Dissertation by Qing He

The influence of the symbolism of Chinese traditional patterns in contemporary Chinese pattern design for design industry

Qing He 200741088

This dissertation is submitted in partial fulfilment of the requirements for the degree of Bachelor of Arts in BA Textile Design The School of Design University of Leeds

2016/3/17

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7/13/16 Date:…………………… 2

Abstract The dissertation investigate the influence of symbolism of Chinese traditional pattern in contemporary Chinese pattern design; four chapters are included in the dissertation, write about the symbolism of the traditional pattern, colour theory, the application of the traditional pattern, and the in-depth investigation of the understanding of the symbolism of traditional pattern for contemporary Chinese design. Primary and secondary research are used to describe the points in each chapter; interviews are taken in chapter four, with people those whose occupations about design, to deeply investigate the influence of symbolism of Chinese traditional pattern in contemporary Chinese pattern design. The result of the investigation shows that the symbolism of Chinese traditional pattern is important for designers in contemporary Chinese pattern design, and the understanding of the symbolism of the traditional pattern is the precondition for design.

Contents ____________________________________________________________________________

Abstract List of figures

3 6

Introduction

Chapter one: Chinese Symbolism: a traditional culture displayed by pattern 1.1 The symbolism of Chinese traditional pattern

1.2 The symbolism of Chinese Buddhist pattern in Dunhuang: specification and difference

1.2.1 The symbolism of the Buddhist pattern in Tibetan Buddhism

Chapter two: Colour: an important part for design 2.1 Chinese traditional colour theory

2.1.1 Special Chinese traditional colours

2.2 The colour of Chinese Buddhist pattern in Dunhuang 2.2.1 The colours of Tibetan Buddhist patterns 2.3 Colour theory in contemporary Chinese pattern design

31 33 34

Chapter three: Application of Chinese traditional pattern: tradition, inheritance and innovation 3.1 The main Chinese traditional patterns used in ancient China

3.2 Chinese design industry: the combination of traditional and contemporary

3.3 Chinese traditional pattern in contemporary Chinese pattern design

3.3.1 The Buddhist patterns used in contemporary Chinese pattern design

3.4 The traditional pattern used by western designers â&#x20AC;&#x201C; the understanding of Chinese symbolism

Chapter four: Design case study: the interview to people those whose occupations about design 4.1 The knowledge about the traditional pattern and the symbolism

4.2 The difference between the traditional pattern and the contemporary pattern

4.3 The comment of the application of traditional pattern in contemporary design

4.4 The importance of the understanding of the symbolism of traditional pattern in contemporary design

Conclusion

Reference list

Appendices

Appendix A: Examples of specific Chinese traditional colours

Appendix B: The colour theory of the pattern in Tibetan Buddhism

Appendix C: Interview questions

Appendix D: Email interview with Akira Cheng

Appendix E: Email interview with Cindy Wang

Appendix F: Email interview with Eric

100

Appendix G: Email interview with Wei He

101

Appendix H: Email interview with Jie Wen

102

Appendix I: Email interview with Shulan Wu

103

Appendix J: Email interview with Zi Mai

104

Appendix K: Email interview with Qiaoli Wang

105

Appendix L: Email interview with Xuefeng Bai

106

Appendix M: Email interview with Yolanda

107

Appendix N: Email interview with Yuqin Cai

108

Appendix O: Email interview with Chuyue Zhang

109

Appendix P: Email interview with Shuhan Li

111

Appendix Q: Email interview with Dezhi Yang

112

List of figures

Chapter one FIGURE 1.1 .................................................................................................... 11 FIGURE 1.2 ..................................................................................................... 12 FIGURE 1.3 ..................................................................................................... 12 FIGURE 1.4 ..................................................................................................... 13 FIGURE 1.5 ..................................................................................................... 14 FIGURE 1.6 ..................................................................................................... 14 FIGURE 1.7 .................................................................................................... 14 FIGURE 1.8 .................................................................................................... 15 FIGURE 1.9 .................................................................................................... 16 FIGURE 1.10 ................................................................................................... 16 FIGURE 1.11 ................................................................................................... 17 FIGURE 1.12 .................................................................................................. 18 FIGURE 1.13 ................................................................................................... 19 FIGURE 1.14 .................................................................................................. 20 FIGURE 1.15 .................................................................................................. 20 FIGURE 1.16 ................................................................................................... 21 FIGURE 1.17 .................................................................................................. 22 FIGURE 1.18 ................................................................................................... 22 FIGURE 1.19 .................................................................................................. 23 FIGURE 1.20 ................................................................................................... 24 FIGURE 1.21 ................................................................................................... 24 FIGURE 1.22 ................................................................................................... 25 FIGURE 1.23 ................................................................................................... 25 FIGURE 1.24 ................................................................................................... 26 FIGURE 1.25 ................................................................................................... 26 FIGURE 1.26 ................................................................................................... 27 Chapter two FIGURE 2.1 ..................................................................................................... 30 FIGURE 2.2 ..................................................................................................... 32 FIGURE 2.3 .................................................................................................... 32 FIGURE 2.4 ..................................................................................................... 33 FIGURE 2.5 .................................................................................................... 35 FIGURE 2.6 ..................................................................................................... 35 FIGURE 2.7 .................................................................................................... 36 FIGURE 2.8 ..................................................................................................... 37 FIGURE 2.9 .................................................................................................... 37 Chapter three 6

FIGURE 3.1 ................................................................................................... 40 FIGURE 3.2 .................................................................................................... 42 FIGURE 3.3 ..................................................................................................... 42 FIGURE 3.4 .................................................................................................... 43 FIGURE 3.5 ..................................................................................................... 45 FIGURE 3.6 .................................................................................................... 45 FIGURE 3.7 ..................................................................................................... 46 FIGURE 3.8 .................................................................................................... 46 FIGURE 3.9 ..................................................................................................... 47 FIGURE 3.10 .................................................................................................. 47 FIGURE 3.11 ................................................................................................... 48 FIGURE 3.12 .................................................................................................. 48 FIGURE 3.13 ................................................................................................... 48 FIGURE 3.14 ................................................................................................... 49 FIGURE 3.15 ................................................................................................... 50 FIGURE 3.16 .................................................................................................. 51 FIGURE 3.17 ................................................................................................... 51 FIGURE 3.18 .................................................................................................. 52 FIGURE 3.19 ................................................................................................... 53 FIGURE 3.20 ................................................................................................... 53 FIGURE 3.21 ................................................................................................... 54 FIGURE 3.22 .................................................................................................. 55 Appendix A FIGURE 1 ........................................................................................................ 86 FIGURE 2 ....................................................................................................... 87 FIGURE 3 ........................................................................................................ 87 Appendix B FIGURE 1 ........................................................................................................ 88 FIGURE 2 ........................................................................................................ 89 FIGURE 3 ........................................................................................................ 89 FIGURE 4 ........................................................................................................ 90 FIGURE 5 ........................................................................................................ 90

Introduction To investigate whether the symbolism of the traditional pattern has influence in contemporary Chinese pattern design, both primary research and secondary research will be use in this dissertation. Chapter one is writing about the symbolism of Chinese traditional pattern and the connection and difference between the symbolism of Chinese traditional patterns and Chinese Buddhist patterns by gathering and analysing the knowledge from books and websites. Dunhuang is as an example for Chinese Buddhist patterns because of its representativeness and reputation. Besides, the symbolism of the Tibetan Buddhist patterns is as a specific example because it differs from Chinese Buddhist patterns. The chapter investigates the role of the symbolism in ancient China society to pave the way for further chapters. The existing knowledge about Chinese traditional colour theory and contemporary colour theory gathered in chapter two to discuss the difference and the connection between them to understand the development of the colour theory in Chinese pattern design. As the specific part in the traditional pattern, the difference of the colour theory of Chinese Buddhist patterns and Tibetan Buddhist patterns also listed in this chapter. In chapter three, the knowledge about the application of the traditional pattern is gathered and displayed through the ancient application and contemporary application. The inheritance and innovation of the traditional pattern noted in the section of the contemporary application to observe the influence of the traditional culture in contemporary Chinese pattern design. The examples of Chinese traditional patterns used by contemporary western designers write to compare with the application of the traditional pattern by Chinese designers to describe the impact of the understanding of the symbolism of the traditional pattern in contemporary Chinese design. Besides, the contemporary applications of Buddhist patterns also listed to show the role the symbolism. To in-depth investigate the influence of the symbolism of the traditional pattern in contemporary Chinese pattern design; the interview method used in chapter four. Fourteen Chinese people those whose occupations about design are interview

via email; the reason that selects this specific group is the topic investigates the symbolism of Chinese traditional pattern and contemporary Chinese design, which need deeper understanding and experience. Nine questions designed for the interview. The discussion of the answers of the interview divided into four parts, including the knowledge of the traditional pattern and the symbolism, the difference between traditional pattern and contemporary pattern, the comment of the application of traditional pattern in contemporary society, and the importance of the understanding of the symbolism of traditional pattern in contemporary design. The result of the analysis also noted in the chapter.

Chapter One Chinese Symbolism: a traditional culture displayed by pattern The symbolism used to describe a concept or an object, and the pattern is one carrier of symbolism. This chapter will write about the symbolism of Chinese traditional pattern and the symbolism of Buddhist pattern in both Chinese Buddhism and Tibetan Buddhism because this kind of pattern is a specific part of Chinese traditional pattern. It will write about the importance of the symbolism in China society.

1.1 The symbolism of Chinese traditional pattern Most of the traditional patterns were designed based on the symbolism and were used to express the expectation and faith of people because of their superstitious thought, as Valery states in A Collector’s Guide to Chinese Dress Accessories (1997) that “Symbolism was employed in three ways: to invoke good fortune; to outwit the evil forces ever present and to imply status. Very often combinations of these types were used together”. In addition, according to the usage ways of the symbolism, the design inspiration for the traditional patterns can be divided into five main types, including the habit of animals and plants, the living habit, the homophone and homonym, the Chinese words, the myths and stories. For instance, Mandarin duck, a kind of water bird, has a common application to describe affectionate couple because female duck and male duck always together. Mandarin duck pattern was embroidered on the quilt and pillow when people got married to represent happiness (Huang, no date).

Fig 1.1 mandarin duck (Huang, no date)

Another example of the connection of symbolism and habit of animals can be seen in the Chinese zodiac. According to the haunting time and the habit of animals, ancient Chinese people chose twelve animals to create Chinese zodiac, which includes rat, Ox, tiger, rabbit, dragon, snake, horse, goat, monkey, rooster, dog, pig (dtyxiong, 2008). Chinese zodiac corresponds to the twelve terrestrial branches, which is used to record the time. In the terrestrial branches, rat represent “zi” (from 11p.m. to 1a.m.); Ox represent “chou” (from 1 a.m. to 3 a.m.); tiger represents “yin” (from 3 a.m. to 5 a.m.); rabbit represents “mao” (from 5 a.m. to 7 a.m.); dragon represents a“chen” (from 7 a.m. to 9 a.m.); snake represents “si” (from 9 a.m. to 11 a.m.); horse represents “wu” (from 11.a.m. to 1 p.m.); goat represents “wei” (from 1 p.m. to 3 p.m.); monkey represents “shen” (from 3 p.m. to 5 p.m.); rooster represents “you” (from 5 p.m. to 7 p.m.); dog represents “xu” (from 7 p.m. to 9 p.m.); pig represents “hai” (from 9 p.m. to 11 p.m.) (dtyxiong, 2008). Chinese zodiac derived from the worship of animals (hncbc, 2008), and is used to forecast marriage, life, and the fortune of the year (Baidu, 2016), people believed that carry red things in their birth year will get good fortune and can exorcise evil forces. Therefore, Chinese zodiac is the mascot of the spring festival, and it always can be seen in New Year pictures that symbolise people’s expectation.

Fig 1.2 New Year picture of Chinese zodiacs (nipic, 2013)

Ancient Chinese people continue discovered and considered new applications of symbolism, that the pattern show the character of people through the habit of plants, as Valery noted that “a lotus flower with an egret symbolises the honesty of an incorrupt official, as the bird keeps its white plumage clean even in the dirty water of a lotus pond” (Garrett, 1997). In ancient people’s mind, many plants own the special spirit, and these spirits can reflect people’s character; for example, bamboo represents tenacity and courage in adversity because of its growing environment and habit.

Fig 1.3 Chinese traditional lotus motif (jietouhuaihuai. No date)

Speaking of the symbolism of lotus flower, an article wrote by Zhou Dunyi (9601127), a Northern Song dynasty philosopher, has clearer and more accurate description of the characteristic and spirit of lotus that “I only love the lotus for rising from the mud but is not stained, bathed by clear waves but is not seductive”. In fact, the author displayed his character by describing lotus, and it is proved that the lotus flower not only describes an incorrupt official which is mentioned in Valery’s words but also represents a person who owns the character of honesty and integrity. The symbolism of the pattern also came from the living habits of people, such as Chinese knot, which is a knot that tied on the clothes in the Palaeolithic period, then used in etiquette, and used to record events in Han dynasty. Chinese knot is a unique handicraft of Han nationality, and as a decoration and accessory can be seen in people’s daily life, it represents safety, happiness and unity (Baidu, 2016).

Fig 1.4 Chinese knot (nipic. 2015)

Through the research of Chinese symbolism, it is shown that symbolism is not confined to visual information; it also came from homophone and homonym. So the natural things such as animals, insects, birds and plants can relate to symbolism because the homonym sounded the same as some meanings in symbolism (Garrett, 1997). For instance, fish represents affluence because the word “fish” has the same pronunciation as the word “affluence” in Chinese; the lotus in this pattern has similar pronunciation as the word “year” in Chinese, 13

hence, the pattern is an important element in New Year pictures that express people’s expectation of affluence in every year.

Fig 1.5 paper cut work of fish motif (nipic, 2012)

Some of the symbolic patterns are made by Chinese words because of the original meaning. For example, the word “shou” means longevity, so it is changed into motifs to show the aspiration of people. Besides, except the aforementioned word “shou”, in Chinese myths there has the god of longevity, and he is a belief of Taoism (Baidu, 2015).

