. The auspicious motifs described in Yuan Quan's book "Chinese Traditional Auspicious Motifs - Ru Yi Painting" are simple descriptions of their creative methods. In the overview section of Wang Hailian's book "The Complete Knowledge of Chinese Traditional Auspicious Patterns," the third section of the law of composition of auspicious patterns talks about harmonics, symbols, and words, and words refer to patterns composed by using words.

In 2010, Qi Jie's master's thesis at Wuhan University of Technology, "The characteristics of Chinese traditional auspicious patterns on the inspiration of modern graphic design creativity,"

is written that "harmonic symbolism is one of the most common expressions characteristics of Chinese traditional auspicious patterns." The harmonic allegory here refers to the harmonic method and the symbolic and allegorical method in the creation method.

Although there are more studies on the creation method, there are few studies from the two perspectives of form and color characteristics. The part of Wang Li Zhi's book just mentioned also wrote some principles about the modeling of auspicious patterns, which also can be said to be its formal characteristics, in the p21 book written: "The modeling principles of traditional Chinese auspicious patterns represent the aesthetic tendency of the Chinese nation, that is,

"seeking large, seeking complete, seeking life, seeking beautiful." Seeking for big and complete is the requirement of modeling complete... seek live and seek beauty, it should be said that life is a vitality, is eternal life" means that the auspicious pattern modeling characteristics are in line with the traditional Chinese aesthetic principles, pattern modeling complete, realistic with vitality. However, the content is small; the analysis needs to be more comprehensive. In 2010, Qi Jie, in the Wuhan University of Technology master's thesis "The characteristics of Chinese traditional auspicious patterns to the inspiration of modern graphic design creativity," wrote about auspicious patterns of artistic characteristics, external characteristics, and development characteristics. The research direction is different from that of this paper. Still, regarding the expression form of the patterns she wrote, she mentioned that

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"most of the traditional Chinese auspicious patterns are mainly realistic." This view is consistent with the research in this paper. There needs to be more research on the color characteristics of auspicious patterns, possibly because there are few colored patterns.

3. Characteristics of auspicious pattern creation

3.1 Research method

The study used the Qualitative research method to research characteristics of auspicious patterns, mainly from the creation method and the form of creation, that is, the combination method. Regarding the creation method, some creation methods are mainly learned from some literature, summarized, and illustrated by analyzing the patterns. The creation form is mainly summarized by purposefully extracting auspicious patterns of different combination styles and analyzing them.

3.2 Creation methods of auspicious patterns

Table 1: Auspicious patterns used in the creation method Name Sui Sui Ping

An

Sui Han San You

Yuan Yang Xi Shui

Song He Yan Nian

Si Ji Ping An

NO. 3.2-1 3.2-5 3.2-2 3.2-3 3.2-4

Pattern

Source Yuan, Q. (2021)Chinese traditional auspicious patterns •

Ruyi painting. P36\P148

Wang. L.Z. (2010) Chinese traditional auspicious pattern and

modern visual communication design.P59\P38

Wang. L .H. (2015) Complete collection of

Chinese traditional auspicious pattern knowledge. P220

Name Fu Shou Huan Tian Xi

Di

Qun Xian Gong Shou

Fu Gui You Yu

NO. 3.2-6 3.2-7 3.3-1 3.3-2 3.3-3

Pattern

Source Baidu website Wang. L .H.(2015)Complete

collection of Chinese traditional auspicious pattern knowledge.

P101\P180

Yuan, Q. (2021) Chinese traditional auspicious patterns •

Ruyi painting.P138

The creation methods mentioned in the above literature are summarized as the harmonic method, the symbolic and allegorical method, the time-jump method, and the literal method.

Harmonics method: It refers to words with similar or identical pronunciation. The pattern is made up by using identical or similar words or objects to borrow from each other to communicate the characteristics' meaning. For example, in Sui Sui Ping An 3.2-1, "Mai Sui"(the wheat ears) in the "Sui" and "Sui"(year) pronunciation is the same, so the wheat ears are graphics instead of the year. Hence, it means "healthy and safety" every year.

