Decorative Arts Research Articles

ЛЕНИНГРАДСКИЙ ПРЕДМЕТНЫЙ ДИЗАЙН В КОНТЕКСТЕ РАЗВИТИЯ «ЛЕНИНГРАДСКОГО СТИЛЯ»

Leningrad object design is a phenomenon of Russian artistic culture. The selection of themes and plots, the selected language is largely determined by the process of searching for the Leningrad identity. It is this factor in the assessment with the basis of preparation that allows artists to talk about Leningrad design as an element of the “Leningrad style” style system. The article states that their connection with the formation of the cultural code of the city and inversely affects the ecological identity of the selection of means of language reproduction. The purpose of this study is to study the nature of Leningrad artists through the prism of the "Leningrad style", as an independent phenomenon of the decorative art of the XX century.
 The methodological basis of the study is an appeal to the method of art history analysis: comparative and stylistic analysis, methods of iconography and iconology.
 As a result of the study, the author comes to the conclusion that in the development of object design it is possible to trace all the main categorical characteristics (both identified and meaningful), properties of the "Leningrad style". Style, in relation to subject research, the use of a chamber connection of aesthetic content, from the point of view of design as art, technical and technological features, referring to the actual implementation and social context, and the primary source of design - applied art, the properties of the realized period and use

Influencing factors of modern and contemporary decorative pattern design on users’ visual perception characteristics

Abstract There are many classic traditional arts incorporated in modern design patterns design. These traditional arts embody China’s profound national art in modern decorative patterns, making the organic combination of modern and traditional national art, thus realizing the promotion of traditional national art and providing more classical excellent elements for the development of modern decorative art. At the same time, modern decorative pattern design draws on traditional art from five aspects: composition, perspective, image, color, and allegory, and applies its advantages and strengths completely to the modern design process. The most important thing is that modern pattern design has a strong sensory impact on people’s visual perception. Therefore, modern decorative pattern design cannot be separated from the integration of traditional ethnic groups, and even more so from the inspiration and reference brought to it by traditional art. The article analyzes the dynamic changes of higher-order aberrations over time in the near-eye and ortho-eye groups from a design perspective by using the generalized additive mixture models (GAMMs). The threshold effect analysis is used to find the turning point of the dynamic change of higher-order aberration. The interaction analysis method compares the differences in the dynamic changes of higher-order aberrations between the two groups, analyzes the application of modern design to decorative patterns, combines ancient and modern design elements, and studies the impact of the combined product on human senses.

‘About the Tangle of the Rose’: Thinking with the Fin‐de‐Siècle Tendril

‘[It] transported me a thousand miles from London, to a thousand years from the age of Mr. Gladstone’, recalled Robert de la Sizeranne of Edward Burne‐Jones's Briar Rose series (1884–90). This essay argues, on the contrary, that the paintings were closer to contemporary concerns than Sizeranne allowed. In Burne‐Jones's briar, we find a remarkable example of one of the late nineteenth century's most promiscuous and ambiguous motifs: the tendril. Perhaps unexpectedly, this ornamental motif was at the centre of fin‐de‐siècle debates about time, capitalist expansion, and imperialism. In visual art, philosophy, and art history, the tendril figured anxieties about where Europe was heading. Tracing its movement through Burne‐Jones's canvases into texts by Henri Bergson and Alois Riegl, and decorative art by Victor Horta and William Morris, this essay contends that the tendril traverses a shared, but fragile, trans‐European imperial landscape at the end of the nineteenth century.

Present Pasts of Colonial Modernity: Embroideries by Lucie Kamuswekera

Present Pasts of Colonial Modernity: Embroideries by Lucie Kamuswekera

ART SCIENCE IN UKRAINE DURING THE PERIOD OF INDEPENDENCE (1991–2010): ANALYSIS OF DISSERTATION WORKS (VISUAL ARTS)