Fig1.6 “shou” motif (nipic, 2011)

Fig 1.7 the god of longevity (hetianyu, 2012)

The animals or characters in myths and stories were also as the inspiration for the traditional patterns because of the symbolism. Such as Pi Xiu, an auspicious creature in Chinese ancient myths and legends, can brought in wealth and treasure because of its characteristic of the appearance; it also used to against evil forces (Baidu, 2016).

Fig 1.8 Pi Xiu (Ding, 2013)

The well-known creature in Chinese myths is Chinese dragon; it combines the characteristics of various creatures. The Metropolitan Museum of Art Bulletin: The Symbolism of Chinese Porcelains, which published by The Metropolitan Museum of Art, noted that “the head of a camel, the horns of a deer, eyes of a rabbit, ears of a cow, neck of a snake, belly of a frog, scales of a carp, claws of a hawk, and palm of a tiger” (M. Mcl, 1907). In fact, there have many kinds of descriptions about Chinese dragon’s appearance, because ancient people only can use imagination to describe this artificial creature. The research has reported that the feature of Chinese dragon changed after continuous development; the nation which belief in Chinese dragon totem has become to the leader in the long historical process and Chinese dragon totem became to a symbol for Chinese nation (Baidu, 2016).

Fig 1.9 dragon pattern (ruanzhuangyihao, 2013)

Another famous mythical creature and a usual motif of the traditional pattern is the Chinese phoenix, or â&#x20AC;&#x153;the king of birdsâ&#x20AC;? (Baidu, 2015). As similar as the feature of Chinese dragon, phoenix has the head of a wild goose, the hip of a chi-lin (Chinese mythical creature), neck of a snake, tail of a fish, back of a turtle, scales of a Chinese dragon, body of a mandarin duck, jaw of a swallow, mouth of a cock, wings of a da-peng (Chinese mythical creature), and legs of a crane (Baidu, 2015). In Chinese symbolism, phoenix symbolises propitious and harmonious, it is the special symbol of the empress.

Fig 1.10 phoenix pattern (ruanzhuangyihao, 2013)

In the Neolithic times, most bird patterns on potteries were the prototype of the phoenix; and it is said that the origin of phoenix came from the worship of bird and sun (Baidu, 2015). Ancient people designed phoenix pattern to decorate utensils and living supplies, and the research can tell that the phoenix pattern was different in different periods, but the symbolism of phoenix was almost the same. The guardians those come from the myths or stories also can exorcise evil forces and invoke blessings in Chinese peopleâ&#x20AC;&#x2122;s mind; people placed the picture of the guardians of the door when the year beginning to express their desire (Baidu, 2016).

Fig 1.11 the guardians of the door (bendibao, 2008)

1.2 The symbolism of Chinese Buddhist pattern in Dunhuang: specification and difference The symbolism and the pattern have a close connection because the traditional patterns are created with the symbolism, and the Buddhist patterns are no exception, although the symbolism of this type of patterns has the difference from the traditional patterns, that can be seen in Dunhuang frescoes. Dunhuang stone caves own most frescoes in China and these frescoes are the main constituent part in Dunhuang Art (Baidu, 2015). Mogao Cave, which is 17

included in Dunhuang stone caves and is the worldâ&#x20AC;&#x2122;s largest existing place of Buddhist art (Fan, 2010), displayed a lot of Buddhist paintings. In addition, the frescoes in the cave can be distinguished into seven types, including Buddhist paintings, the story paintings of Shakyamuni, sutra paintings, the story paintings about how Buddhism is spread to China, genies paintings, the provider portraits, and decorative pattern paintings (Fan, 2010); thus, the Buddhist culture and symbolism has been shown in these frescoes (Gen, 2011). The examples are given to describe the utilizations of Buddhist pattern and the symbolism in Dunhuang frescoes. As the common symbol in Buddhism, lotus flower represents pure and clean. In the concept of Buddhism, the pure and clean region should be the expectation and belief for people who suffer from the distress, that correspond to the symbolism of lotus, so lotus also symbolises Pure Land in Buddhism (mzh1235, 2013). Lotus pattern can be seen in the construction and paintings in Mogao Caves, for example, the roof in one of the caves was decorated with lotus, Apsaras, and tigers.

Fig 1.12 the roof decorative with lotus, Apsaras, and tigers (Guan, 2010. p34)

Fig 1.13 the canopy decorated with lotus (Guan, 2010. p55)

In addition, lotus motif also can be found on canopies in Dunhuang frescoes (figure 1.13). The canopy was the utensil used to shelter from the rain and sun for the emperor, and then it became as the symbol of status and authority in ancient China society (Guan, 2010). In ancient India, the canopy also represents power and position; twelve canopies accompany with the emperor when he going out because the symbolism of twelve canopies related to the sun and twelve zodiacs (Gao, 2004). Therefore, the canopy has become to the symbol of religious authority due to this tradition (Gao, 2004), as it in figure 1.13, the canopy is painted over the head of the Buddha. Honeysuckle motif is an important decorative motif and is one of the earliest and most frequent patterns in Dunhuang frescoes (Shen, no date). The flower symbolises eternal life in Buddhism, because honeysuckle is evergreen plant (Baidu, 2015). However, some researchers thought that according to the form of the flower motif in Buddhism decoration, it differs from honeysuckle; besides, the records in the Buddhism documents noted none special moral of this flower motif, so the researcher thought it is just the plant that came from foreign country (boluohuiyu, 2014). However, more researches proved that the flower motif is a

kind of bind plant, as known as â&#x20AC;&#x153;honeysuckleâ&#x20AC;? (ezhimu, 2013), and the motif has wide application in Buddhism because of its symbolism (hongsejingdian, 2012).

Fig 1.14 Honeysuckle motif in the fresco (Guan, 2010. p56)

The honeysuckle motif in figure 1.14 is painted on the edge of the shrine in Mogao Caves; it showed that one motif included four pieces of the leaf of honeysuckle, and the arrangement of the motif is regular and simple. Besides, in figure 1.15, the lotus pattern and honeysuckle motif is combined to create the picture that represents the Pure Land.

Fig 1.15 honeysuckle motif and lotus motif in the fresco (Guan, 2010. p59)

Based on the worship of the fire, ancient people designed the flame motif and it is applied on the circular ring that is behind Buddhaâ&#x20AC;&#x2122;s head (Guan, 2010). According to the notes, which recorded in Hou Han Shu (Southern Song dynasty), the circular ring (as known as the light of Buddha) came from the light of the sun and the moon (Guan, 2010). As the essential symbol in Buddha art, the circular ring represents luck and completeness (Jiang, no date); and as an important decorative motif in the pattern, the flame represents light (Liu, 2002).

Fig 1.16 the flame pattern on the circular ring (Guan, 2010. p64)

The statue of the Buddha in figure 1.16 owns five circular rings, which are decorated with immortals pattern and flame motif, and it shows a sacred and majestic image, which come from the symbolism of the pattern in Buddhism.

Fig 1.17 the detail of the flame pattern (Guan, 2010. p69)

The name of “Apsaras” derived from Indian myths; it represents the deity of music and dance (jbpea0749ca82, 2013). When Buddhism is brought from India to China, the image of Apsaras is changed because Chinese people integrated Buddhism with Taoism, and people who go up to heaven after death is named “immortal” in Taoism, which as similar as the name of the deity in India (Piao, 2010). Although the Apsaras occupy a humble status in Buddhism, it has become to a specific word in Dunhuang art (Piao, 2010).

Fig 1.18 Apsaras (Shanghai Himalayas Museum. 2015)

1.2.1 The symbolism of the Buddhist pattern in Tibetan Buddhism The important position of the symbolism also can be seen in Tibetan Buddhist patterns except in Chinese Buddhist patterns. The Tibetan Buddhism is a branch of Buddhism that is introduced into Tibet due to the difference in the region (yunvwenting, 2011). The general patterns in Tibetan Buddhism are eight symbols (Hann, 2013), which symbolises auspicious, happiness and complete, are painted in clothing, tent, temple, and Buddhist accessories (Gan, 2012). The eight symbols include the canopy, the pair of fish, the vase, the lotus, the dextral conch shell, the endless knot, the victory banner, the wheel (hunzi, 2009). From the notes in section 1.2, the origin application of the canopy is the ceremonial utensil for the aristocracy, then it adopted by Buddhism to cover the demon and protect Buddha dharma, and eliminate the troubles for people (hunzi, 2009), which means the symbolism of the canopy is to bless all people (pspsp, 2013).

Fig 1.19 the canopy (pspsp. 2013)

The image of the fish in Tibetan Buddhism comes from a kind of river fish with whiskers and is different from the general fish in the ordinary life (Gan, 2012). The fish represents liberation in Buddhism, and it is always painted into a pair (Gan, 2012).

Fig 1.20 the pair of fish (pspsp. 2013)

The vase is a symbol to contain every good thing and satisfy desires and wishes; it is one of the Buddhist accessories used in Buddhist activities (hunzi, 2009). The vase in Tibetan temples is filled with clean water and is decorated with the peacock feather or the pleasant trees, which represents good fortune and wealth; the peacock feather and the pleasant tree also symbolises completeness and immortal (pspsp, 2013).

Fig 1.21 the vase (pspsp. 2013)

Whether in Tibetan Buddhism or Chinese Buddhism, the lotus is the symbol of purity and the symbol of Pure Land. The kasaya (the coat of the monk) is often

named “lotus coat” because of the symbolism, it also can found the evidence on the seat of Buddha and Bodhisattva which is called “lotus seat” (Gan, 2012).

Fig 1.22 the lotus (pspsp. 2013)

Before the Buddhism spread to Tibet, the conch shell is the bugle of the ancient battlefield; and then it becomes to a musical instrument in the Buddhist ceremony to publicize Buddhist doctrines (hunzi, 2009). Because in Buddhist sutra, the records state that the Buddha promotes the sutra with a loud voice that as similar to the sound of the conch shell, hence the shell is used to represent the voice of Dharma (hunzi, 2009). In addition, the dextral conch shell is called “immortal conch” because of the rarity (hunzi, 2009).

Fig 1.23 the dextral conch shell (pspsp. 2013)

The argyle rope pattern as the most common pattern in Tibet is symbolised love and devotion in the original (pspsp, 2013). In Buddhism, the endless knot symbolises the completeness of the wisdom of Buddha (pspsp, 2013).

Fig 1.24 the endless knot (pspsp. 2013)

The banner is known as the pennant and streamer used in ancient China and is the army flag in ancient India (Gan, 2012). Due to the thought of Tibetan Buddhism, the victory banner only can overcome the troubles, thus, it used in the Buddhist activities and symbolises that people will be free from suffering and get enlightenment (Gan, 2012).

Fig 1.25 the victory banner (pspsp. 2013)

As similar function as the banner and the conch shell in ancient society, the wheel is a kind of weapon in ancient India before it becomes to a Buddhist accessory (hunzi, 2009). The wheel symbolises the eternity and immortalization of Buddhist dharma and represents that the dharma is disseminated throughout the world, as the rotated wheel (hunzi, 2009). Besides, the wheel is made of eight spokes, which represents the eight events the Buddha did in the whole life (hunzi, 2009).

Fig 1.26 the wheel (pspsp. 2013)

Summary Most Chinese traditional patterns are designed with the symbolism because it is a way for Chinese people to express feelings and expectations. In addition, through the chapter, it is shown that although the differences of the symbolism exist in Buddhist patterns, the symbolism of the traditional pattern has an indispensable position for the daily life of Chinese people.

Chapter Two Colour: an important part of design Since the ancient times, colour is an indispensable part of Chinese traditional patterns, because colour makes the symbolism of the pattern become completion. This chapter will explain Chinese traditional colour theory and the symbolism; and, Buddhist pattern as the specific part in Chinese traditional pattern, the colour theory of it will be talked. Besides, the chapter will discuss the colour theory in contemporary Chinese pattern design.

2.1 Chinese traditional colour theory Colour is one of the characteristics of Chinese traditional patterns. Artists and designers combined limited traditional colours to create numerous exquisite works. Ancient Chinese people found that five primary colours are the basic element through the practice; mixed five primary colours can get other colours, however, five primary colours cannot be produced by mixed other colours. People named this colour system as “five-colour theory”, the theory was applied in clothing, paintings, buildings and other design works in the ancient period and reflected ancient people’s cultural connotation and thinking (Huang, 2000). Colours in five-colour theory include red, yellow, cyan, black, and white. Each colour has its own meaning that red symbolises good fortune and happiness (xzbu, 2014), and Chinese people think it can exorcise evil forces (Li, 2011). Yellow symbolises noble and is the exclusive colour for the emperor in ancient China (xzbu, 2014). Cyan symbolises vitality and happiness because it is the colour of nature in people’s mind. Black symbolises decency, and it represents noble because the main colour of the dragon robe is black during Han dynasty (heanQanhe, 2015). White symbolises death in China (Zheng, 2009), thus, it usually may not use in design. (Appendix B) These colours are picked from natural things, as the notes in The Metropolitan Museum of Art Bulletin: The Symbolism of Chinese Porcelains recorded that “blue 28

being the colour of the heavens, yellow of the earth and the emperor, red of the sun, white of Jupiter or the Year Star, etc.” (M. Mcl, 1907, pp 182). In fact, the description of the colour in Shang Shu·Hong Fan (The Warring States Period), a Chinese book, recorded that Chinese five-colour theory is related to Chinese fiveelement theory, which “first is water, the second is fire, third is wood, forth is metal, the fifth is earth”. Because ancient Chinese people thought that, the five elements produced nature, and the colour, thus it has an inseparable connection with the five elements (Yang, 2011). The ancient astrologers combined the five elements and five colours with the theory of five directions, which yellow symbolises the middle; cyan symbolises the east; red symbolises the south; white symbolises the west; black symbolises the north (Yang, 2011).