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Symbolic and allegorical method: Using specific images to express similar abstract concepts, the realization of symbols mainly relies on association and metaphor. Many things have similar morphological characteristics, and by using this association, we can express the exact meaning of things that initially had different meanings. For example, Yuan Yang Xi Shui( the mandarin ducks are playing in the water) 3.2-2. In nature, the mandarin ducks and the male ducks keep each other together, similar to the earthly husband and wife. Yuan Yang Xi Shui symbolizes beautiful marriage and love. Another example, Song He Yan Nian 3.2-3, is that the pine tree has a long life because it is green in all seasons and has a strong vitality, so it is not easy to die under challenging circumstances, and it has a long life. The crane has a long life in the animal kingdom, symbolizing longevity. Therefore, pine and crane mean longevity and health.

The empty jump method refers to the combination of objects not together in time and space according to the pattern's needs. For example, the Four Seasons of Peace 3.2-4 combines flowers representing the four seasons. Peony represents spring. The lotus represents summer.

The chrysanthemum represents autumn, and the plum represents winter, called the four seasons flowers. The flowers of the four seasons symbolize the four seasons, so the pattern also belongs to the symbolic method of creation. Another example: Sui Han San You(Three best friends) 3.2-5, as shown in the picture: it feels like a tree with pine trees, plum blossoms, and bamboo.

They should appear in different spaces. Because Pine trees, Plum blossoms, and Bamboo all grow in the cold winter, they all represent the gentleman since ancient times. Sui Han San You signify a gentleman's friendship. Overall, the patterns created with the time-space jumping method, although the graphics are contradictory in time and space, they are all created according to the allegorical meaning of the graphics. Therefore, the space-time jumping method is integrated into the symbolic and allegorical methods, and the symbolic method is shortened to the symbolic method.

The word method is adjusted to the ideographic method because the purpose of the word is to express its meaning, and the pattern is also, so it is more accurate to call the ideographic method. Ideographic method: It refers to the direct use of words to express their meaning.

However, the text in the pattern is no longer just a description of the word, but an artistically processed word, a graphic representation of the word. The most varied character patterns are none other than the characters Fu（Happiness and good luck） 3.2-6 and Shou（life， longevity） 3.2-7.

3.3 The creation form of auspicious patterns

The appearance of the auspicious pattern can be divided into three creation forms: the first: is the combination of several graphics, such as the pattern of Yuan Yang Xi Shui 3.2-2. The pattern combines mandarin ducks, flowers, leaves, and water elements. The second kind is the combination of words, such as the figure: cheerful heaven and happy earth 3.3-1, by the four words cheerful, heaven, happy and earth combined with a circular outline, the word deformation combined into a whole pattern. The third kind is the combination of figure and word pattern, such as the figure: a group of immortals arching longevity 3.3-2, is the use of the shape of the word longevity, fill it with some graphic scenes, combined into an auspicious pattern. For example, 3.3-3 adopts the form of fish, and "fish" is pronounced the same as

"surplus" in China. Both characters are pronounced as “Yu," so use the figure of fish instead of the character "surplus" combined with the three characters "Fu, Gui, You" are combined to form the auspicious pattern of "Fu Gui You Yu." .it means tremendous wealth and prosperity.

This pattern is also a combination of figure and word patterns.

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4. Auspicious pattern form characteristics

4.1 Research Methods

This question was studied using a qualitative research method, purposive sampling, and descriptive statistical analysis. The preliminary study was conducted on 46 auspicious motifs, divided into four groups. The first group has four auspicious patterns with the same name, 16 in total, and the second group: has two auspicious patterns with the same kind of content, 10 in total. The third group:2 kinds of similar auspicious patterns, a total of 10. The fourth group:

auspicious patterns with different content and different categories, 10 in total. The formal characteristics of each auspicious pattern were summarized by analyzing its layout, composition, classification, and elements. This study is divided into three steps. The first step:

is the analysis of auspicious patterns, which refers to the individual analysis of the four groups of 46 auspicious patterns in total. The first step: is the analysis of auspicious patterns, which refers to the analysis of 46 auspicious patterns in four groups, mainly from the aspects of overall form, pattern type, layout, composition, and elements, where the elements are analyzed in terms of their types, quantity, and characteristics (abstract, figurative, whole, partial). The second step: is the analysis of each group. The analysis data of each group of auspicious patterns are summarized in the table, the overall analysis of their proportion and the corresponding analysis conclusions. Step 3: The analysis of the four groups is summarized, and the formal characteristics of the auspicious patterns are finally summarized according to the formal characteristics summarized by these four groups.