The thesis work is one of the results of scientific activities. The topics of thesis works demonstrate the current problems in the scientific and practical activities of Ukrainian art experts the most vividly. In the course of the research, the bibliometric and bibliographic analyses of scientific works in the field of “art history”, defended in Ukraine and abroad, first of all those, that directly relate to the Ukrainian culture, were performed. To determine the trends of art history search and problematic issues of scientific studies, theses for the scholastic degree of doctor and candidate of sciences in the art studies specialties (visual arts), 17.00.05, 17.00.06 and 17.00.01, 26.00.01, which were defended within 1991–2010, were analysed. The statistical results regarding the dynamics, distribution of researches according to the specialties and objects of research are given. This allows identifying groups of the problematic and promising trends of scientific inquiries and the level of their solution. After analysing the distribution of thesis works in the specialties, certain disproportions were detected. The greatest number of works is defended in the specialty “Fine Arts”, in the second place is “Decorative and Applied Arts”, in the last place is “Theory and History of Culture”. Of all the specialties, the doctoral theses were defended much less – in 5 times (specialty “Theory and History of Culture”) and in 9 times (specialty “Fine Arts”) than the candidates’ theses. The largest scientific centres, where art experts of Ukraine gather, are Lviv which accounts for 48.70% of all defended theses, most of which are in the specialty 17.00.06 – “Decorative and Applied Arts”, as well as Kyiv (29.32%), Kharkiv (15.18%), Ivano-Frankivsk (4.19%) and Simferopol (0.52%). The greatest number of defences in Ukraine from 1991 to 2010 took place in Lviv – 93 theses, whereas in Kyiv – 56 (all three specialties), Kharkiv – 29, Ivano-Frankivsk – 8, Simferopol – 1 thesis. Thus, the structural-dynamic classification of the thesis works, which were defended in Ukraine within 1991–2010 for the scholastic degrees of candidate and doctor of the art history (visual arts), showed a certain fragmentary nature in this area. The bibliometric analysis of scientific studies in the art history specialties gives grounds to assert that the indicated problem is widely represented and was considered by scientists according to the overwhelming majority of the specialty 17.00.05 “Fine Arts”. The consideration of geography of scientific publications of the period of 199–2010 for the defence of art history theses (visual arts) provides an opportunity to highlight the biggest centres of Ukraine. These are Lviv, Kyiv, Kharkiv and Ivano-Frankivsk. So, the analysis of dynamics of the researches conducted in Ukraine points to the periodic increase in the number of defended theses. However, there are many gaps in the topics of scientific works. Mostly, these are theses in the contemporary art and somewhat less than the “new” period and extremely few of the periods of the Middle Ages and the old time (from one to three works). In particular, it was revealed that in the Ukrainian art history of the period under study there were no thesis works where the sculpture would be studied. Also, the artistic processing of bone and horn still remains unresearched.

SOCIAL DISTANCE AND VIETNAMESE TRADITIONAL ART DECORATION

The goal of this analysis is to apply the Systemic Functional Linguistics theory (SFL) to analyze social distance and visual sign in the context of Vietnamese art decoration. Based on the concept of social semiotics, social distance between interactants in this analysis is analyzed through a register description of tenor system within the context of situation. From a social point of view, this analysis applies the five lines of human thought based on Bogardus divided into motivational relevancies, including (i) human life, (ii) the natural world, (iii) mythology, (iv) philosophy, (v) religion, and (vi) culture and tradition, to describe the relationship between context of situation and meaning interpretation of Vietnamese traditional art decoration. The findings suggest that social distance generally plays an important role among interactants through Vietnamese traditional art decoration and functional meaning interpretation. The findings further suggest that the tenor system reflects some levels of social distance through a configuration of power, contact, and affective involvement of language usage. As a result, the levels of social distance could be realized by functional and social meaning interpretation, called socio-functional meaning system, through three perspectives: (i) art interpretation and art appreciation, (ii) social beliefs, faiths, and respect, and (iii) features and properties of art decoration. Some benefits of this study can be applied to other fields of human communication such as film, advertising, and art aesthetics.

Typology of Elements of Geometric Ornaments and their Relationships with Varieties of Decorative and Applied Arts of Ukraine