Colour palette. Five-colour theory

The specific example is given to prove the importance of the five-colour theory in China. The colours of the buildings in Zi Jin Cheng (The Forbidden City) based on five-colour theory. Yellow is the colour of the roof because it above all the colour, as Yi Jing (the Western Zhou dynasty), said that “the sky is black, and the earth is yellow”, yellow represents earth in the five-element theory. The red is used on the wall and the pillars of the palace because it symbolises fairness. The White colour is used on the stone foundations of the building; the symbolism of it is to have a stable and long position of power. The roof that in the eastern palace used cyan colour, because cyan represents wood and symbolises growth and life and the buildings with the cyan roof are provided to Chinese princes. Black is used as the colour of the wall in the northern palace because black represents water and in Chinese astrology, water represents north (yjbys, 2015).

Figure 2.1 listed another example that also can explain the important position of the five-colour theory. This painting was painted in the Western Han period; it is discovered in a tomb and was the earliest tomb fresco in China (Cheng, 2004). It can be seen that red colour on this fresco is still bright because of the environment and the condition, and the black, white and cyan colour does not fade as time goes on. The main elements in this fresco were Chinese dragon, tiger, rosefinch, and tortoise, which were known as “four mythical creatures” in ancient Chinese myth; and their Chinese names “qing-long” (dragon), “bai-hu” (tiger), “zhu-que” (rosefinch), “xuan-wu” (tortoise) represented cyan, white, red, black in five-colour theory. The four mythical creatures also related to the five-element theory that Chinese dragon in the east represents wood, the tiger in west represents metal, rosefinch in south represents fire, tortoise in north represents water (Baidu, 2016). Besides, through the experiments the researchers found that the material of the colours in the fresco were inorganic minerals, which accord with the traditional thought of natural, that red colour came from cinnabar, white colour came from muscovite, cyan colour came from malachite, and black colour made by cinnabar with malachite (Baidu, 2015). In addition, in ancient Chinese people’s mind, the human can go up to heaven after death, so the symbolism of this tomb fresco is to express the tomb owner’s expectation and aspiration that can still enjoy the life in the heaven (Baidu, 2015).

Fig 2.1 tomb fresco (Cheng, 2004. p74)

2.1.1 Special Chinese traditional colours The five primary colours are called “pure colour”, and other colours are called “secondary colour” (Guan, 2010); the five main secondary colours include cyanotic colour, light red, nattier blue, purple, brown yellow (Xu, 2015). In Chinese history, pure colours and secondary colours were originally used as the sign of status and the tool to distinguished levels of people. But, because Qi Huan Gong (the King of Qi) preferred wearing purple clothes, the purple colour became noble from humble; and then except to describe the colour, the word “red” and “purple” were used to describe the change of the position of the job from low level to high level (Xu, 2015). Besides, there have many special colours in the Chinese traditional colour except the five main secondary colours (Appendix A).

2.2 The colour of Chinese Buddhist patterns in Dunhuang Dunhuang frescoes, which is noted in chapter one, is also has specific theory and symbolism of colours. Dunhuang frescoes are called “the museum of Chinese traditional colour art”, which means the colours in the frescoes are based on the Chinese traditional colour (Zhang, 2014). The main colours of Dunhuang frescoes include red, blue, green, brownish-black, white, etc., and according to the materials, the pigment is divided into three types which are mineral pigments such as cinnabar and azurite; plant material pigments such as gamboge and cyanin; animal material pigments such as shell powder (Guo, 2012). To describe the colours used in the frescoes, some examples are listed below. The reddle colour as one of the red colours has wide application in early Dunhuang frescoes, but the utilisation is decreased in Tang dynasty because of the existence of minium and cinnabar (Huang, 2014). In addition, the red colour is one of the favourite colours for ancient Chinese women, it can be seen in the frescoes that the painter uses different red colours to describe women’s lips, that shows the images of women in different classes and ages (Huang, 2014).

The blue colour in the frescoes comes from lazuli, which is one of the ancient jades in China. The emperors prefer lazuli because of it is named â&#x20AC;&#x153;emperor cyanâ&#x20AC;?; hence, the stone is used to make the jade wares and handicrafts (Huang, 2014). Therefore, ancient people extract the blue colour from the lazuli and use it into the frescoes (Guo, 2012).

Fig 2.2 the application of colours in fresco (Guan, 2010. p54)

Fig 2.3 the application of colours in the fresco (Guan, 2010. p120)

According to the records in the Buddhist sutra, the golden colour is used in the figure of Buddha in Dunhuang before Sui dynasty (Huang, 2014); because people thought, the golden colour represents nobility (qianchuan, 2014). In the middle period of Sui and Tang dynasty, the golden colour is also applied on the clothes of other figures (Huang, 2014).

Fig 2.4 the golden colour in fresco (Guan, 2010. p102)

2.2.1 The colours of Tibetan Buddhist patterns The difference of the symbolism of colour theory appears between Chinese Buddhism and Tibetan Buddhism. As far as Tibetan Buddhism is concerned that the colour is an indispensable part, it has specific significance and function in the dissemination of Tibetan Buddhism (Xu, 2014). The main colours in Tibetan Buddhism include red, blue, green, yellow, white, and black (946559407, 2012), these

colours

are

the

Tibetan

traditional

colours

except

balck

(weijinnanbeichaowenxuexiaowu, 2015). The five Buddhas of Tibetan Buddhism, who symbolise the different aspects of the Buddha-nature, are endowed with these five colours that the white colour represents Mahavairocana; red represents Amitabha; yellow colour represents Ratnasambhava; blue represents Akshobhya; green represents Amoghasiddhi (fojiaoyishu, 2005). In addition, the 33

five Buddha symbolises five directions that Mahavairocana is in the middle; Akshobhya is in the east; Ratnasambhava is in the south; Amitabha is in the west; Amoghasiddhi is in the north (zhulinguofang, 2013). Besides, the colour of the five Buddha is related to the direction of the five Buddha (fojaoyishu, 2005). (Appendix B) As the colour that is excluded from the five Tibetan traditional colours, black symbolises dark; in Tibetan Buddhism, black shows a realm which beyond the good and bad of the world, and to some extent it is also used to describe the repressed religious ideal (fojiaoyishu, 2005). A theory is recognized in Tibetan Buddhism that the achievement of the good is driven by the bad, hence, the black colour represents the power of the conquest of the evil; the light and truth cannot be displayed without black violence, that the dark is the factor for people to seek the light (fojiaoyishu, 2005). Besides, the colour application of Tibetan Buddhist traditional colours can be found in the figures of the eight symbols, which is noted in chapter one; and it is proved that the symbolism of the colours is important for the Buddhist culture and patterns.

2.3 Colour Theory in Contemporary Chinese Pattern Design Although the formation of the colour system of Chinese five-colour theory is over 1000 year older than western contemporary colour theory, and the western contemporary colour theory has already built a completed colour method through the scientific and theoretical view, the knowledge of the colour and the colour matching method is similar (Guan, 2010). But traditional Chinese colour theory has the national character and contains oriental culture idea (Guan, 2010). In contemporary colour theory, colours can be divided into primary colours and secondary colours, as same as Chinese traditional colour theory. The primary colours include two different types which are additive primaries (red, green, blue) and subtractive primaries (cyan, magenta, yellow, black); and, the secondary colours can be produced from primary colours, any two primary colours in equal 34

proportions can create a secondary colour (Ambrose & Harris, 2005). Besides, in subtractive primaries, the cyan colour, magenta colour and yellow colour as the three primary colours is named â&#x20AC;&#x153;chromatic colourâ&#x20AC;?, and the black and white colour is named neutral colour (Guan, 2010). The colour is described by hue, saturation and brightness in contemporary colour theory. In addition, it can be seen that the difference between contemporary colour theory and Chinese traditional colour theory only appears in the knowledge of black and white colour that these two colours belong to the pure colour in the five-colour theory (Guan, 2010).

Fig 2.5 RGB (rentianlang. 2014)

Fig 2.6 CMYK (Wikimedia. 2008)

Based on the traditional colour theory, colours in contemporary Chinese design are more colourful and innovative. In figure 2.7, it shows a contemporary wedding invitation, which is an example of colour application. Xing Yu (2010) said in an article The Investigation of ancient wedding in Qing dynasty through the wedding invitation that although the wedding 35

invitation is over 180 years from now, the red colour and the patterns are still can be seen clearly, and the invitation shows an auspicious feeling to people as before, is proved the red colour of the invitation is followed the colour in ancient wedding invitation because of the symbolism which is also shown by the Chinese word â&#x20AC;&#x153;Xiâ&#x20AC;? and the phoenix pattern in the invitation. The contemporary wedding invitation in the figure is added more colours such as light red, green, and blue, that is not appeared in the ancient wedding invitation because with the development of the time and society, many types of the wedding invitation exist and the western style is referenced. However, the white colour that is used in the western wedding invitation is not used in Chinese wedding invitation because white colour has bad symbolism in China.

Fig 2.7 contemporary wedding invitation (The Theme Wedding Boutique. No date)

The Chinese wedding cloth is the typical example when mentioned the wedding invitation, and the figures showed a comparison between the ancient wedding cloth and the contemporary wedding cloth to observe the difference of the colour application. As the important cloth for ancient Chinese women, the wedding cloth carried their expectation and longing, because it is made by themselves from their childhood and finished until marriage (Bian, 2011). In figure 2.8, it shows the wedding cloth of ancient rich women that the headwear is decorated with phoenix motif, which is only allowed to wear in the wedding; and although the robe in the 36

figure has many colours, the red colour is the representative colour for wedding and celebration (Baidu, 2015). However, in the pre-Qin period, the black colour is the main colour for the wedding cloth; red is started using in Song dynasty, until Ming dynasty, the appearance of the ancient wedding cloth became mature and typical. In Ming dynasty, normal women (Baidu, 2015) can use the headwear with phoenix pattern. In contemporary society, women also wear wedding cloth to take a photograph except only wear it in the wedding, as it shown in the photography in figure 2.9, which is made by L Studios, a styling studio in Chongqing, China. Compared with figure 2.8 and 2.9, the colour collocation in figure 2.9 is more innovative based on the traditional colours, besides, the phoenix pattern on the cloth is simplified and is more abstract which is more accord with the contemporary style. However, the symbolism of the colour is still an inseparable part of the pattern and the cloth, that golden colour is used for the phoenix pattern because it symbolises nobility, and the red colour is used for the cloth because the symbolism is retained. The traditional colour theory and its symbolism have become to a specific culture for Chinese people, thus, the combination of the traditional colour and contemporary colour can be found in design.

Fig 2.8 ancient wedding cloth (Baidupedia. 2015)

Fig 2.9 contemporary wedding cloth (L Studio.

2015)

Summary Colour as the essential element in pattern design, its symbolism is important for designers, because the symbolism of some traditional colours will be changed when used in contemporary design. For instance, the red colour represents happiness when used in a celebration, and the yellow colour represents emperor in ancient China, but the red and yellow on Chinese national flag symbolises revolution and Chinese people. Therefore, the designer should have enough understanding of the symbolism of colours to deliver the right message of the symbolism of patterns.

Chapter Three Application of Chinese traditional pattern: tradition, inheritance and innovation Chinese traditional patterns have normal applications in ancient China and are continued to contemporary design. The application of the traditional pattern shows the combination of symbolism and colour, the inheritance and innovation of the traditional culture and the importance of the understanding of the symbolism.

3.1 The main Chinese traditional patterns used in the ancient China Chinese traditional patterns were common in ancient people’s life, and the symbolism is an important part of the patterns in ancient China because it is used under the strict rules, which can be seen in an example of the dragon pattern. As we know, the Chinese dragon is a mythical creature in legend; it is one of the most ancient totems of Han nationality. In remote antiquity, people created Chinese dragon and worshipped it for safety because of the reverence of nature and the worship of supernatural power (Baidu, 2016). So Chinese dragon in Chinese symbolism represents nobility and authority, and it always is applied in Dragon robe, the court dress of Chinese emperor. A visual research shows that the Dragon robe embroidered with selected elements that represent auspicious and noble. The robe had nine Chinese dragons, which were separated and placed in front and back, left shoulder and right shoulder, hem; and this arrangement was consistent with “imperial throne” (Baidu, 2016). The clouds, bat and curves motif can be seen on Dragon robe. Because clouds motif represents auspicious; bat motif has same pronunciation as the word “bliss” in Chinese, and the curves motif which stands for the sea are arranged at the hem of the robe, waves and rocks are decorated with curves and the moral of this pattern is bless the emperor on the throne (Hann, 2013). Only emperor and a few officials can use these elements, but Chinese dragon and phoenix is the unique symbol of emperor and empress. As Zhou Li (pre-Qin period) recorded that “the dragon has five toes is a symbol of the emperor; dragon has four toes is the symbol of 39

governors; dragon has three toes is the symbol of senior official”. It is easy to understand Zhou’s words when associated with Chinese, the five-toe dragon is called “long” in Chinese, which as known as Chinese dragon and is a unique symbol of Chinese emperor; the four-toe dragon is called “mang”, it is embroidered on royals’ clothes (Hann, 2013). The colour application of the dragon robe has gone through a development. The main colour of the emperor’s cloth is black in Qin dynasty because of the belief of the five-element theory, and the yellow colour has become to the exclusive colour of the emperor’s cloth until Tang dynasty, besides, in Song dynasty the emperor’s cloth is known as “dragon robe” (songqiao, 2015).

Fig 3.1 dragon robe (Mingde Elementary School, 2009)

3.2 Chinese design industry: the combination of traditional and contemporary The traditional patterns are not only seen in ancient applications but also appear in contemporary design, because the traditional cultures always along with the growth of the contemporary design in Chinese design industry. The concept of contemporary Chinese design derived from the thought of Chinese classical philosophy, which is “people-oriented” (vampireannis, 2010), and it also as same as the thought of Bauhaus, who gain the influence from the traditional culture and is interested in the theories of Zhuangzi (the Warring Period), the ideologist, litterateur and philosopher in ancient China (bingbingshui0, 2014). The emergence of contemporary Chinese design is that the western culture entered China after the Opium War, thus, the new things were forced to accept. After the confusion and anxiety of the change of people’s attitude to western culture, Chinese designers combined the traditional culture and the western culture to develop Chinese design (yishuzhongguo, 2014); hence, the contemporary Chinese design formed. Through the development of the society, the elements of traditional culture are simplified when used in the contemporary design; designers are aimed to show the eastern aesthetics through the inheritance and transformation of the traditional elements. As the work made by Xueming Lin, an interior designer in China, Xueming considered design a kind of office table that without drawers and heavy chairs, which inspired by the paperless office. The table is made of two panels, with two cylinders that can storage belongings, space under the chairs also can place personal things, and the purpose of the design is to provide convenience and liberty to people (Luo, 2015). In the combination, Xueming has not adopted the complicated elements of the traditional design and is not limited by the traditional culture, as he said that “I chose the simple but elegant elements from traditional design and combined with straight lines to show the spirit of eastern aesthetics” (Luo, 2015).