4.2 Pattern Analysis 4.2.1 Research objects

The research purposefully selected 46 auspicious patterns as research objects, divided into four groups to show in the table.

Table 2: Auspicious patterns of the same name in Group 1

Name\NO. 3.2-2 4.21-1 4.21-2 4.21-3

Yuan Yang Xi Shui

Source

Wang, L. Z. (2010) Chinese traditional auspicious pattern and modern visual

communication design. P76

Liu, Q. L. (2013) Chinese auspicious combination atlas. P256

Baidu website

Name\NO. 3.2-3 4.21-4 4.21-5 4.21-6

Song He Yan Nian

Source Wang, L. Z.(2010) Chinese traditional auspicious pattern and modern visual communication design.P38

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Name\NO. 4.21-7 4.21-8 4.21-9 4.21-10

Fu Shou Shuang Quan

Source Yuan, Q. (2021) Chinese traditional auspicious patterns • Ruyi painting. P184-P186

Name\NO. 4.21-10 4.21-11 4.21-12 4.21-13

Nian Nian You

Yu

source

Yi, R.,& Yi, K.(2010)Chinese traditional auspicious patterns and color matching.

P137\P151

Wang, L. Z. (2010) Chinese traditional auspicious pattern and modern visual

communication design.P32 Table 3: auspicious patterns of the same content in group 2

NO. 4.21-14 4.21-15 4.21-16 4.21-17 4.21-18

Holiday rich, abundant and surplus

Name Nian Nian You Yu

Zhao Cai Jin

Bao Ping An Ru Yi Nian Nian

Da Ji Fu Gui You Yu

Source

Yi, R.& Yi, K. (2010) Chinese traditional auspicious patterns and color matching.P151\P175

Wang, L. H. (2015) Complete collection

of Chinese traditional auspicious pattern

knowledge. P169

Yuan, Q. (2021) Chinese traditional auspicious patterns •

Ruyi painting.P140\P138

NO. 4.21-19 3.3-2 4.21-20 4.21-21 4.21-22

Celebration It means a

long and healthy life

Name Ma Gui Xian Shou

Qun Xian

Gong Shou Wu Fu Feng Shou Gui He Qi Ling

Chun Guan Chang Shou

Source

Wang, L. H. (2015) Complete collection of Chinese traditional

auspicious pattern knowledge.

P153\P180

Yuan, Q. (2021) Chinese traditional auspicious patterns • Ruyi painting.

P187 \ P223

Wang, L. Z. (2010) Chinese traditional

auspicious pattern and modern visual communication

design.P75

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Table 4: Auspicious patterns of the same category in group 3

Paper cuttings

NO 4.21-23 4.21-24 4.21-25 4.21-26 4.21-27

Pattern

Name Nian Nian You Yu

Song He Yan Nian

Xuan Yang

Xi Shui Qi Lin Song Zi Yu Yue Long Men

Source

Wang, L. Z.(2010) Chinese traditional auspicious pattern

and modern visual communication design.P32

P38

Liu, Q. L.

(2013) Chinese auspicious combination

atlas.P257

Wang, L. H. (2015) Complete collection of Chinese traditional

auspicious pattern knowledge.

P174 P134

New Year pictures

NO. 4.21-28 4.21-29 4.21-30 4.21-31 4.21-32

Pattern

Name Na Fu Ying Xiang

Ji Qing You Yu

Qi Lin Song Zi

Nian Nian You Yu

Lian Sheng Gui Zi

Source

Wang, L. H. (2015) Complete collection of Chinese traditional auspicious pattern

knowledge.P284 \P173

Yi, R. &Yi, K. (2010)Chinese traditional auspicious patterns and color

matching.P151\P161\P144

Table 5: Different contents and categories of auspicious patterns in group 4

NO. 4.21-33 4.21-34 4.21-35 4.21-36 3.3-3

Pattern

Name Xi Fu Shou Shuang

Quan

Qi Lin Song Zi

Sui Han Shan

You Fu Gui You Yu

Sort paper cuttings pattern New Year

pictures pattern paper cuttings Source

Yi, R., & Yi, K. (2010) Chinese traditional auspicious patterns and color matching.P118/

