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

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    Part of a Tang Dynasty (618-907) interlocking floral scroll with phoenix motifs in the Mogao GrottoesI have spent my whole life working with decorative patterns. A decorative pattern is a language, with its own grammar, rhythm and emotional expression. It is both decorative and symbolic, and it carries the aesthetic spirit of a nation and the cultural atmosphere of its times.
As an important part of Dunhuang art, decorative patterns are the carriers with the most rigorous compositional principles and the richest cultural spirit.
In the Dunhuang caves of Northwest China, there are numerous floral, cloud, flame, animal, and other decorative patterns. These patterns come from different periods and are found on and in structures and forms such as caisson ceilings, canopies, halos, costumes, border decorations and floor tiles, blending with statues, murals and architectural space.
Such patterns not only organically and harmoniously enriched and decorated murals, painted sculptures and entire caves, making them more splendid and perfect, but also developed their own period styles and characteristics, vividly recording the formation, change and development of Chinese decorative art and reflecting the social culture and customs of different times.
From the Sixteen Kingdoms (304-439) period through the Sui (581-618) and Tang (618-907) dynasties and beyond, Dunhuang cave mural art continued to evolve in both content and form with the changing times, and decorative patterns changed accordingly. From the three-petal leaf and honeysuckle patterns of the Northern Wei (386-534) to the scrolling-grass, baoxiang flower and linked-pearl patterns of the Sui and Tang and the medallion floral patterns dominated by mineral green in the Western Xia (1038-1227), Song (960-1279) and Yuan (1279-1368) periods, the pattern forms and color systems of different eras together form the historical lineage of Dunhuang decorative patterns, and also reflect the continuity and creativity of Chinese art.
    A Han Dynasty (206BC-AD220) tile-end with mountain-cloud patterns Photo: VCGIn my decades of design teaching and practice, I have always stressed the concept of "source and flow." The "source" is tradition, the unceasing cultural vein of national art; the "flow" is application, the innovation and development of art and design that meet the needs of contemporary life. I have learned firsthand that only by taking root in the source of fine traditional Chinese culture can the "flow" of art have vitality and creativity.
I once led students in forming a research group on "Chinese Decorative Patterns of Dunhuang Through the Ages," systematically collecting, organizing, classifying and copying the decorative patterns on Dunhuang murals and painted sculptures, including the motifs. Through this sorting and copying, we conducted in-depth research and gained a full understanding of the historical culture, artistic features and decorative effects of each type of Dunhuang pattern, and clarified the causes, characteristics and historical evolution of each type. This is the "source" for contemporary design application.
Traditional patterns are an important source of inspiration for my designs. In design, on the one hand, the original appearance of traditional patterns should be preserved to a certain extent; on the other hand, they should be summarized, simplified, extended or enriched to make them more modern.
The ceiling pattern of the banquet hall of the Great Hall of the People was inspired by Tang Dynasty caisson patterns from Dunhuang. With a lotus as the center of the ceiling, and in line with the functional needs of the architectural structure, lighting and ventilation, it combines Dunhuang floral patterns with modern functions to create a spatial decoration with a distinctive national style. This design remains regarded as a model of the contemporary expression of traditional patterns.
I was invited to serve as artistic consultant for the creative program "Nian Jin" (Auspicious Brocade) at China Media Group's 2024 Spring Festival Gala for the Year of the Dragon. Through natural patterns such as mountains and clouds of the Han Dynasty (206BC-AD220), bird and animal patterns such as flying phoenixes and auspicious lions of the Tang Dynasty, floral patterns such as peonies and laurels of the Song Dynasty, and auspicious patterns such as gourds and lanterns of the Ming Dynasty (1368-1644), we enabled the audience to appreciate the aesthetic tastes passed down by the Chinese people over thousands of years and the breadth and depth of fine traditional Chinese culture.
In contemporary society, as standardized, mass-produced industrial products have become dominant, people hope to find forms that reflect their own national cultural language and are distinctive, warm and pleasing. Traditional patterns can make people feel the depth of history and emotional warmth, and can further embody the cultural character of their nation through modern design.
The study and innovation of decorative patterns is a highly practical part of inheriting and promoting fine traditional Chinese culture. It concerns not only vision and beauty, but also cultural attitudes and identity. These patterns are not just a form of heritage found on murals or on other cultural relics; they can enter our daily lives and become cultural symbols in fabrics, utensils, spaces and even digital interfaces.
I believe that more and more later generations engaged in art and design will, on the basis of promoting fine traditional Chinese culture and adapting to people's current needs for culture, art and a better life, take innovative steps to create a new style of modern design art with Chinese characteristics - one that is national, scientific and popular, so that traditional Chinese decorative patterns can constantly generate new vitality and shine with new splendor.
The author is former president of the Central Academy of Arts and Design. This was compiled and translated by the Global Times English edition based on an article published by the People's Daily Overseas Edition on August 20.
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B |     이병진 사장 "안전성·편의성 대폭 강화한 신형 전동차로 보답"구재민 기관사 "시민들의 각별한 애정 느껴…영광스럽고 아쉬워"                   부산 1호선 노후 전동차 고별 운행. 2026.8./26뉴스1 ⓒ News1 임순택 기자(부산=뉴스1) 임순택 기자 = 부산 시민의 발 역할을 해온 부산도시철도 1호선 구형 전동차가 29년간의 무사고 운행을 마치고 역사 속으로 사라졌다.부산교통공사는 26일 오전 해당 전동차의 마지막 운행 일정과 함께 영업종료 환송식을 개최했다.이날 고별 행사는 오전 10시 23분 부산대역에서 열린 시민 참여 열차 촬영 이벤트를 시작으로 진행됐다. 이병진 부산교통공사 사장은 부산대역에서 두실역 구간 열차 내에서 시민들에게 직접 감사 인사를 전했으며, 노포역 도착 전 특별 안내방송을 실시했다. 열차는 오전 11시 노포기지 검수고에 도착해 환송식을 끝으로 모든 영업 운행을 공식 종료했다.이병진 사장은 "29년간 큰 사고 없이 시민의 든든한 발이 되어 안전하게 운행됐다는 것에 큰 의미가 있다"며 "이제는 신형 전동차를 통해 시민 여러분께 더 안전하고 편리한 철도 서비스를 제공하겠다"고 밝혔다.퇴역을 맞이한 1호선 전동차는 국내 최초로 철이 아닌 스테인리스 재질로 제작돼 문화재로 지정된 바 있으며, 자동운전 시스템(ATO)을 선도적으로 채택한 모델이다.                   부산 1호선 노후 전동차 고별 운행. 2026.8./26뉴스1 ⓒ News1 임순택 기자공사는 이번 퇴역 이후 시민 편의와 안전성을 대폭 강화한 신형 전동차를 투입할 예정이다. 신형 전동차는 기존 열차의 불편 사항을 개선해 좌석 폭을 넓히고 새로운 신호 체계를 적용했다. 특히 화재 취약성을 극복하기 위해 불연성 소재를 전면 도입했으며, 객실 내 휴대전화 무선 충전 설비 등을 갖춰 편의성을 높였다.마지막 열차의 운전대를 잡은 구재민 기관사는 "단순한 이동 수단이 아니라 시민들과 어린 학생들이 전동차의 마지막을 의미 있게 함께해 주시는 모습을 보며 깊은 애정을 느꼈다"며 "동료들의 손길이 닿은 열차의 마지막 운행을 맡게 돼 영광스러우면서도 아쉽다"고 소회를 전했다.。

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