Fig 3.2 the series of “cha” (Luo, 2015)

The work from Daiqiang Jin, a graphic designer, can also find the concept of the combination of traditional and contemporary. Chinese ink painting is one of the styles of Jin’s design, as the poster is shown in figure 3.3. The running script that made by writing brush is put in the middle of the poster, and when to look closer it can see that the landscape is hidden into the running script, and then this traditional style is combined with western contemporary design.

Fig 3.3 the painting from the heart (PCHOUSE. 2012)

As similar as Lin, Daiqiang thought that the combination of Chinese traditional culture and western contemporary design is not only the addition but also the deep understanding of Chinese culture, and the design should be customised which means the demand of people is the target for the designer (Baidu, 2015). From the work of Chinese fashion designer Zhaoping Deng, it can see that the style shows the connection of classic and fashion and the combination of traditional and western. The design in figure 3.4 came from Zhaoping’s SS collection that named “Sheng Shi Zhong Hua” (xinhuanet, 2014).

Fig 3.4 the work made by Deng Zhaoping (sheyingshilaozhu. 2014)

The literal meaning of the name is the flourishing time in China, and the connotative meaning of the theme is used Chinese flowers to describe the peaceful life because the word “hua” in the theme has the same pronunciation with the word “flower” in Chinese (xinhuanet, 2014). The traditional Chinese 43

painting is used in the design as the mantle showed in the figure. The lotus flower in painted on it; Zhaoping did not put the painting on the whole dress but also dye the bottom part of the dress to create an ink-painting style, thus, the symbolism of the lotus that is mentioned in chapter one can be seen in the design. Besides, each of Zhaoping’s collection is reference a specified element in the traditional culture, but the Chinese elements in the design are less than ten percent, they are only as the point to show quintessence of the design, because the design is provided to people who live in contemporary society (Beijing News, 2014). Zhaoping also said, “The target I aimed to achieve is to transmit my understanding of fashion and my attitude of life to the customer through the cloth” (Beijing News, 2014).

3.3 Chinese traditional pattern in contemporary Chinese pattern design The combination become to the trend in the design industry, that make the contemporary Chinese pattern design become diverse and international, as Xigang Zhao (2003), the author of Modern Graphic Design and Traditional Pattern, states that “Today, the combination of traditional culture and modern culture are strengthened people’s understanding of reality”. Therefore, the “combination of Chinese traditional pattern and modern form” (Zhang, 2012) is the most common style in contemporary Chinese pattern design. In Traditional Decorative Pattern Stay Verve through the Ages - the inheritance and innovation, Hong Zhang (2012) also states that “National tradition is not changeless and stillness, it will have transformation and innovation in the context and the form according to the development of the society”. So one side, designers retain the style of Chinese traditional pattern, and the other side, the innovation and transformation are considered. Besides, the symbolism of the traditional pattern is not ignored in design although the contemporary work is simplified, which can be seen in the examples below. The logo of Bank of China is another work that designed by Daiqiang Jin, it is inspired by the shape of ancient Chinese coin which symbolises orbicular sky and rectangular earth in shape and symbolises wisdom and honesty in connotation (Fu, 2009). In application, the ancient coin shows the convenience and 44

practicability because of the design and the small volume, hence, the thought of “people-oriented” is shown (Fu, 2009). Following the shape of ancient coin, Daiqiang put the word “Zhong”, which is the first word of “Bank of China” in Chinese and has the similar shape as the rectangle in the middle of the ancient coin, at the middle of the logo. The logo describes the name and function of the bank to people through a simple pattern easy to remember.

Fig 3.5 ancient Chinese coin (bestkelly. 2009)

Fig 3.6 the symbol of Bank of China (panshijingxuan. 2010)

The Chinese word “xi” means happiness in Chinese, ancient people combined this word with the Chinese dragon and phoenix motif to create a paper-cut pattern and applied for Chinese traditional weddings. At the present, the decorations surrounding the word “xi” become more various such as the grape motif instead of only the dragon and the phoenix motif; and the bottom parts of “xi” is changed to heart-shaped symbols, which means love in contemporary society. In fact, in the research, the origin of the heart-shaped symbol has many explanations, such 45

as leaves of some plants (Wang, 2015); the incorrect description of human’s heart from the research of human anatomy that made by Galen (Wang, 2015); or a word “xin” that came from Chinese inscriptions which on bones or tortoise shells (douluochenxing, 2015). But the meanings of the symbol are similar, that is used to represent good feelings (Baidu, 2015), hence it is added in “xi” pattern to represent happiness and love. Although the shape and the decorative motifs of the pattern are changed in figure 3.8, the symbolism and the application is same as the pattern in figure 3.7, because the colour and the word do not change.

Fig 3.7 traditional “Xi” (chinafacttours. No date)

Fig 3.8 contemporary “Xi” (3599778986.

2010)

The pattern in figure 3.9, which has the similar shape of a man, is the symbol of 2008 Beijing Olympic Games. It shows a word “Jing”, which came from the Chinese word “Beijing”, the name of the capital city of China; the seal character and Chinese stamp is referenced in this symbol (Baidu, 2016), hence, the deep meaning is shown by these elements, that the expectation of the Olympic Games, the Chinese culture, and the good wishes of people (Baidu, 2015). Shaohua Chen, a Chinese interior designer, designs a bid logo for Olympic Games, which is shown in figure 3.10. In fact, the pattern with a torch and the peony-shaped fire is Shaohua’s first design plan; and then Chen changed the shape of the original pattern through the consideration of the connotation of traditional culture to create a new pattern that inspired by Tai Ji and Chinese knots (PCHOUSE, 2010). The pattern shows the quintessence of Chinese 46

traditional sports culture (chuwengeiledang, 2009) and the symbolism of unity and good fortune (chuwengeiledang, 2009), that associated with the spirit of Olympic Games.

Fig 3.9 the symbol of Olympics (yooyoo360. No date)

Fig 3.10 the bid logo of Olympics (manmb.

2009)

The design of 2008 Olympic Games is a typical example of the inheritance and transformation of the traditional culture, and the pattern of the Olympic torch that is inspired by traditional clouds motif is another instance. As an essential decorative pattern in Chinese ancient design works such as bronze ware, lacquerware and clothes, the clouds motif is continued as the popular motif in contemporary Chinese pattern design (Huang, 2014), and an important reason that Chinese people prefer the clouds motif is its good symbolism. Compared with the traditional clouds motif, the motif in contemporary design is simplified in the shape but the basic character is retained, thus, the symbolism of good fortune and expectation can be transmitted when it is entwined at the torch.

Fig 3.11 traditional clouds motif (Mamelise. 2015)

Fig 3.12 the pattern of Olympics torch (nipic. 2008)

Fig 3.13 clouds motif in the Olympics torch (szybest. 2008)

The application of the Chinese knot also can be seen in the poster in figure 3.14, a competition work for â&#x20AC;&#x153;A bite of Chinaâ&#x20AC;?, that is a Chinese food documentary that describes Chinese traditional food and contemporary food. From the visual research of noodles and Chinese knot, the poster has a clear combination of the traditional and contemporary, that the shape of the noodles is similar as the tassel of the Chinese knot, the designer combined chopsticks, noodles and the knot show the idea instead of adding many elements.

Fig 3.14 the poster (KikkiQi. 2016)

3.3.1 The Buddhist patterns used in contemporary Chinese pattern design As a specific type of Chinese traditional pattern, the development of Chinese Buddhist patterns is retained more cultural elements that attracted designers to adopt and extend, for example, Buddhist patterns are used in packaging design that can show an inheritance innovation of Chinese traditional culture. However, a few of Buddhist patterns such as Guanyin (Avalokitesvara in Sanskrit), Rulai (Buddha), and Bodhisattva cannot be used in the product in the unceremonious situation because of the correlation of religion and symbolism (Nie & Hou, no date). Hence, the position of the symbolism of traditional patterns is important in contemporary Chinese pattern design, and designers in the design process should not ignore it, in particular, use special patterns and symbols.

For instance, the jade Buddha pendant is an auspicious decoration for Chinese people, and the figure of Maitreya is a general element for the jade pendant because the appearance of Maitreya Buddha is generous and optimistic which comes from his big belly and laughed mouth (Pang, 2015). Thus, the jade Maitreya pendant brings a positive and tolerant attitude to people who wear it; another reason people wear it is the symbolism of Maitreya Buddha is propitious and happiness (Pang, 2015). In addition, there is a common saying, “men wear the Guanyin pendant and women wear the Buddha pendant”, because the balance of Yin and Yang represents women and men in Chinese traditional culture and the book Yi Jing (the West Zhou dynasty) (Pang, 2015); and, the concept of wearing the jade Buddha pendant also originates in the respect of Buddha and jade.

Fig 3.15 jade Maitreya pendant (Wang, 2015)

Another example of the application of Buddhist pattern can be seen in the “wan” ( 卍 ) symbol, which exists in front of the chest of Buddha and symbolises happiness and good fortune; the pronunciation of this symbol in Chinese has become to “wan” in AD 693 (Xin, 2014). The application of this symbol can be found in contemporary furniture with the symbolism of good luck and longevity as it shows in figure 3.17. The wan symbol is extended outward from its four ends to create a continuous pattern and to show a hollow effect on the cabinet that looks similar to the pattern on Chinese traditional window frame. As the ancient amulet and the Buddhist symbol, the wan symbol also exorcises evil forces (Xin, 2014).

Fig 3.16 the “wan” symbol in front of the chest of Buddha (tilliely. 2013)

Fig 3.17 the application of “wan” symbol in furniture (Xin, 2014)

3.4 The traditional pattern used by western designers – the understanding of Chinese symbolism The combination of Chinese traditional culture and western culture also appeared in the work of western designers, for instance, Dries Van Noten, a Belgian designer (Baidu, 2015), put Chinese traditional patterns such as Chinese dragon, clouds, and sea waves in the Fall/Winter 2012 collection (Zeng, 2012). Noten

made changes on Chinese traditional colour and the squares and lines that decorated on the dresses to show a stylish effect. However, the transformation of the direction of the traditional pattern and the cuttings on the traditional pattern caused the Chinese dragon loses its tail and the curves pattern turned on the other side. Although the Dragon robe did not represent the emperor in the contemporary society, the dragon pattern is still an auspicious and noble symbol; but if the dragon pattern is uncompleted, the symbolism will not exist. It is shown that some western designers seems only use Chinese style as a fashion element for their design works but do not have an accurate understanding of Chinese symbolism. Besides, compared with the concept of Chinese designers that the thought of the traditional culture is not limited, Driesâ&#x20AC;&#x2122;s work show a different aspect of Chinese traditional culture, which the traditional pattern is applied for the clothes, thus the extension and innovation of the traditional culture is limited.

Fig 3.18 Dries Van Noten Fall 2012 (VOGUE, 2012)

Fig 3.19 Dries Van Noten Fall 2012 (VOGUE, 2012)

Fig 3.20 Dries Van Noten Fall 2012 (VOGUE, 2012)

Although western designers have the limited understanding of Chinese culture, there have some correct applications.

Fig 3.21 Louis Vuitton (Lancejewelry. 2016)

The figures shown above come from Louis Vuitton, the monkey decoration attached on these jewellery aims to “share the happiness and joys with Chinese people to welcome the monkey year” (Lancejewelry, 2016). The designer shows the understanding of Chinese symbolism because the design related to the Chinese zodiac that is a specific symbol of Chinese traditional culture and has the symbolism of happiness and fortune. The colour in design does not follow Chinese colours but choose the original colour of the material, and the motif is simplified, which show the ability of transformation of the traditional culture. People around the world would like to celebrate Chinese New Year, and many artists, designers and beauticians like to pay their respects to Chinese New Year (Cafaro, 2015), the figure shown below is a new package of Pepsi for monkey year. The monkey on the pattern named “The Monkey King”, and “Sun Wu Kong” in Chinese, it derived from a Chinese myth that named “Journey to the West”. As similar as the design of Louis Vuitton, the original colour of the package is retained, but the golden colour that represents nobility is added as the colour of clouds motif, which symbolises auspicious. And, the shape of the face of the monkey which inspired from Chinese opera mask follows the shape of Pepsi’s 54

logo (Ewer, 2016); the headwear that is worn on the monkeyâ&#x20AC;&#x2122;s head in the myth is put at the neck of the can. In brief, the combination of traditional and contemporary has a successful application in the design, so the pattern that produced has the strong characteristics of the brand.

Fig 3.22 Pepsi package (Ewer, 2016)

The symbolism of Chinese New Year is discarded old and bringing in new and celebrates the coming of new things, as Cafaro (2015) said in her article Giorgio Armani Launches Year of Monkey Face Palette for 2016 that the New Year is full of surprises and can solve the old problems.

Summary The combination of the traditional culture and contemporary design becomes to a trend for Chinese design industry, and the understanding of the symbolism of the traditional pattern is as the inspiration for designers to transform, combine, and innovate, and helps designer to transmit the connotation of the design to people to achieve the concept of â&#x20AC;&#x153;people-orientedâ&#x20AC;?.