The purpose of the research is to try to identify the characteristic features of ornaments of each type of decorative and applied art of Ukraine and to systematize the main elements of geometric ornament. Methodology. Abstraction and comparison analysis methods were used. The method of theoretical generalization made it possible to summarize the results of this study. The scientific novelty consists in compiling a typology of elements of geometric ornament based on the analysis of a wide base of samples of various types of decorative and applied art; as well as in establishing the typicality and uniqueness of certain types of elements for various types of decorative and applied art. Conclusions. The set of graphic elements identified in the process of analyzing varieties of Ukrainian decorative and applied art can be divided into 6 types: angular lines, complex lines, plastic lines, angular forms, plastic forms, combined plastic-angular forms. In turn, angular shapes are divided into simple and combined quadrilaterals, triangles, hexagons, stepped shapes and complex polygonal shapes. Plastic forms are divided into rings and semicircles, circles and ovals, pointed ovals. A table and diagrams of the distribution of elements of geometric ornament have been compiled. It was determined that the most typical elements representing several directions of decorative and applied art of Ukraine should be considered slanted notches and dashes, zigzags, triangles, rhombuses and stars. They are found in samples of all branches of decorative and applied art of Ukraine. At the same time, geometric shapes and forms based on their groupings, such as stepped rhombuses and stepped triangles, are unique to weaving and carpet making. The combination of patterned shapes and angles, as well as elements based on drops and acute-angled ovals are characteristic exclusively of pysankarstvо.

Analysis on the path of integrating traditional culture into illustration design based on visual communication

Abstract The illustration is a very intuitive form of language expression in modern graphic design. It expresses character scenes, allegorical dialogues, etc. in the form of vivid paintings. Synthesizing the connotation and form of all aspects from literature to art. Illustration art pervades all areas of daily life. It can be said that its formal beauty has become a fashion trend in the decorative art world. Based on the back-propagation algorithm, this paper constructs a BPA-transformation model. Through comparative analysis, it can be seen that illustrations that are not integrated into the theme of Peking Opera have low story inclusion, only 45%. As for the illustrations that incorporate Peking Opera themes, the storyline is highly inclusive, accounting for 68%. Illustrations that incorporate traditional Peking Opera themes are highly realistic, up to 93%. Through comparative analysis, the integration of ink and wash artistic conception is relatively high. Ink illustrations are 40% more innovative.

The Historical Literature of Australian Domestic Interior Design 1945-1975

ABSTRACT This article surveys the formation of the historiography of Australian domestic interior design and decoration from 1945 to 1975. The review aims to understand the inclusions and omissions of Australian interior design history, indicate their possible causes and propose methods for re-evaluation. From its inception, the history of interior design in Australia was framed on architectural lines and its practitioners viewed as tangential to the central disciplines of the built environment and decorative arts. Despite a subsequent flowering of community and museum interest in mid-century design, scholarship on professionally designed interiors has been limited. Amongst thousands of post-war Australian practitioners, all but Marion Hall Best have escaped substantial attention. Diminished by a lower status in history’s hierarchies of practice, professional interior design in Australia remains largely unstudied. It is ripe for mining by scholars open to new perspectives on global debates and the shaping of contemporary practice.

Vizual'nye effekty v iskusstve A. Matissa s tochki zreniya vostochnoj estetiki

This article uses a cross-cultural research method to analyze the visual effects of his works from the perspective of Oriental aesthetics. Examining Matisse's flattened and decorative art from the perspective of oriental aesthetics is helpful to understand the public cultural value in his works from a cross-cultural perspective.

MONUMENTAL ART IN ARMENIA/MONUMENTAL ART, FRESCO PAINTING/

Armenian monumental art is the undisputed leader of the early medieval and medieval art of artistic culture, with its varieties. Armenian monumental art, as well as monumental painting - mural painting, are anchored mainly on Christian themes, which increases its artistic value even more. Modern Armenian monumental works, both monumental and mural, are inspired by the national traditions and customs of medieval art, why not also by thematics. However, often these things have relative independent significance, are the important dominant of the complex. Such works are distinguished by the depth of philosophical meditations on the world, the sublimity of man, and the primacy of the principle of imaging. Other types of works of Armenian monumental art do not carry high ideas and harmoniously decorate walls, roofs, facades and other surfaces in architecture, and border on decorative art with their architectural ornamental expressions (sometimes this direction is indicated by the term monumental decorative art). However, there is no strict boundary between these two types of monumental works of art. The history of Armenian monumental art testifies that our artists have stood at the intersection of three ways in terms of creativity: custom, rule, innovation. That is the reason why their art is not unambiguous and uniform, it is diverse and special. In the field of mural painting, the characteristic features on which modern Armenian art is based, with its inexhaustible artistry, stand out. Monumental art (monumental and mural art) has existed in Armenia for three millennia and continues today. It is not only progressive, but deeply in line with the pretentiousness of Armenian art, with clearly expressed tendencies of monumentality.

