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不良笑花

‘Let traditional Chinese patterns shine with new splendor,’ says Chang Shana, former president of the Central Academy of Arts and Design_我的网站

媳妇的美好时代

A | 조현 외교부 장관은 오늘(26일) 일본 의원들을 만나 과거사 문제 진전을 위한 일본 의회 차원의 관심과 역할을 당부했습니다. 조 장관은 오늘 서울 외교부 청사에서 일본 의원단을 접견하며 “과거사 문제를 비롯한 여러 가지 어려운 문제를 양국의 정치 지도자들이 한 단계 더 나아가야 한다”고 말했습니다. 또한 “한일 관계는 양국 정부에만 맡길 수 없다”며 “양국의 지도자들은 물론이고 또 NGO를 비롯한 학계 여러 인사들 간의 교류도 매우 중요하다”고 강조했습니다. 아울러 조 장관은 이재명 정부 출범 이후 셔틀외교가 완전히 복원되고 정상 간 신뢰를 바탕으로 활발한 교류가 이어지고 있다고 평가했습니다. 이어 엄중한 국제정세 속에서 한일 양국의 긴밀한 협력이 더욱 중요해지고 있다면서, 동북아 지역의 평화와 안정을 위해서도 한일 양국이 더욱 협력해 나가기를 바란다고 말했습니다. 나가시마 아키히사 일한의원연맹 간사장은 모두발언에서 “지금 일본과 한국을 둘러싼 전략 환경이 전쟁 후에 제일 어려운 시절이라고 생각한다”며 “특히 중국과 일본과의 관계가 점점 어려워지고 있다”고 평가했습니다. 이어 “한반도, 특히 북한과의 관계와 트럼프 대통령의 정책적인 변화 때문에 매일 충격을 받는 일이 많았다”면서 “특히 안보, 외교, 에너지, 과학 기술 분야에서 일본과 한국의 관계가 지금보다 중요한 시절은 없었다”고 강조했습니다. 아울러 나가시마 간사장은 한일 양 정상 간 신뢰를 기반으로 한일관계가 안정적으로 발전하고 있다고 평가하고, 현재의 국제정세에서 한일 간 다양한 분야의 협력 심화를 위한 의회 차원의 노력을 적극 경주해 나가겠다고 했습니다.■ 제보하기▷ 전화 : 02-781-1234, 4444▷ 이메일 : [email protected]▷ 카카오톡 : 'KBS제보' 검색, 채널 추가▷ 유튜브, 다음에서도 KBS뉴스를 구독해주세요!。

Part of a Tang Dynasty (618-907) interlocking floral scroll with phoenix motifs in the Mogao GrottoesI have spent my whole life working with decorative patterns. A decorative pattern is a language, with its own grammar, rhythm and emotional expression. It is both decorative and symbolic, and it carries the aesthetic spirit of a nation and the cultural atmosphere of its times.
As an important part of Dunhuang art, decorative patterns are the carriers with the most rigorous compositional principles and the richest cultural spirit.
In the Dunhuang caves of Northwest China, there are numerous floral, cloud, flame, animal, and other decorative patterns. These patterns come from different periods and are found on and in structures and forms such as caisson ceilings, canopies, halos, costumes, border decorations and floor tiles, blending with statues, murals and architectural space.
Such patterns not only organically and harmoniously enriched and decorated murals, painted sculptures and entire caves, making them more splendid and perfect, but also developed their own period styles and characteristics, vividly recording the formation, change and development of Chinese decorative art and reflecting the social culture and customs of different times.
From the Sixteen Kingdoms (304-439) period through the Sui (581-618) and Tang (618-907) dynasties and beyond, Dunhuang cave mural art continued to evolve in both content and form with the changing times, and decorative patterns changed accordingly. From the three-petal leaf and honeysuckle patterns of the Northern Wei (386-534) to the scrolling-grass, baoxiang flower and linked-pearl patterns of the Sui and Tang and the medallion floral patterns dominated by mineral green in the Western Xia (1038-1227), Song (960-1279) and Yuan (1279-1368) periods, the pattern forms and color systems of different eras together form the historical lineage of Dunhuang decorative patterns, and also reflect the continuity and creativity of Chinese art.
A Han Dynasty (206BC-AD220) tile?end with mountain?cloud patterns Photo: VCG

A Han Dynasty (206BC-AD220) tile-end with mountain-cloud patterns Photo: VCGIn my decades of design teaching and practice, I have always stressed the concept of "source and flow." The "source" is tradition, the unceasing cultural vein of national art; the "flow" is application, the innovation and development of art and design that meet the needs of contemporary life. I have learned firsthand that only by taking root in the source of fine traditional Chinese culture can the "flow" of art have vitality and creativity.
I once led students in forming a research group on "Chinese Decorative Patterns of Dunhuang Through the Ages," systematically collecting, organizing, classifying and copying the decorative patterns on Dunhuang murals and painted sculptures, including the motifs. Through this sorting and copying, we conducted in-depth research and gained a full understanding of the historical culture, artistic features and decorative effects of each type of Dunhuang pattern, and clarified the causes, characteristics and historical evolution of each type. This is the "source" for contemporary design application.
Traditional patterns are an important source of inspiration for my designs. In design, on the one hand, the original appearance of traditional patterns should be preserved to a certain extent; on the other hand, they should be summarized, simplified, extended or enriched to make them more modern.
The ceiling pattern of the banquet hall of the Great Hall of the People was inspired by Tang Dynasty caisson patterns from Dunhuang. With a lotus as the center of the ceiling, and in line with the functional needs of the architectural structure, lighting and ventilation, it combines Dunhuang floral patterns with modern functions to create a spatial decoration with a distinctive national style. This design remains regarded as a model of the contemporary expression of traditional patterns.
I was invited to serve as artistic consultant for the creative program "Nian Jin" (Auspicious Brocade) at China Media Group's 2024 Spring Festival Gala for the Year of the Dragon. Through natural patterns such as mountains and clouds of the Han Dynasty (206BC-AD220), bird and animal patterns such as flying phoenixes and auspicious lions of the Tang Dynasty, floral patterns such as peonies and laurels of the Song Dynasty, and auspicious patterns such as gourds and lanterns of the Ming Dynasty (1368-1644), we enabled the audience to appreciate the aesthetic tastes passed down by the Chinese people over thousands of years and the breadth and depth of fine traditional Chinese culture.
In contemporary society, as standardized, mass-produced industrial products have become dominant, people hope to find forms that reflect their own national cultural language and are distinctive, warm and pleasing. Traditional patterns can make people feel the depth of history and emotional warmth, and can further embody the cultural character of their nation through modern design.
The study and innovation of decorative patterns is a highly practical part of inheriting and promoting fine traditional Chinese culture. It concerns not only vision and beauty, but also cultural attitudes and identity. These patterns are not just a form of heritage found on murals or on other cultural relics; they can enter our daily lives and become cultural symbols in fabrics, utensils, spaces and even digital interfaces.
I believe that more and more later generations engaged in art and design will, on the basis of promoting fine traditional Chinese culture and adapting to people's current needs for culture, art and a better life, take innovative steps to create a new style of modern design art with Chinese characteristics - one that is national, scientific and popular, so that traditional Chinese decorative patterns can constantly generate new vitality and shine with new splendor.
The author is former president of the Central Academy of Arts and Design. This was compiled and translated by the Global Times English edition based on an article published by the People's Daily Overseas Edition on August 20.
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