P151/P152

Yuan, Q. (2021) Chinese traditional auspicious patterns • Ruyi

painting.P148/P138

NO. 4.21-37 4.21-38 4.21-39 4.21-40 4.21-41

Pattern

Name Nian Nian You

Yu Nian Nian Da Ji Zhong Kui Yu Tiao Long Men

Guan Shang Jia Guan Sort paper cuttings pattern God of Door cloth marks embroidery

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Source

Wang, L. Z.

(2010) Chinese traditional auspicious pattern and modern visual communicatio

n design.P32

Yuan, Q. (2021) Chinese traditional auspicious patterns • Ruyi painting. P140

Wang, L. H. (2015)Complete collection of Chinese traditional auspicious pattern knowledge.P258/P134/P85

3.23 Pattern analysis data

Figure 1 Figure 2

The first step of this study is a detailed analysis of 46 auspicious patterns. The analysis is mainly in layout, classification, composition, and elements. The analysis of auspicious patterns, such as Figure 1, numbered 4.21-9, belongs to the first group. Such as Figure 2, numbered:

4.21-15, analysis of auspicious patterns, belongs to the second group, and Figure 3, numbered:

4.21-28, analysis of auspicious patterns, belongs to the third group. Figure 4 numbered: 4.21- 35, analysis of auspicious patterns, belongs to the fourth group, as shown in Figure 2. The pattern form can be seen from the pattern as a separate pattern-balanced composition, and the layout occupies the entire picture, belonging to the full version. The main elements are children, carp, lotus, lotus, four kinds, including two children, a lotus and lotus, a carp, a total of five elements, and the elements are figurative and have complete graphics. The pattern analysis is summarized in the bottom category of pattern classification: separate patterns, composition:

balanced, layout: full version, elements: figurative complete (5) partial, abstract (0) the total number of elements (5) types of elements (4). Figure 2, Figure 3, Figure 4, and other patterns are similar analyses, so we will not repeat them here. The specific analysis of all 46 patterns can be found in the link: https://drive.google.com/drive/folders/16AccwURsnFrCeDi8uA- hBKNMZjhlDlm9?usp=share_link.

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Table 6: The first group of data analysis Name Number Layout Classify Constructs

Element Figurative

complete

Part,

abstract Kind In total Yuan

Yang Xi Shui

3.2-2 full Fit pattern balance 6(86%) 1(14%) 5 7

4.21-3 full Single pattern balance 7(100%) 0 4 7

SongHe Yan Nian

3.2-3 full Fit pattern balance 4(100%) 0 3 4

4.21-6 full Single pattern spread 1(33%) 3(77%) 4 4

Fu Shou Shuang

Quan

4.21-7 full Fit pattern symmetric 9(100%) 0 3 9

4.21-8 Not full Single pattern balance 4(100%) 0 4 4 4.21-9 Not full Single pattern symmetric 7(100%) 0 4 7

4.21-10 full Fit pattern symmetric 8(100%) 0 3 8

Nian Nian You

Yu

4.21-14 full Single pattern balance 6(86%) 1(14%) 6 7 Proportion

analysis

full87.5%

Not full:

12.5%

Fit:56%

Single:44%

continuous:0%

Balance:75.3%

Symmetric:

18.7%

Spread:6%

91% 9% More

than three 75%

More than three 94%

form characteristic

It is almost always full

To fit the pattern and

separate patterns mainly

Mainly balanced, a few symmetric

•figurative and complete element

•Almost always more than three element

•The elements are more complex

Table 6 summarizes the specific analysis of the 16 auspicious patterns in the first group. The overall analysis is that the full version accounts for 87.5% of the layout, and the unsatisfactory version accounts for 12.5%. It concluded that this group's layout is mainly a full version. In the pattern classification, a single pattern accounted for 44%. A suitable pattern accounted for 56%, and no continuous pattern. This group mainly consisted of suitable patterns and single patterns.