Chapter Four Design case study: the interview to people those whose occupations about design To find more information to investigate the influence of the symbolism of Chinese traditional pattern in contemporary Chinese pattern design for the design industry, the qualitative research is used, which is a method for in-depth investigation. The interview (Appendix C) is communicated with fourteen Chinese people those whose occupations about design via email. The real names of interviewees are accepted to record in the dissertation, including Akira Cheng (Appendix D), an architectural draftsman; Cindy Wang (Appendix E), an art assistant; Eric (Appendix F), a graphic designer; Wei He (Appendix G), a game promotion planner; Jie Wen, a tattoo artist (Appendix H); Shulan Wu (Appendix I), a fashion designer; Zi Mai (Appendix J), a UI designer; Qiaoli Wang (Appendix K), a draftsman; Xuefeng Bai (Appendix L), a concept designer; Yolanda (Appendix M), a cloth seller; Yuqin Cai (Appendix N), a graphic editorial assistant; Chuyue Zhang (Appendix O), a product designer; Shuhan Li (Appendix P), a design assistant; and Dezhi Yang (Appendix Q), a graphic designer. The reason the interview is selected as the method and only Chinese people are chosen for the interview is first because the interview will ask the questions about a specific area; second, the dissertation needs the knowledge of Chinese traditional culture and the experience in Chinese design industry. Eight questions, which ask about the knowledge of the traditional pattern and the symbolism, the difference between traditional pattern and contemporary pattern, the comment of the application of traditional pattern in contemporary design, and the importance of the understanding of the symbolism of traditional patterns in contemporary design, are designed for the research to investigate the topic. In this chapter, the comparison between answers of the questions will be discussed, and the chapter will summarise the result of the investigation.

4.1 The knowledge of the traditional pattern and the symbolism To find out the quality of the answers of the interview, the questions of colour, pattern, and symbolism are asked to observe the understanding of the traditional pattern. Because of the cultural background, the answers from interviewees not only show the sufficient knowledge of the traditional pattern but also note professional understanding of the traditional culture. As Dezhi (appendix Q) divided the traditional colours into two parts that the main colours in ancient China include red, black, cyan, and the colour from the blue and white porcelain, and the main colours in modern society are red and golden colour. UI designer Zi Mai (appendix J) noted that the traditional pattern could be divided into the symbolic pattern and metaphorical pattern. The symbolic pattern has folk culture or geographical characteristics but may not have the symbolism, such as heraldry and other business logos; the metaphorical pattern can express the expectation and feelings of people and has wide application in peopleâ&#x20AC;&#x2122;s life, and the occasions of the application are different, as the pattern that is investigated in the dissertation. Besides, the symbolism of the traditional pattern is a national and specific culture and is become to a kind of memory in peopleâ&#x20AC;&#x2122;s mind through the research, that the meaning can be reminded if recognise the pattern.

4.2 The difference between the traditional pattern and the contemporary pattern From the result of the questions, the traditional pattern has shown the wide extent of the application in contemporary society, such as product package, the logos, fashion design, decorations and accessories, interior design, architecture, painting. But, as the examples in chapter three, the application of the traditional pattern in contemporary design are simplified, as the opinion of Eric (appendix F) that the shape and the lines of the traditional pattern are more complicated and more exquisite than the contemporary pattern, and the contemporary pattern is more abstract. Some of the interviewees are agreed with Ericâ&#x20AC;&#x2122;s opinion, and Jie Wen (appendix H) and Yuqin Cai (appendix N) also thought that the contemporary pattern shows the combination of the traditional elements and 57

western style. Wei He (appendix G) agree with the opinion of the traditional pattern but has a different thought of the contemporary pattern, that although the contemporary pattern is innovative, some of the patterns are nondescript and not show the meaning which wants to express through the pattern. Weiâ&#x20AC;&#x2122;s opinion pointed out the result of the understanding of the symbolism that will discuss later.

4.3 The comment of the application of traditional pattern in contemporary design To observe the position of the traditional pattern in contemporary design, interviewees are required to give comment on the application of the traditional pattern in contemporary design. All the interviewees thought the pattern in contemporary design is the inheritance and the combination of the traditional culture and contemporary elements, as the situation in Chinese design industry, which is mentioned in chapter three. Besides, although the combination became to a trend for Chinese design, the challenge in the process of the combination is also pointed out in the comment of Chuyue (appendix O) that the combination might make the design strange; but the market will be limited if the combination is not shown in the design. Chuyueâ&#x20AC;&#x2122;s opinion proved that the combination is the inevitable trend for Chinese design industry, and the sufficient understanding of the symbolism of traditional pattern leads designers to make a good combination of traditional and contemporary in the design, thus helps to expedite the development of the contemporary Chinese design. Xuefeng (appendix L), Wei (appendix G) and Akira (appendix D) is also emphasised the importance of the knowledge of the traditional culture of the combination and innovation. The opinions of Dezhi (appendix Q) and Yolanda (appendix M) agreed with them from the side. Dezhi (appendix Q) thought new cultural symbols cannot be produced in the current stage of Chinese design because the application only simplifies the traditional elements on the stage; it means the traditional culture always along with the development of contemporary design, thus, the derivation of new cultural symbols must base on the traditional culture. Yolanda (appendix M) thought that the symbolism of the traditional pattern is too strong to use in contemporary design, so the combination is more suitable; it means the understanding of the

traditional culture is the precondition of the combination, that the designer should first know the culture, so then the decision of the design can be made.

4.4 The importance of the understanding of the symbolism of traditional patterns in contemporary design The question in the last part of the interview investigates the role of the symbolism of Chinese traditional pattern in contemporary pattern design. Many interviewees thought that the understanding of the symbolism is the precondition of design and innovation, because the limited understanding of symbolism will cause mistakes on design works and will mislead people’s concept, and the designer will be limited in a finite range due to the shallow knowledge of the symbolism of traditional patterns. The designer should not only focus on the design but also need to bring the connotation of the design to people, which is the delivery of the culture and positive power. However, Yolanda (appendix M) does not quite agree with the idea. Because the existence of the symbolism is not a necessity in contemporary daily life, so the designer might better focus on the colour instead of the symbolism of traditional patterns, then the design may be accepted by most of the people in contemporary society and can achieve the effect that makes people feel happiness. Yolanda’s opinion can be seen in Dries Van Noten’s work, which has the application of Chinese patterns and colours but limited understanding of the symbolism of traditional patterns (chapter 3). In fact, in chapter three, the significance of the symbolism is proved by design examples in section 3.3. At first, it is proved that the inspiration for the design came from the traditional pattern and the symbolism. Second, the figures in chapter three is shown that patterns in contemporary design are the combination of traditional culture and contemporary elements, which is abstract than the traditional pattern and is accord with contemporary people. Third, the colour application is inspired by the traditional colour that is one part of the traditional culture and has specific meaning for each colour. Besides, the concept of Chinese design is “people-oriented”, which comes from the thought of Zhuangzi (the Warring States Period), so the design can be

accepted by most of the people. Hence, the idea in Yolandaâ&#x20AC;&#x2122;s opinion is too subjective and one-sided.

Limitation The opinions of interviewees cannot represent the whole design industry because the subjective opinions exist; and because of the limitation of the number of interviewees, only one interviewee has the different opinion on some questions, so the positive result of the interview is produced relative to this situation.

Summary Through the research, it can be seen that symbolism as the part of the traditional pattern is an important resource for contemporary designers. Because the insufficient understanding of the symbolism of traditional pattern will impede the development of the design and will cause mistakes in the design. In addition, it is not said that the knowledge of the symbolism of the pattern will restrict the idea and thought of designers, but the knowledge will help to complete the combination and the innovation better.

Conclusion Throughout the dissertation, it is shown that the symbolism of the traditional pattern has the positive influence for contemporary Chinese pattern design. When the combination of the traditional culture and western culture has become to a trend for contemporary Chinese design, the understanding of the symbolism of traditional pattern is important for designers because the correct understanding is the precondition of combination and innovation. Chinese symbolism comes from natural things and the superstitious thought of people, and patterns are the carrier for symbolism thus, the pattern shows the expectation and faith of people in ancient China, for instance, to express happiness and auspicious, the Chinese knot is designed. Through the research, it is shown that the symbolism of the traditional pattern has an important position in China because the close relation can be seen in the symbolism and the life of people. The symbolism also can be found in Chinese traditional colour theory, which related to the five-element theory that is the specific concept in China. The traditional pattern is supported by the traditional colour theory thus the symbolism is shown in a better visual effect. Following the growth of the Chinese design, the contemporary colour theory has achieved the combination of the traditional culture and western culture, which is indirect describe the influence of the symbolism of the traditional pattern in contemporary Chinese pattern design. In this dissertation, the role of the symbolism is explained by the pattern and the colour that are two indispensable parts of the application of the traditional culture. Although the western culture has entered China after the Opium War, the traditional culture has not ignored, hence the contemporary Chinese design has formed by combine the western culture and Chinese traditional culture (yishuzhongguo, 2014). Therefore, the symbolism of the traditional pattern is not changed in the contemporary application, and due to the simplification of the traditional pattern when used in contemporary pattern design, the understanding of the symbolism of the pattern become important for designers. Because the correct and in-depth understanding guides the design complete successful

combination and then achieve “people-oriented”, which is the concept of contemporary Chinese design. According to the in-depth investigation that communicated with people those whose occupations about design, it is proved that the symbolism of the traditional pattern has an important role in contemporary Chinese pattern design. In the research, from the interviewees’ opinions, it is shown that the symbolism of the traditional pattern is not a negligible knowledge for designers. Because the sufficient understanding is not only an essential step before inherit the traditional culture and then achieve the combination of traditional and contemporary, but also a guidance for designers to make the design better to overcome the challenge in the design process. In addition, the negative opinion from the research can also prove the influence of the understanding of the symbolism, that the traditional pattern and traditional colour is related to the symbolism, thus, the limited understanding of the symbolism of the pattern will cause mistakes in design and may mislead the concept of people.

Therefore, the symbolism of the traditional pattern has an

important influence in contemporary Chinese pattern design for the design industry.

Recommendation and future considerations The point of the topic has proved through the research and analysis, but the limitation still existed. The examples of western designers’ application of the traditional pattern are not comprehensive enough because the focus is on contemporary Chinese pattern design, thus, more examples of applications by Chinese designers are used. Hence, more researches about the applications of traditional patterns by western designers will take to explaining the importance of the symbolism of traditional patterns better if the time allows. The interview cannot represent the whole design industry because only fourteen people were invited and the subjective opinions exist. The positive result of the interview is made because only one different opinion appeared in the research; so if the time allowed gathering more information, more different opinions may collect that can lead more analysis and discuss of the topic. 62

The research is focused on the symbolism of Chinese traditional patterns, thus, the English resources are lack and the knowledge of the Chinese symbolism is limited, therefore, lots of Chinese resources are used in the dissertation. Hence, if more time is given, the other English resources can be found.

Reference list

Chapter one

Books 1. Garrett, V.M. 1997. A Collectorâ&#x20AC;&#x2122;s Guide to Chinese Dress Accessories. Singapore: Times Editions.

2. Zhou, D.Y. Northern Song dynasty. Ai Lian Shuo. 3. M. Mcl. 1907. The Symbolism of Chinese Porcelains. In: M. Mcl. ed. The Metropolitan Museum of Art Bulletin. New York: The Metropolitan Museum of Art, pp.181-183. 4. Guan, Y.H. 2010. The Decorative Patterns in Dunhuang Frescoes. Shanghai: East China Normal University Press. 5. Fan, J.S. 2010. Introduction. In: Guan, Y.H. The Decorative Patterns in Dunhuang Frescoes. Fan, J.S. ed. Shanghai: East China Normal University Press, pp. 4-6. 6. Hann, M. 2013. Symbol, Pattern & Symmetry: the cultural significance of structure. London: Bloomsbury Academic.

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Chapter two

Books 1. M. Mcl. 1907. The Symbolism of Chinese Porcelains. In: M. Mcl. ed. The Metropolitan Museum of Art Bulletin. New York: The Metropolitan Museum of Art, pp.182.

2. Not clear. The Warring States Period. Shang Shu: Hong Fan.

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Figures 1. Figure 2.1: Cheng, N.Q. 2004. Hua Shuo Zhong Guo: Da Feng Yi Qu Zhen He Shan. First Edition. Shanghai: Shanghai Literary Press. 2. Figure 2.2, figure 2.3, figure 2.4: Guan, Y.H. 2010. The Decorative Patterns in Dunhuang Frescoes. Shanghai: East China Normal University Press. 3. Figure 2.5: rentianlang. 2014. RGB. [Online]. [Accessed 15 March 2016]. Available from: http://www.duitang.com/blog/?id=134030499 4. Figure 2.6: Wikimedia. 2008. File: CMYK DIN ISO 2846 1 LAB to RGB. [Online]. [Accessed 15 March 2016]. Available from: https://commons.wikimedia.org/wiki/File:CMYK_DIN_ISO_2846_1_LAB_ to_RGB.svg 5. Figure 2.7: The Theme Wedding Boutique. No date. Vintage red phoenix Chinese wedding invitation. [Online]. [Accessed 15 March 2016]. Available from: http://www.zazzle.co.uk/vintage_red_phoenix_chinese_wedding_invitatio n-161245291230678593 6. Figure 2.8: Baidupedia. 2015. The wedding cloth with phoenix motif on headwear and robe. [Online]. [Accessed 15 March 2016]. Available from: http://baike.baidu.com/link?url=0TkUuidNNtRJBoJrbzDip_4Emnl3KI3dAkFc34Iu17WVcAkNpEh9FvAYqXP7TB_39N bbYC1K718SVxtb12TCa 7. Figure 2.9: L Studio. 2015. The beautiful woman; wear traditional wedding cloth with pheonix motif and equisite decorations on the headwear / stylist: the director of L Studio / costume @L_Bride Ai Ou 73

Hun Sha, XiuHe suit & dragon and phoenix pattern garment / #fashion picture#. [Weibo]. 27 August. [Accessed 15 March 2016]. Available from: http://m.weibo.cn/3302797294/3880557731467698?uicode=10000002& mid=3880557731467698&luicode=10000011&_status_id=38805577314 67698&lfid=2302592403152013&sourcetype=page&lcardid=2302592403 152013_-_3880557731467698

Chapter three

Books 1. Hann, M. 2013. Symbol, Pattern & Symmetry: the cultural significance of structure. London: Bloomsbury Academic.