PERENCANAAN CREATIVE FASHION CENTER DENGAN PENDEKATAN ARSITEKTUR ART DECO DI KOTA SAMARINDA

The Creative Fashion Center is a place for fashion workshops, makeup workshops, bazaars and catwalks with an emphasis on the art deco architectural style. Fashion is a familiar term in everyday life. We often identify fashion with clothes or clothes, when in fact what is said fashion is everything that is trending in society. Consumers can be regarded as the main driving force of the fashion industry. Because apart from being a buyer, they are also the ones who determine and choose the style to become a fashion trend. The architectural approach of this building is art deco. Art deco architecture was a popular design movement from 1920 to 1939, which influenced the decorative arts of architecture. This architectural style is suitable for the Creative Fashion Center building because art deco represents charm, elegance and luxury. And in my opinion, art deco style can represent the elegance and luxury of the pop art fashion style favored by young people.

Virchow and Troy.

The Trojan war occupies an important place in Greek mythology. Homer describes this in detail in his epic works of "The Iliad" and "The Odyssey." The ancient town of Troy is located south of the Dardanelles Strait in Turkey. Until the late nineteenth century, scientists thought that the Trojan War was a legend. German businessman and amateur archaeologist Heinrich Schliemann (1822-1890) began excavations in Troy. The Turkish Empire (Ottoman Empire) granted excavation permission in 1871 on the condition that the artifacts discovered would be preserved and exhibited. Schliemann found "the treasure of the Trojan king Priam" in 1873. He smuggled the treasure to Athens. In 1874, the Ottoman government discovered this and went after the treasure. They sued Schliemann in Athens. According to archaeologists, the treasure dates back to 2600-2400 BC. The horde that Schliemann found could not have belonged to the Trojan King Priam. It was during this time that Schliemann met Rudolf Virchow (1821-1902). Virchow was interested in anthropology and prehistory. The Turkish state granted Schliemann new permission to conduct excavations. Virchow stayed in Troy for a month in 1879 as an excavation site physician. He provided health care services to the excavation workers and local people and made observations. Virchow came to Troy once again in March 1890 to attend the second Trojan conference organized by Schliemann. Virchow was also an influential politician in Berlin. He was a member of the Berlin City Council. Thanks to the relations established with Chancellor Bismarck and Kaiser Wilhelm, Virchow ensured that the Treasure of Priam would be permanently transferred to Berlin from London (it is currently at the Victoria and Albert Museum), where it was temporarily exhibited. Trojan treasures were exhibited in the Ethnological Museum (Völkerkundemuseum) and in the Martin-Gropius Bau (formerly Kunstgewerbemuseum -The Decorative Arts Museum) until 1945. After the Soviet Army entered Berlin following the Second World War, the treasure was lost. It was discovered in 1994 that the treasure was at the Pushkin Museum.

Formation of Information Culture of Higher Education Students in the Digital age

The purpose of the article is to analyze the features of the "information culture" of society and the individual in the digital era, as well as to determine the ways of its formation among students of higher education, in particular, specialties from the field of knowledge 02 "Culture and art"; to propose the content of the educational discipline "Information culture and academic integrity" from the experience of its teaching at the National Academy of Managerial Staff of Culture and Arts. The research methodology consists in the application of general scientific methods, namely: methods of terminological and comparative analysis, synthesis, generalization, system and activity approach, which makes it possible to achieve the set goal. The scientific novelty of the article. The work emphasizes the importance of teaching the educational discipline "Information culture and academic integrity" from the point of view of the competence approach, in the context of the formation of "information" and "digital" competence. Thus, focusing on the features of the modern stage of development of the information society, its digitalization. Examples of the formulation of information and digital competences prescribed in the requirements for "graduate competences" and "learning outcomes" in the approved Standards of higher education of the first (bachelor) level in specialties – 022 "Design", 023 "Fine art, decorative art" were selected and analyzed , restoration", 024 "Choreography", 025 "Musical art", 026 "Scenic art", 028 "Management of socio-cultural activities", 029 "Information, library and archival work" and in the relevant educational and professional programs in these specialties at the National Academy of Managerial Staff of Culture and Arts. The main content modules of the educational discipline program are defined. Emphasis is placed on the formation of the minimum efficiency of information search, critically evaluating sources of information, determining their authority and reliability, and academically fair use of other people's educational, scientific, and creative achievements. To use modern possibilities of information and communication technologies virtuously and effectively. Conclusions. The article proves the practicality of introducing the educational discipline "Information culture and academic integrity" as a mandatory educational component of the OPP, aimed at forming general and professional competencies in students of higher education majoring in the knowledge 02 "Culture and art." Recommendations for the meaningful content of the educational discipline and the use of game-based online learning methods have been determined. Focused attention on the need to develop the ability to work with information in the era of the information, digital society. Keywords:. information culture, information literacy, information competence, digital competence, academic integrity, Standards of higher education.