Balanced composition accounts for 75.3%, symmetrical composition accounts for 18.7%, and expansive composition accounts for 6%. This group mainly consists of a balanced composition, a small part of the symmetrical composition, and almost no others. In terms of elements, concretely complete elements account for 91%, abstract and local elements account for 9%, more than three types of elements account for 75%, and more than three elements account for 94%. Therefore, this group of elements' characteristics is as follows: 1. Concrete and complete elements; 2. The type and quantity of elements are generally more than three; 3. The elements are complicated. In this way, the form characteristics of this group are mainly full plate, and the composition is mainly balanced and symmetrical. The patterns are mainly suitable and different patterns, the types and quantities of elements are relatively large, and the patterns are complex. Furthermore, the elements are mainly complete figurative graphics.

Table 7: The second group of data analysis Number Layout Classify Constructs

complete

Part,

abstract Kind In total

4.21-17 Not full Single pattern balance 3(100%) 0 3 3

4.21-19 full Fit pattern symmetric 0 4(100%) 2 4

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4.21-22 full Fit pattern spread 2(66.6%) 1(33.3%) 3 3

3.3-2 full Fit pattern spread 16(88.8%) 2(11.2%) 7 18

4.21-21 Not full Fit pattern symmetric 6(100%) 0 2 6

Proportion analysis

Full:70%

Not full:30%

Fit: 50%，

Single:50%

continuous:0%

Balance:

60%

Symmetric:

20%

Spread:20%

85.5% 14.5%

More than three 40%

More than three 70%

Form characteristic

To fit the pattern and single patterns

mainly

Mainly in balance structure, a

little symmetry, and spread.

• figurative and complete element

As shown in the table, in this group of patterns, 70% of the layout is a full plate, mainly a full plate. In pattern classification, both suitable and single patterns accounted for 50% .mainly suitable and single patterns. Balanced composition accounts for 60%, and symmetric and expansion forms account for 20% each, which is mainly balanced. In terms of elements, the figurative elements account for 85%. Although the types of elements are more than three and account for 40%, the number of elements is more than three accounts for 70%, indicating that there are still many elements and the patterns are still complicated. The overall characteristics of this group are as follows: there are more full plates on the pattern layout, the pattern classification is mainly suitable patterns and individual patterns, the pattern composition is mainly balanced, with a small quantity of symmetry and expansion, the number of elements is more than 3, and the elements are almost concrete and complete complex graphics.

Table 8: The third group of data analysis Number Layout Classify Constructs

complete

Part,

4.21-26 full Fit pattern balance 7(87.5%) 1(12.5%) 5 8

4.21-28 full Single pattern balance 5(83.3%) 1(16.7%) 6 6

Full:60

% Not full:40%

Fit: 20%，

Single:80%

continuous:

0%

Balance:

100%

Symmetric:

0%

Spread:0%

97% 3% More than

three 70%

More than three 90%

It's almost always full

Mainly individual patterns and a

little fit pattern

all balanced composition

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This group of patterns could see from the analysis of the formal characteristics of similar auspicious patterns shown in the above chart. The format of the full version accounts for 60%.

This group is still a full version, mainly. Suitable patterns accounted for 20%, and separate patterns accounted for 80%. This group has more single paintings; Balanced composition is 100%, and all balanced composition. The complete representational elements account for 97%, which shows that this group is complete representational graphics. More than three elements account for 70%. More than three elements account for 90%, indicating that there are more elements in this group of patterns, and the overall pattern is relatively complex.