2. Zhou, G.D. Pre-Qin period. Zhou Li.

Websites 1. Baidupedia. 2016. Chinese dragon. [Online]. [Accessed 15 March 2016]. Available from: http://baike.baidu.com/link?url=SWeP9dcd7N9lBBOc5DoKi9CaV9awnLN xuJPjo8RUN0FyXjcH0z25sTJVcyEaObUDGgvOOTrglgLIpdWzaNWQBFBZ7g 78Xgyls0V6GVGoc7 2. Baidupedia. 2016. Dragon robe. [Online]. [Accessed 15 March 2016]. Available from: http://baike.baidu.com/link?url=AFZGuAJ9N8mcJDUNMLnKvpmFSO4i5 PrzzijU0WQ5iTO4pYlr10alCWyxLhUnJW68hECSLihyF4kWWavXKypBX a

3. songqiao. 2015. Has the colour of Chinese emperor’s robe must be yellow? 22 January. Youtianxia. [Online]. [Accessed 15 March 2016]. Available from: http://blog.tianya.cn/post-3712068-80842633-1.shtml 4. vampireannis. 2010. Comment on: anonymity. How to comment contemporary Chinese design? Baidu. [Online]. Comment posted on 18 June. [Accessed 15 March 2016]. Available from: http://zhidao.baidu.com/link?url=8CvrDrGQ__sS7x7ab4r4C5kecS4pgMPNvhIM-O849PONHb7mOrZkXThHiKPVr9iTBjm3NB6IofutYYJJD2sK 5. bingbingshui0. 2014. The analysis on the influence of Chinese traditional culture in contemporary design. [Online]. [Accessed 15 March 2016]. Available from: http://wenku.baidu.com/link?url=kuslqc1YcT8ayWtezXEcb21C6U7k3qMuF25L979nz_bNqzCFvOM6aBDU5gFvaAAoS0pfZ44Xvtn mmBOn8JU1I6jcS8nxnivVcsZ7VHmXFi 6. yishuzhongguo. 2014. The review of the development of contemporary Chinese design. [Online]. [Accessed 15 March 2016]. Available from: http://art.china.cn/products/2014-08/29/content_7189944_3.htm 7. Luo, D.Q. 2015. Xueming Lin’s work “cha” will be show in the exhibition in Milan. [Online]. [Accessed 15 March 2016]. Available from: http://home.focus.cn/news/1970-01-01/428101.html 8. Baidupedia. 2015. Jin Dai Qiang. [Online]. [Accessed 15 March 2016]. Available from: http://baike.baidu.com/link?url=UzrvRhFHJ2EsquMgLOyoa1xchBtVdK6YcUTM5U3p8WP8c7Y1h0lLDLKrWYg0Vymay9IQ9m7YnxHTA3eG4 OAFq 9. xinhuanet. 2014. Interview: the thought of Zhaoping Deng on “Sheng Shi Zhong Hua” collection. [Online]. [Accessed 15 March 2016]. Available from: http://news.xinhuanet.com/fashion/2014-10/28/c_127147370.htm 10. Beijing News. 2014. Zhaoping Deng and her design colletion “Sheng Shi Zhong Hua”. Beijing News. 2 November. [Online]. [Accessed 15 March 2016]. Available from: http://www.bjnews.com.cn/fashion/2014/11/02/339799.html

11. Zhao, X.G. 2003. Modern Graphic Design and Traditional Pattern. [Online]. [Accessed 15 March 2016]. Available from: http://www.cssn.cn/ysx/ysx_sjx/201405/t20140523_1182527.shtml 12. Zhang, H. 2012. Traditional Decorative Pattern Stay Verve through the Ages â&#x20AC;&#x201C; the inheritance and innovation. [Online]. [Accessed 15 March 2016]. Available from: http://www.docin.com/p-456090092.html 13. Fu, L.H. 2009. The symbolism of ancient coin. [Online]. [Accessed 15 March 2016]. Available from: http://www.globrand.com/2009/126837.shtml 14. Wang, X. 2015. The investigation of heart-shaped symbol. [Online]. [Accessed 15 March 2016]. Available from: http://culture.workercn.cn/93/201504/30/150430081858398_2.shtml 15. douluochenxing. 2015. Comment on: anonymity. The origin of heartshaped symbol. Baidu. [Online]. Comment posted on 8 December. [Accessed 15 March 2016]. Available from: http://zhidao.baidu.com/link?url=cK4GRM6T5XjLNQ4wusgleXT7Tpc0Uf5 nEyRwuAk_Q3xxMRl2aQ0hXjkZ0sFNlUYywJEbFr1ILduSZuOH4Or2qa 16. Baidupedia. 2015. The heart-shaped symbol. [Online]. [Accessed 15 March 2016]. Available from: http://baike.baidu.com/link?url=HKW8gbjjZS88DiV-meipLjrBr2YB2UDGeqW9QO_hGWtlW1WusBuuX2teaVyvIR5Cq4rhh7jh14pUbgz5 KfDOa 17. Baidupedia. 2016. 2008 Bejing Olympic Games. [Online]. [Accessed 15 March 2016] .Available from: http://baike.baidu.com/link?url=ELe2leBOeh09GiLun_iy0oNpDaY8cHlihC L5b8zc8NXFWiGn1ulipQS7SCaZ5l8liyY6CePs36ARbJHKaCrVwK#8 18. Baidupedia. 2015. The logo of 2008 Beijing Olympic Games. [Online]. [Accessed 15 March 2016]. Available from: http://baike.baidu.com/view/1224535.htm 19. PCHOUSE. 2010. Shaohua Chen: how to use Chinese elements to show China. [Online]. [Accessed 15 March 2016]. Available from: http://sheji.pchouse.com.cn/dasheji/1011/43404_all.html#content_page_ 3

20. chuwengeiledang. 2009. Comment on manmb. The designer of the symbol of Beijing Olympics and the design concept. Baidu. [Online]. Comment posted on 20 November. [Accessed 15 March 2016]. Available from: http://zhidao.baidu.com/question/126186201.html 21. Huang, B.B. 2014. The application of traditional clouds motif in contemporary product design. [Online]. [Accessed 15 March 2016]. Available from: http://www.niubb.net/article/444365-1/1/ 22. Nie, Y. and Hou, Y.Q. No date. The analysis of the application of Buddhist patterns in contemporary package design. [Online]. [Accessed 15 March 2016]. Available from: http://www.doc88.com/p1813461366471.html 23. Pang, X.X. 2015. The symbolism of wearing jade Buddha pendant. [Online]. [Accessed 15 March 2016]. Available from: http://news.zocai.com/czbzs/201507150003.html 24. Xin, An. 2014. The Wan motif. 26 November. Xin Anâ&#x20AC;&#x2122;s blog. [Online]. [Accessed 15 March 2016]. Available from: http://blog.sina.com.cn/s/blog_4daa8a850102v6cb.html 25. Baidupedia. 2015. Dries Van Noten. [Online]. [Accessed 15 March 2016]. Available from: http://www.baidu.com/link?url=QgwUH2XrrJiryAKBK3P8_jecuBv7R3FJZ MW4-lOKjmi4WUTCSxPlIuHgr63jK9bWcA5k83X6sdqrk6C0y5oWK&wd=&eqid=c3 a279dc000adf7e0000000456e9f1e7 26. Zeng, Y. 2012. The FW 2012 collection of Dries Van Noten has launched. [Online]. [Accessed 15 March 2016]. Available from: http://www.nz86.com/article/4adb725235c888cf0135cc2f684d011b/ 27. Lancejewelry. 2016. LV introduces monkey inspired collection for Chinese lunar New Year. 6 January. Lancejewelry. [Online]. [Accessed 15 March 2016]. Available from: http://www.lancejewelry.com/blog/lvintroduces-monkey-inspired-collection-for-chinese-lunar-new-year/ 28. Cafaro, V. 2015. Giorgio Armani launches year of monkey face palette for 2016. [Online]. [Accessed 15 March 2016]. Available from: http://www.fashionisers.com/perfumes-makeup/giorgio-armani-monkeyface-palette-2016/ 77

29. Ewer, K. 2016. Chinese New Year: year of the monkey. [Online]. [Accessed 15 March 2016]. Available from: http://www.jkrglobal.com/design-gazette/chinese-new-year-year-of-themonkey/

Figures 1. Figure 3.1: Mingde Elementary School. 2009. Dragon robe. [Online]. [Accessed 15 March 2016]. Available from: http://library.taiwanschoolnet.org/gsh2009/gsh5567/2-3-2.html 2. Figure 3.2: Luo, D.Q. 2015. Xueming Lin’s work “cha” will be show in the exhibition in Milan. [Online]. [Accessed 15 March 2016]. Available from: http://home.focus.cn/news/1970-01-01/428101.html 3. Figure 3.3: PCHOUSE. 2012. The work of Daiqiang Jin: the painting from heart. [Online]. [Accessed 15 March 2016]. Available from: http://sheji.pchouse.com.cn/zuopinku/other/1210/235558.html 4. Figure 3.4: sheyingshilaozhu. 2014. Sheng Shi Zhong Hua – the fashion show of Zhaoping Deng. [Online]. [Accessed 15 March 2016]. Available from: http://blog.sina.com.cn/s/blog_3d4afc0b0102v5xt.html 5. Figure 3.5: bestkelly. 2009. Ancient coin. [Online]. [Accessed 15 March 2016]. Available from: http://jd.cang.com/326062.html 6. Figure 3.6: panshijingxuan. 2010. The meanings of bank logos. 24 July. Panshijingxuan blog. [Online]. [Accessed 15 March 2016]. Available from: http://blog.sina.com.cn/s/blog_5ea01b1b0100jy0y.html 7. Figure 3.7: chinafacttours. No date. Chinese paper cut. [Online]. [Accessed 15 March 2016]. Available from: http://chinatourplanner.freechinalink.com/chinese-paper-cut.html 8. Figure 3.8: 3599778986. 2010. Red Xi paper cut. [Online]. [Accessed 15 March 2016]. Available from: http://www.nipic.com/show/3/24/3729295ka532e364.html 9. Figure 3.9: yooyoo360. No date. The logo of 2008 Beijing Olympic Games. [Online]. [Accessed 15 March 2016]. Available from: http://www.yooyoo360.com/photodetail.asp?showid=101189

10. Figure 3.10: manmb. 2009. The designer of the logo and the design concept. [Online]. [Accessed 15 March 2016]. Available from: http://zhidao.baidu.com/question/126186201.html 11. Figure 3.11: Mamelise. 2015. Chinese porcelain. [Pinterest]. 9 March. [Accessed 15 March 2016]. Available from: https://uk.pinterest.com/pin/375839531379370186/ 12. Figure 3.12: nipic. 2008. The pattern of Olympics torch. [Online]. [Accessed 15 March 2016]. Available from: http://www.nipic.com/show/4/79/98274c6619ac2b61.html 13. Figure 3.13: szybest. 2008. The 3D model of Olympics torch. [Online]. [Accessed 15 March 2016]. Available from: http://www.nipic.com/show/898075.html 14. Figure 3.14: KikkiQi. 2016. The poster design competition of “the bite of China 2”. [Online]. [Accessed 15 March 2016]. Available from: http://huaban.com/pins/610765062/ 15. Figure 3.15: Wang, D.W. 2015. The symbolism of jade Buddha pendant. [Online]. [Accessed 15 March 2016]. Available from: http://news.zocai.com/czbzs/201507100009.html 16. Figure 3.16: tilliely. 2013. The figures of Buddha. 1 February. Tilliely blog. [Online]. [Accessed 15 March 2016]. Available from: http://blog.sina.com.cn/s/blog_601a7a500101lah7.html 17. Figure 3.17: Xin, An. 2014. The Wan motif. 26 November. Xin An’s blog. [Online]. [Accessed 15 March 2016]. Available from: http://blog.sina.com.cn/s/blog_4daa8a850102v6cb.html 18. Figure 3.18: VOGUE. 2012. Dries Van Noten Fall 2012. [Online]. [Accessed 15 March 2016]. Available from: http://www.vogue.com/fashion-shows/fall-2012-ready-to-wear/dries-vannoten/slideshow/collection#21 19. Figure 3.19: VOGUE. 2012. Dries Van Noten Fall 2012. [Online]. [Accessed 15 March 2016]. Available from: http://www.vogue.com/fashion-shows/fall-2012-ready-to-wear/dries-vannoten/slideshow/collection#32 20. Figure 3.20: VOGUE. 2012. Dries Van Noten Fall 2012. [Online]. [Accessed 15 March 2016]. Available from: 79

http://www.vogue.com/fashion-shows/fall-2012-ready-to-wear/dries-vannoten/slideshow/collection#24 21. Figure 3.21: Lancejewelry. 2016. LV introduces monkey inspired collection for Chinese lunar New Year. 6 January. Lancejewelry. [Online]. [Accessed 15 March 2016]. Available from: http://www.lancejewelry.com/blog/lv-introduces-monkey-inspiredcollection-for-chinese-lunar-new-year/ 22. Figure 3.22: Ewer, K. 2016. Chinese New Year: year of the monkey. [Online]. [Accessed 15 March 2016]. Available from: http://www.jkrglobal.com/design-gazette/chinese-new-year-year-of-themonkey/

Conclusion Websites 1. yishuzhongguo. 2014. The review of the development of contemporary Chinese design. [Online]. [Accessed 15 March 2016]. Available from: http://art.china.cn/products/2014-08/29/content_7189944_3.htm