Table 9: The fourth set of data analysis Number Layout Classify Constructs

complete

Part,

4.21-34 full Single pattern symmetric 4(100%) 0 3 4

4.21-37 full Single pattern balance 1(33.3%) 2(66.7%) 3 3

4.21-38 full Single pattern balance 4(80%) 1(20%) 5 5

4.21-35 full Single pattern symmetric 4(100%) 0 3 4

4.21-41 full Fit pattern symmetric 3(60%) 2(40%) 5 5

4.21-42 full Fit pattern spread 8(80%) 2(20%) 6 10

Full:80%

Not full:20%

Fit: 20%，

Single:80%

continuous:0%

Balance:60%

Symmetric:30%

Spread:10%

85.3% 14.7%

More than three 40%

More than three 70%

Mainly individual patterns and a little fit pattern

Mainly for equilibrium and

symmetry

Through the analysis of the fourth group of 10 auspicious patterns of different types and contents, we can learn from the above table that the whole plate of the layout accounts for 80%, the single pattern accounts for 80%, the balance of composition accounts for 60%, and the symmetry accounts for 30%. In terms of elements, the group of complete concrete elements accounts for 85.3%, the abstract local elements account for 14.7%, and more than three types of elements account for 40%. More than three elements account for 70%. Thus, the form characteristics of this group of auspicious patterns can be summarized as follows: The pattern is full plate, mainly single pattern and a small amount of suitable pattern, mainly balanced and symmetrical composition, mainly with more than three elements, and almost all elements are concrete and complete, graphic elements are also relatively complex.

3.3 Summary

Table 10: Formal characteristics analysis

Group Layout Classify Constructs Element characteristics

Group1 It is almost always full

To fit the pattern and single patterns mainly

Mainly balanced, a few symmetric

•The elements are more complex Group2 It is almost

always full

To fit the pattern and

Mainly in balance structure, a little

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single patterns mainly

symmetry, and Spread.

Group3 It is almost always full

all balanced composition

•The elements are more complex Group4 It is almost

always full

Mainly for equilibrium and symmetry

•The elements are more complex Summarize It is almost

always full

Mainly for equilibrium and symmetry

The above is the data analysis table of 4 groups of form characteristics. According to the display of these tables, the form characteristics of auspicious patterns had as follows: 1. The full version dominates the layout; 2; the pattern is mainly suitable for and separate pattern; 3. Composition is mainly based on balanced composition but often adopts symmetrical composition; 4. The types and quantities of constituent elements in the pattern of elements are generally more than 3. Most elements are figurative and complete, and the form is relatively complex.

4. Auspicious Pattern Color Characteristics

4.1 Research technique

This study still uses targeted sampling, descriptive analysis, and qualitative analysis. Select ten kinds of colorful auspicious patterns from the previous four groups to form the fifth group;

According to its color quantity, primary color, color brightness, purity, and saturation analysis, sum up the auspicious pattern color characteristics. The specific research needs two steps. The first step is the specific analysis of the pattern color. The ten color patterns are analyzed from color type, quantity, primary color, color brightness, and purity; The second step is the summary analysis of 10 patterns. Through the analysis of their data, the color characteristics are summarized.

4.2 Research object

The fifth group is the ten commonly used colorful auspicious patterns selected from the first four groups, as shown in the table below.

Table 11 : Colorful auspicious patterns in group 5

NO. 4.21-11 4.21-17 4.21-30 4.21-16 3.3-2

Pattern

Name Nian Nian You Yu Ping An Ru Yi

Qi Lin Song

Zi Zhao Cai Jin Bao Qun Xian Gong Shou

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NO. 4.21-31 4.21-40 4.21-20 4.21-29 4.21-33

Pattern

Name Ji Qing You Yu Zhong Kui Ma Gu Xian

Shou Na Fu Ying Xiang Lian Sheng Gui Zi

4.3 Color Analysis

The color analysis of auspicious patterns, from the color used in the pattern, the number, the primary color, and color brightness, purity, and contrast to analyze. The color's brightness, purity, and contrast are divided into high, medium, and low levels. As shown in Figure 5,

"Risen Guizi 4.21-33", the colors used are marked to describe the shades of color, which are used to determine the lightness and purity of the colors. The colors used in the figure are red, blue, yellow, pink, green, and brown, a total of six colors. The primary colors are yellow and blue. Bright colors indicate high purity, and yellow and blue pairs are robust, with higher contrast. Although several light and dark colors are used on the color, the area occupied is not large, and the central color brightness is moderate. So the overall brightness is medium. In order to facilitate the second step of the summary, the following part of the chart is a simple classification of general, such as The total number of colors: 6， primary colors: yellow and blue, medium brightness, high purity, and high contrast of these elements. Figure 6 Zhao Cai Jing Bao's auspicious pattern, numbers 4.21-16, is also so analyzed. The central part of the display of the detailed analysis of the pattern color using purple, red, yellow, blue, green, orange, and pink. Most bright colors indicate that the saturation is also very high, that is, high purity. The following part marked the pattern color information, color for 7, the primary colors are red and yellow but also Contrast relatively high color, moderate brightness, high purity of these color information. The rest of the patterns are similarly analyzed, so I will not repeat the description. For the complete detailed analysis, please check the link:

https://drive.google.com/drive/folders/17aKNP91VaLDXL3dLmPDRey5TKU_yOwCM?usp

=share_link.