Appendices

Appendix A 80

Websites 1. Baidupedia. 2015. Bi colour. [Online]. [Accessed 15 March 2016]. Available from: http://baike.baidu.com/link?url=MBAWHrM0fQ_4NoiqoIRl2XK77T5p2sg WfT6esXyPWU7d_PFoXyUPewk79pdedX2TF4aKn50KmKbWMsTl-friwq 2. Baidupedia. 2016. Jade. [Online]. [Accessed 15 March 2016]. Available from: http://baike.baidu.com/link?url=S_celXu7c1cDcaN9pAH2yrqk25_t4FSpd h7_GlQZu6rZoFhFIlEIvT_0HtHHH1wbg7w6uEjPQUcYER_z0P8s7GLd9 CWFkHrfX1slFwW95IK 3. Wang, D.W. 2015. The symbolism of jade Buddha pendant. [Online]. [Accessed 15 March 2016]. Available from: http://news.zocai.com/czbzs/201507100009.html 4. Aguo622. 2015. Comment on: anonymity. What is the colour of the blue and white porcelain? Baidu. [Online]. Comment posted on 6 July. [Accessed 15 March 2016]. Available from: http://zhidao.baidu.com/question/191949827.html?qbl=relate_question_0 &word=%C7%E0%BB%A8%B4%C9%B5%C4%D1%D5%C9%AB 5. 5656398. 2015. The spirit of the blue and white porcelain. [Online]. [Accessed 15 March 2016]. Available from: http://wenku.baidu.com/link?url=g0gcstxbKUdM0uZ0SLqmroc10hwjL63Z Y8M3VPlJOkZi9d7J6xq2nd6sfiCAP4lvz9S-DrILi8YuOSeM2dMXzRv3aJYYlYMaVIEqeIsswa 6. 564524843. 2015. Comment on: youxiliudao. How the vermilion is dyed? Baidu. [Online]. Comment posted on 1 June. [Accessed 15 March 2016]. Available from: http://zhidao.baidu.com/link?url=Akbs6Ug3aT5B_YZ2qGaIRR1VetJl4288 _JzIA-STjS75_sJKZi-kOkyIZG7R7EDuMHBdBEKwfIjUs4E8XX3U_q 7. Wang, Y.M. 2010. The vermilion colour in Chinese art history and the colour culture. [Online]. [Accessed 15 March 2016]. Available from: http://www.doc88.com/p-3187558159283.html

Figures 1. Figure 1: cctvhomeshopping. No date. The jade pendant of Buddha. [Online]. [Accessed 15 March 2016]. Available from: http://www.igocctv.com/igo/goods/214595-5037-5172.html 2. Figure 2: YILISE. 2012. China porcelain nail design. [Online]. [Accessed 15 March 2016]. Available from: https://lilthingsmatter.wordpress.com/2012/10/04/china-porcelain-naildesign/ 3. Figure 3: zhongyaoyaoyongjiazhiwang. 2012. Vermilion. [Online]. [Accessed 15 March 2016]. Available from: http://www.dianshu119.com/index.php?doc-view-584

Appendix B Websites 1. fojiaoyishu. 2005. The characteristic of colours in Tibetan Buddhism. [Online]. [Accessed 15 March 2016]. Available from: http://wenku.baidu.com/link?url=CaUAttG2Xcg3nFvre54H1Et0wfzFOYtuOEOHyX0BcwXMDnkw-kYl2z0g563zsu1n6mA3PKsXATfuwhZsGGGMvz8ZdDkDxjFrWxlcRoBB3 2. Piao, Zh. 2011. Why red and yellow has wide application in Tibetan Buddhism. [Online]. [Accessed 15 March 2016]. Available from: http://foxue.baike.com/article-37947.html 3. xizanglasasaikanglvxingshe. 2015. The colours in Tibetan Buddhism. [Online]. [Accessed 15 March 2016]. Available from: http://saikang.zudong.com/info/29246

4. Baidupedia. 2015. The five Buddha. [Online]. [Accessed 15 March 2016]. Available from: http://baike.baidu.com/link?url=xHtRgzzi7MF7juV6MsxWfM2pHi8jCbezhf BGF4grTfznQXvujeOoPt1FYgCRDdZV

Figures 1. Figure 1, figure 2, figure 3, figure 4, figure 5: Baidupedia. 2015. The five Buddha. [Online]. [Accessed 15 March 2016]. Available from: http://baike.baidu.com/link?url=xHtRgzzi7MF7juV6MsxWfM2pHi8jCbezhf BGF4grTfznQXvujeOoPt1FYgCRDdZV

Appendix C Figures â&#x20AC;&#x201C; traditional patterns 1. Figure 1: nipic. 2012. Paper cut work of fish motif. [Online]. [Accessed 15 March 2016]. Available from: http://www.nipic.com/show/6776541.html 2. Figure 2: ruanzhuangyihao. 2013. Chinese traditional patterns and its symbolism. 8 August. Ruanzhuangyihao blog. [Online]. [Accessed 15 March 2016]. Available from: http://blog.sina.com.cn/s/blog_892ab4240101o5rf.html 3. Figure 3: ruanzhuangyihao. 2013. Chinese traditional patterns and its symbolism. 8 August. Ruanzhuangyihao blog. [Online]. [Accessed 15 March 2016]. Available from: http://blog.sina.com.cn/s/blog_892ab4240101o5rf.html 83

4. Figure 4: ruanzhuangyihao. 2013. Chinese traditional patterns and its symbolism. 8 August. Ruanzhuangyihao blog. [Online]. [Accessed 15 March 2016]. Available from: http://blog.sina.com.cn/s/blog_892ab4240101o5rf.html 5. Figure 5: Lanoway, A. 2015. My style. [Pinterest]. 15 November. [Accessed 15 March 2016]. Available from: https://uk.pinterest.com/pin/121315783690369048/ 6. Figure 6: Ding, D. 2013. A collection of decorative auspicious patterns. 8 November. Dingdingâ&#x20AC;&#x2122;s blog. [Online]. [Accessed 15 March 2016]. Available from: http://blog.sina.com.cn/s/blog_e6cc1c6d0101g98h.html 7. Figure 7: bendibao. 2008. The guardians of doors. [Online]. [Accessed 15 March 2016]. Available from: http://sz.bendibao.com/jieri/2008122/59669.asp 8. Figure 8: hongdongzhongguo. No date. Peony motif. [Online]. [Accessed 15 March 2016]. Available from: http://sucai.redocn.com/shiliangtu/1525581.html 9. Figure 9: jietouhuaihuai. No date. Chinese traditional lotus motif. [Online]. [Accessed 15 March 2016]. Available from: http://sucai.redocn.com/shiliangtu/1486199.html 10. Figure 10: nipic. 2015. Chinese knot. [Online]. [Accessed 15 March 2016]. Available from: http://www.nipic.com/show/12251688.html 11. Figure 11: hongdongzhongguo. No date. The auspicious motif. [Online]. [Accessed 15 March 2016]. Available from: http://sucai.redocn.com/psd/211151.html### 12. Figure 12: hetianyu. 2012. The symbolism of Chinese traditional patterns. [Online]. [Accessed 15 March 2016]. Available from: http://www.zhuoyixuan.com/news/1182.html

Figures â&#x20AC;&#x201C; contemporary patterns

1. Figure 1: yooyoo360. No date. The logo of 2008 Beijing Olympic Games. [Online]. [Accessed 15 March 2016]. Available from: http://www.yooyoo360.com/photodetail.asp?showid=101189 2. Figure 2: manmb. 2009. The designer of the logo and the design concept. [Online]. [Accessed 15 March 2016]. Available from: http://zhidao.baidu.com/question/126186201.html 3. Figure 3: panshijingxuan. 2010. The meanings of bank logos. 24 July. Panshijingxuan blog. [Online]. [Accessed 15 March 2016]. Available from: http://blog.sina.com.cn/s/blog_5ea01b1b0100jy0y.html 4. Figure 4: The Theme Wedding Boutique. No date. Vintage red phoenix Chinese wedding invitation. [Online]. [Accessed 15 March 2016]. Available from: http://www.zazzle.co.uk/vintage_red_phoenix_chinese_wedding_invitatio n-161245291230678593 5. Figure 5: KikkiQi. 2016. The poster design competition of â&#x20AC;&#x153;the bite of China 2â&#x20AC;?. [Online]. [Accessed 15 March 2016]. Available from: http://huaban.com/pins/610765062/ 6. Figure 6: L Studio. 2015. The beautiful woman; wear traditional wedding cloth with pheonix motif and equisite decorations on the headwear / stylist: the director of L Studio / costume @L_Bride Ai Ou Hun Sha, XiuHe suit & dragon and phoenix pattern garment / #fashion picture#. [Weibo]. 27 August. [Accessed 15 March 2016]. Available from: http://m.weibo.cn/3302797294/3880557731467698?uicode=10000002& mid=3880557731467698&luicode=10000011&_status_id=38805577314 67698&lfid=2302592403152013&sourcetype=page&lcardid=2302592403 152013_-_3880557731467698

Appendices

Appendix A: Examples of specific Chinese traditional colours The word â&#x20AC;&#x153;Biâ&#x20AC;? means turquoise (Baidu, 2015); it is one of the general colours of jade (Baidu, 2016), which stands for purity and elegance (Wang, 2015). Chinese people engrave the jade in auspicious pattern or the figure of Buddha and wear it to against evil forces and bad fortune.

Fig 1. Jade (cctvhomeshopping. No date)

The colour used on blue and white porcelain, the traditional chinaware in China, is named Cobalt blue colour. To make the blue and white porcelain, artisans firstly use natural cobalt material to paint patterns on the white mud, after that the transparent glaze is added on the surface of the mud, and then the mud is fired under high temperature in order to make a full penetration of the colour into the body and glaze (aguo622, 2015). The blue and white colour of the porcelain represents clean and elegant, and the symbolism of the porcelain is honest and it reminds people do not seek fame and wealth (5656398, 2015).

Fig 2. Chinese blue and white porcelain (YILISE. 2012)

Another important Chinese traditional colour is Vermilion; the vermilion colour that made by cinnabar is bright and pure, and can be kept on the works for a long time (564524843, 2015). In remote antiquity, people believed that vermilion can exorcise evil forces, and it is the symbol of spirits because the colour is close to the blood (Wang, 2010). In addition, vermilion has an important position in Taoism because of its characteristics and peopleâ&#x20AC;&#x2122;s belief (Wang, 2010).

Fig 3. Cinnabar (zhongyaoyaoyongjiazhiwang. 2012)

Appendix B: The colour theory of the pattern in Tibetan Buddhism The white colour is in the rich content that symbolises purity, wisdom, dignity, auspicious (fojiaoyishu, 2005). Everything is exist in white because the colour represents unconcealed and undifferentiated, for instance the cloth of the Apsaras who represents wisdom and knowledge is white which means the knowledge is available to everyone (fojiaoyishu, 2005).

Fig 1. Mahavairocana (Baidupedia. 2015)

The red colour in western art represents vitality and power, thus the red rope is wrapped around the hand to against evil forces; and in Tibetan Buddhism the symbolism of the red colour is also used to exorcise the evil forces (Piao, 2011). Moreover, the utilization of the red colour has strict rules that the colour is mainly used for palaces, shrines, and the exterior walls of several important palaces to stand for majesty. The red colour also symbolises brave, and the symbolism can be found on Tibetan Buddhist sacrifice hall, which is the continuation of the behaviour that smudged the red colour on the tombs of dignitary and warrior (Piao, 2011).

Fig 2. Amitabha (Baidupedia. 2015)

In Tibet, the yellow colour is mostly utilized for the Tibetan Buddhist temples and the clothes of monks as well as the red colour, it is the symbol of dignity and sacredness (Piao, 2011). Hence, the palaces of some temples, the practice room, and some Buddhist nunneries are use yellow colour to decorate the exterior walls (xizanglasasaikanglvxingshe, 2015). In summary, the red and yellow colour is inviolable in Tibetan Buddhism, which like a belief in peopleâ&#x20AC;&#x2122;s mind (xizanglasasaikanglvxingshe, 2015).

Fig 3. Ratnasambhava (Baidupedia. 2015)

In Indian culture, the blue colour related to the sea which has the symbolism of wisdom and wealth, and based on this symbolism the blue colour in Tibetan Buddhism stand for eternity and the expectation of the afterlife (fojiaoyishu, 2005).

Fig 4. Akshobhya (Baidupedia. 2015)

The religious function of green colour is magic (fojiaoyishu, 2005), and the symbolism of the colour is achievement, which means the stylite can far from suffering and accomplish all causes under the blessing of Amoghasiddhi (Baidu, 2015).

Fig 5. Amoghasiddhi (Baidupedia. 2015)

Appendix C: Interview questions

Name Occupation _______________________________________________________________ _ Interview questions 1. Do you know any meaning of Chinese traditional pattern?

2. What colour(s) do you know that belong to Chinese traditional colours?

3. Have you ever seen Chinese traditional pattern in your daily life?

Inside the lists of Chinese traditional patterns, answer the following question. 4. Which figures do you know? (Please give the figure number) What is the symbolism of them?

Inside the lists of contemporary Chinese patterns, answer the following question. 5. What is the difference between Chinese traditional pattern and contemporary pattern?

6. What do you think of the application of Chinese traditional pattern in contemporary Chinese pattern design?

7. I think the symbolism of Chinese traditional pattern play an important role in contemporary Chinese pattern design. o Strongly agree o Agree o Neither agree nor disagree o Disagree 91

o Strongly disagree

8. Do you agree that it is better to learn about the symbolism of Chinese traditional pattern before designing?

Lists of Chinese traditional patterns

Figure number

Figure

Lists of contemporary patterns

Figure number

Figure

Appendix D: Email interview with Akira Cheng Occupation: draftsman 1. I know lots of Chinese traditional patterns, and most of them are symbolise auspicious and peaceful.

2. I think red colour belongs to Chinese traditional colour; and the main colours in Chinese traditional architecture are red, green, yellow and blue.

3. Yes. The traditional patterns can be seen in Chinese traditional buildings, the frame of windows and doors, furniture, utensils, etc.

4. Figure 1-7 and figure 9. And the symbolism of these patterns is listed below. 

Figure 1: it represents affluence and is a symbol of auspicious.

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Figure 2: The dragon motif represents noble and auspicious, and the pattern represents the peaceful life.

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Figure 3: The pattern with dragon and phoenix motif represents auspicious.

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Figure 4: Mandarin duck is the symbol of happiness and love.

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Figure 5: Five bats are included in this pattern, the symbolism of each bat is longevity, wealth, heath, kindness, and natural death.

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Figure 6: This motif can exorcise evil forces, and can bring in wealth and treasure.

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Figure 7: The picture with the guardians of the door is usually placed on the door in China, it symbolises auspicious and express people’s desire for the new year.

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Figure 9: Lotus flower represents purity.

5. I think the traditional pattern is complex and has strong symbolism; but the contemporary pattern is simplified.

6. I think contemporary pattern design combined with traditional culture and contemporary elements together, as it can be seen in the figures that are previously shown, and the understanding of the traditional culture is important for the combination.

7. Agree.

8. Yes, I agree. Because the pattern can be used better in design when understand the symbolism of the pattern.

Appendix E: Email interview with Cindy Wang Occupation: art assistant 1. Lotus flower represents purity; peony represents wealth and lucky; bat motif represents happiness; Chinese knot represents happiness and auspicious; plum represents purity and lofty.

2. The traditional colour include red, black, white, yellow and blue. 3. Chinese traditional patterns can be seen on Vase, decorative wallpaper,

bedding, curtain, bowl, book set, mug, and clothing. 4. Figure 1-10 and figure 12. Figure one represents affluence; figure two represents nobility and good fortune; figure three represents auspicious; Figure four represents happiness; figure five represents propitious and fortune; figure six is used to against evil forces and bring wealth to people; figure seven represents good fortune and also can exorcise evil forces; figure eight represents nobility; figure nine represents purity; figure ten represents auspicious; figure twelve represents longevity. 5. Contemporary Chinese pattern design connects with more present factors, like geometries. And contemporary pattern is simpler and considers figuresâ&#x20AC;&#x2122; shapes and colours mostly. Most traditional pattern design combines with symbolism, not contemporary. 6. It is good for expanding traditional knowledge. The symbolism can display Chinese history.

7. Neither agree nor disagree. 8. Yes, I agree. Because any design has own inspiration, and the correct and in-depth understanding is an important step in design process.

Appendix F: Email interview with Eric Occupation: graphic designer 1. Yes, I do. The dragon pattern represents nobility; the lotus motif represents purity; the clouds motif is the symbol of auspicious; the peony motif represents wealth and nobility; and the bat motif also represents wealth.

2. I think red, golden, yellow and dark blue colour belongs to Chinese traditional colour. 3. The traditional patterns are shown in painting, handicrafts, historical relics, etc. 4. Figure 1, figure 3, figure 5, figure 7-10 and figure 12. Figure one represents affluence; figure three represents auspicious; figure five represents auspicious; figure seven is used to guard the house; figure eight represents purity and can be seen in Chinese Buddhism; figure nine represents wealth; figure ten represents auspicious; figure twelve represents health and longevity. 5. I think the lines and the composition of the traditional pattern is more complicated than contemporary pattern. In contemporary pattern design, the traditional pattern is simplified and accord with contemporary aesthetic. 6. It is no doubt that the inheritance of the traditional pattern has a high historical and aesthetic value. After the process of deconstruction and combination, the pattern is become specific and unique. 7. Agree. 8. Yes, I agree. Each traditional has own symbolism, and the symbolism has taken root in peopleâ&#x20AC;&#x2122;s mind. So the insufficient understanding of the symbolism of traditional pattern will cause mistakes in design even the bad influence.

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Appendix G: Email interview with Wei He Occupation: game promotion planner 1. Yes, I do. The clouds motif and Chinese knot represents auspicious; and Taotie motif is related to the worship of immoral in ancient China.

2. Red colour and yellow colour. 3. Chinese buildings and cloths have traditional patterns. 4. I knew all of these figures (figure 1-12), and most of them are generally symbolise auspicious and wealth. 5. I think traditional pattern is more exquisite than contemporary pattern, and although the innovation can be found in contemporary pattern, the insufficient understanding of the traditional culture make some patterns become nondescript. 6. I think the knowledge and the understanding of the traditional culture is important for designers, because the traditional pattern has a close connection with traditional culture. The understanding of the pattern and the symbolism is the precondition for combination and innovation, otherwise the beauty and the spirit of traditional pattern can not be show in contemporary design. 7. Agree. 8. I strongly agree. Because the pattern is a carrier of the traditional culture.

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Appendix H: Email interview with Jie Wen Occupation: Tattoo artist 1. The fish pattern represents affluence; the dragon pattern represents noble; and the pattern with dragon and phoenix motif represents auspicious.

2. I think Chinese traditional colour include red, yellow, black, and Cobalt blue which is the colour of Chinese blue and white porcelain. 3. The traditional pattern can be seen in historical monument, temple, decorations and clothing. 4. Figure 1-12. Figure one represents affluence; figure two represents noble; figure three represents auspicious; figure four represents happiness; figure five represents good fortune because the pattern include five meanings that are longevity, wealth, health, kindness, and natural death; figure six is used to exorcise evil forces and bring wealth; figure seven represents peaceful and auspicious and also used to exorcise evil forces; figure eight represents noble; figure nine represents purity; figure ten is a word motif which shown the word â&#x20AC;&#x153;shouâ&#x20AC;? and represents longevity; figure eleven represents auspicious; and figure twelve has the same symbolism with figure ten. 5. I think the contemporary pattern is more accord with the aesthetics of contemporary people. And the contemporary pattern combined lots of western elements. 6. The application of the traditional pattern has become more popular and wider, and Chinese traditional culture is valued by people. 7. Strongly agree. 8. Absolutely. Because the pattern which is put in an incorrect place will bring inconvenience to people who use it. So the understanding is important.

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Appendix I: Email interview with Shulan Wu Occupation: Fashion designer 1. Yes. The dragon and phoenix motif symbolises nobility; peony represents wealth; and the clouds motif represents auspicious.

2. Dark black, golden colour, and vermilion. 3. Yes. In The Imperial Palace and minority costume. 4. Figure 1-4, figure 7, figure 10 and figure 12. And the meanings are affluence, noble, auspicious, happiness and longevity. 5. I think the contemporary pattern retained the quintessence of the traditional pattern, but the style is simpler. 6. Chinese traditional pattern is a nonmaterial cultural heritage in Chinese historical culture, and each traditional pattern has own meaning, which is the quintessence of wisdom of ancient Chinese designers. So we are not only retain it, but also inherit it and combine it with contemporary elements to show the characteristic of Chinese design to the world. 7. Strongly agree. 8. Yes. I think the understanding of the symbolism of traditional pattern is for better combination.

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Appendix J: Email interview with Zi Mai Occupation: UI designer 1. Chinese knot, clouds motif, dragon motif, phoenix motif, flora motifs, word motifs, animal motifs, and most of them represent good fortune and auspicious. In generally, I divided the traditional pattern into two types, including symbolic pattern and metaphorical pattern. The symbolic pattern has folk culture or geographic characteristics but is uncertainly has symbolism, such as heraldry and business logos; the metaphorical pattern is designed to express the expectation and feeling of people, it has a wide application in peopleâ&#x20AC;&#x2122;s life, and the occasions of the application are different.

2. Red, yellow, black. 3. Yes. The traditional patterns are applied for buildings, clothes, artwork, logos, etc. 4. I know all of them, these patterns all have good symbolism such as auspicious, longevity, peace, wealth and unity. 5. The connotation of the traditional pattern is more important than the appearance, but the contemporary pattern is accord with peopleâ&#x20AC;&#x2122;s aesthetics. Besides, the symbolism of the traditional pattern is not changed in contemporary design. In addition, the traditional pattern is exquisite and complex, that is contrary to contemporary pattern. 6. I think the applications are both have symbolism and appearance. 7. Strongly agree. 8. I agree. Symbolism is important for traditional pattern, the incomprehension of the symbolism shows the disrespect on traditional culture.

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Appendix K: Email interview with Qiaoli Wang Occupation: Draftsman 1. Chinese knot symbolises unity and auspicious; dragon is a mystical creature in China and symbolises nobility and auspicious.

2. Yellow and red. 3. The application of traditional pattern can be seen in traditional festivals, building and clothing. 4. Figure 1-3, figure 7 and figure 10. Figure one represents affluent life; figure two and figure three symbolises auspicious; figure seven represents good fortune and express peopleâ&#x20AC;&#x2122;s expectation; figure ten represents happiness, unity and peace. 5. In my opinion, contemporary patterns are related to peopleâ&#x20AC;&#x2122;s life and feeling cordial; traditional patterns are designed to describe the thought and faith of people. 6. The application of traditional pattern in contemporary design is a way of inheritance, and the design will be innovative when combine traditional culture and contemporary elements. 7. Strongly agree. 8. Agree. Because the mistake will appeared in design if the understanding of the symbolism of traditional pattern is limited, it also may mislead the concept of people. Besides, the design is not only a work but also a carrier to bring the knowledge and transmit the positive power to people.

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Appendix L: Email interview with Xuefeng Bai Occupation: Concept designer 1. The traditional paper-cut work and embroidery, which can express peopleâ&#x20AC;&#x2122;s expectation and represents auspicious and happiness.

2. Red, white, black, blue, yellow. 3. The New Year pictures, wallpapers and decorations. 4. Figure 1, 3, 6, 7 and 10, that respectively represents affluence, auspicious, wealth, peaceful, and unity. 5. Following the development of the time, the colour, appearance and the meaning of the traditional pattern has changes. The lines in contemporary pattern became more fluent; the appearance of the contemporary pattern has stronger visual effect; and the meaning of the traditional pattern became wider in contemporary design. 6. I think contemporary design shows the inheritance and innovation of traditional patterns, but the developing space is exist in traditional pattern, and people should learn more knowledges about the traditional pattern. 7. Strongly agree. 8. Yes I agree. The value of the pattern is the symbolism, if the understanding of the symbolism is insufficient, the process of design and application will be limited.

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Appendix M: Email interview with Yolanda Occupation: Cloth seller 1. Yes. The lotus flower and fish motif, which symbolises purity and affluence.

2. Cyan and dark red. 3. Clothing, fabrics, paintings, porcelain and package design. 4. Figure 1-3 and figure 5, which respectively symbolises affluence, noble, auspicious and good fortune. 5. Contemporary patterns are simpler than traditional patterns. 6. Traditional patterns are complex and have strong symbolism, so the simplification and combination of the traditional pattern is more suitable for contemporary pattern design. 7. Neither agree not disagree. 8. I am not agree about this point. I think the symbolism is not necessary in contemporary society, it is better to focus on the colour of the design that may be accepted by most of people, and then produce a design that can makes people feel happiness.

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Appendix N: Email interview with Yuqin Cai Occupation: Graphic editorial assistant 1. Dragon and phoenix motif: auspicious and wealth Peony: wealth Mandarin duck: happiness and love

2. Red, rouge colour, dark blue, bamboo green, cobalt blue.

3. The traditional pattern is applied for clothing and decorations of festivals. 4. All of them. And the meanings of these patterns are include wealth, good fortune, happiness, longevity, auspicious, and to exorcise evil forces. 5. Contemporary patterns show a combination of Chinese culture and western culture. 6. The inheritance and innovation of the traditional culture, and the combination of traditional and contemporary. 7. Agree. 8. Yes I agree. And except the concept that the sufficient understanding of the symbolism is the precondition for design, the understanding of the symbolism of traditional patterns also has the role to protect the traditional culture.

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Appendix O: Email interview with Chuyue Zhang Occupation: Product designer 1. Yes. E.g. bamboo for peace, mandarin duck for love, fish for richness, peach blossom for longevity (or good luck in love affair), paradise flycatcher for longevity, etc.

2. Chinese red, yellow, navy

3. Temples, heritage architectures, museums, souvenir designs, fashion designs, fashion accessories (like scarves, purses, wallets, phone cases, etc.), home products (like cushions, curtains, mats, etc.), ceramics, shoes, jewelleries, etc.

4. Figure 1-4. Figure 6 and figure 10. The meanings respectively are affluent life, noble and auspicious (figure 2 and figure 3), happiness and love, wealth, and good fortune.

5. Some more stylish elements are combined with the classic patterns; in certain cases, the traditional patterns are greatly simplified.

6. I am currently working for a brocade and embroidery design company, where the designers work hard to apply the traditional patterns onto contemporary products. This is a very difficult process, the combination might make the design strange (neither classic nor fashionable), but if we do not add modern elements to the designs, the products with traditional patterns are only favoured by limited people (e.g. the elderly, tourists, foreigners, etc.). So I think, making the traditional Chinese pattern designs more modern is the trend to follow, but it is still in an experimental stage, and currently, most classic Chinese patterns are not used in a creative way, they need to be re-designed better. (I am only talking about the scope that I am familiar with - textiles and product design; the use of traditional

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Chinese pattern seems to be more fascinating in realms such as graphic designs, animations, advertisements etc.)

7. Agree.

8. I strongly agree. Because the understanding is an important step in design.

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Appendix P: Email interview with Shuhan Li Occupation: Design assistant 1. Magpie: auspicious and happiness Bat: good fortune

2. Red, black, yellow and cyan.

3. Museum, costumes, furniture. 4. Figure 1 - affluence; figure 2 – auspicious; figure 3 – auspicious and noble; figure 4 – love and happiness; figure 7 – against evil forces and bad fortune; figure 10 – unity; figure 12 – longevity.

5. The contemporary pattern is more abstract and geometrical. 6. The traditional pattern in contemporary design is accord with people’s aesthetics.

7. Strongly agree.

8. Yes. Because traditional pattern is a part of the traditional culture, and symbolism is a part of traditional pattern, thus the knowledge of the symbolism of traditional pattern will lead designers to make correct decisions in design and have correct understanding of inheritance and innovation.

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Appendix Q: Email interview with Dezhi Yang Occupation: Graphic designer 1. The Taiji motif is the symbol of Yin and Yang; the dragon motif is the symbol of authority.

2. Ancient colour: red, black, cyan; contemporary colour: red and golden colour. 3. Packages and logos. 4. Figure 1-7, figure 10 and figure 12. Figure 1 – affluence and auspicious; figure 2 – express the expectation of good life; figure 3 – happiness and auspicious; figure 4 – happiness and love; figure 5 – good fortune and longevity; figure 6 – bring wealth to people; figure 7 – peace and safety; figure 10 – auspicious; figure 12 – longevity. 5. The contemporary pattern is only adopt the element of the traditional pattern and then simplify it. The traditional pattern is a cultural symbol that produced by the accumulation of the culture. 6. Currently application of the traditional pattern in contemporary design is only the application of simple traditional elements, it is not achieve the level of producing new cultural symbol. 7. Strongly agree. 8. Yes. The in-depth understanding of the traditional culture should be reinforced before design.

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