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Table 12: Color data analysis

NO Color Essential

color Total Lightness Purity Contrast 3.3-2 Red, blue, yellow, orange,

green Blue, yellow 5 medium high high

4.21-11 Red, blue, yellow, pink,

green Red, blue 5 medium high high

4.21-16 Red, blue, yellow, orange,

green, pink, purple Red, yellow 7 medium high high 4.21-17 Red, blue, yellow, orange,

green, brown

Red, yellow,

green 5 medium high high

4.21-20 Red, blue, yellow, orange,

green, pink, purple Red, yellow 7 medium high high 4.21-29 Red, blue, yellow, orange,

green Red 5 high mediu

m medium

green Red, green 5 medium high high

4.21-31 Red, blue, yellow, orange, purple

Red, blue,

yellow 5 medium high high

green, brown Blue, yellow 6 medium high high

4.21-40 Red, blue, yellow, green Red, yellow 4 medium high high

Red, blue, yellow 100%

green9 0% orange 50%

pink 50%, purple 30%

brown 20%

Red 90%, Yellow 70%

Blue 40%

Green 20%

More than 3 colors 100%

Medium 90%

high10%

high90

% Mediu

m 10%

high90%

Medium 10%

Summarize

Commonly used red, yellow, blue, green, orange, pink several colors

Red and yellow are the most common, usually no more than 3.

All are more than four

colors.

Moderate brightness

High purity

High contrast

The above table is the data analysis of auspicious pattern colors. It can be seen that the six colors of red, yellow, blue, green, orange, and pink are the colors commonly used in auspicious patterns. The pattern is often red and yellow as the primary color, and the main color is usually no more than three, but the pattern color is more, generally more than four. They are not only rich in color, and bright, moderate brightness, purity, and contrast are high.

4. Summary

This paper analyzes explicitly about 50 auspicious patterns and summarizes their design characteristics from three aspects: design creation, form, and color of auspicious patterns.

Regarding pattern design creation, their standard creation methods are harmonic, symbolic, and literary methods. The primary forms of creation are the combination of graphics, the combination of words, and the combination of words and graphics. From the form of a pattern, its characteristics are 1, commonly used in the form of full-page typography. 2, pattern form is generally individual pattern and suitable pattern; 3, balanced and symmetrical composition is the main. 4, the type and number of elements are generally more than 3, the number of more.

5, element form is generally figurative complete, pattern complex. The characteristics of the pattern color also summarize 3 points 1, they are usually more than four kinds of color, colorful.

Often use, red, yellow, blue, green, orange, and pink are six colors. 2, their primary colors will not exceed three, the most common for red and yellow. 3, they are high color purity and contrast and moderate color brightness, so the color is bright and vivid through the study to understand the design characteristics of auspicious patterns, in-depth understanding of the design

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connotation of auspicious patterns, to facilitate their design applications. It also expands the research scope of auspicious patterns and provides a reference value for continued research in the future.

References

Liu, Q. L., & Liu. J. (2013) Chinese Auspicious Pattern Combination Atlas. Bai Hua Literature and Art Publishing House.

Qi, J. (2010). The traditional Chinese auspicious patterns the features of modern ichnography design originality enlightenment. The Wuhan University of Technology.

Wang, L. Z. (2010). Chinese Traditional Auspicious Pattern and Modern Visual Communication Design. Shenyang. Publishing House.

Wang, H. L. (2015). Complete Collection of Knowledge of Chinese Traditional Auspicious Patterns. China Meteorological Press.

Yi, R., & Yi, K. (2010). Chinese Traditional Auspicious Patterns and Color Matching. Dalian University of Technology Press,

Yuan, Q. (2021). Chinese Traditional Auspicious Patterns • Ruyi painting. Zhejiang Ancient Books Publishing House.