Inspiring Walt Disney: the Animation of French Decorative Arts, The Metropolitan Museum of Art, New York, 10 December 2021–06 March 2022; and The Wallace Collection, London, 06 April 2022–16 October 2022, Wallace Collection, catalogue: Helen Jacobson, London, The Wallace Collection, 2022, 102 pages, paperback, ISBN 9781781301180, £14.99.

Between the end of 2021 and the end of 2022 the Metropolitan Museum of Art in New York and the Wallace collection in London hosted the exhibition Inspiring Walt Disney: the Animation of French Decorative Arts, in two iterations. This review looks at how the curators presented eighteenth-century decorative arts to the general public and addresses some of the more critical questions underlying the exhibition, which remained veiled in the galleries.

The Vietnamese weapons of the 17th century from the collection of the national museum of Netherlands. Part 2

Current article is the second part of a research, dedicated to the collection of Oriental weapons of admiral Cornelis Tromp (1629-1691), which is now on display in the National Museum of Netherlands - Rijksmuseum (Amsterdam). Dutch museum-specialists approve that the wooden rack with the items of japanese-style cold weapons, firearms and weapon accessories, displayed on it, do originate from Tonkin (Northern Vietnam, in XVII century the princedom of Đng Ngoi). The author aims to check this approval and describes the constructive and decorative features of weapons, displayed on the rack. The weapons are typologically cathegorised as pole-arms, pole-bladed arms, bladed arms, throwing weapons and firearms. The author makes an attempt to confirm the existence of such weapons in Vietnam during the mentioned period. Several written and depictive sources are being considered in the article with that aim.
 Concluding the research, the author makes following statements. The weapon-rack from the collection of Rijksmuseum is a precious material source on history of traditional weapons of South-East Asia. The weapons and weapon accessories, displayed on it, were highly likely manufactured in Tonkin (princedome of Đng Ngoi) in first half- mid XVII century. The spears, sabers (swords), battle scythes/glaives and harquebuses do bear the traces of dominating influense of Japanese tradition. On the other hand, those items have some serious constructive differences (the way of fixing the blade/spearhead in a handle/pole and the shape of the harquebuse's butt).
 The decorative elements of sabers are also interesting. They have engravings with the ornamental motifs, which are widespread in Vietnamese XVII century pictorial and decorative arts. An exemplar of a battle scythe, very similar to those ones from Rijksmuseum was discovered by the author on a photo made during the crownification celebrations in Huế in 1926.
 The throwing weapons (two short bows) have the autochtonous construction confirmed by the depictive sources as well as the analogues in the museum-collections in Vietnam and abroad. The harquebuses come with the special overlay-covers which are not typical for the Japanese analogues.
 The facts and statements, achieved during the research have a certain value for Vietnamese studies - especially for the history of Vietnamese traditional weapons, military tradition and material culture of Vietnam.

Reclaiming History from the Settler Coloniser: A Meditation on Nur Masalha's Palestine across Millennia: A History of Literacy, Learning and Educational Revolutions

In this wonderful book, Nur Masalha challenges and transforms world history, as did his earlier Palestine: A Four Thousand Year History (2018). In this meditation I recount some of Nur Masalha's argument — not all, given the extraordinary richness of the material he has uncovered, described, and analysed — but also offer my own reflections prompted by his book. As Masalha relates in his introduction, the work is a passionate response to Zionism's historical claim that Palestinians possess no history of literacy, education, and literary culture. He shows the falsity of such a claim through multiple examples. Masalha explores, for example, the multifaceted history of education in Byzantine Palestine (Third to Early Seventh Century), based on a philosophy of ‘civil society’. Palestine as a cosmopolitan and transnational world inhered in what Masalha refers to as Cities of Learning. There were famous intellectuals, such as in antiquity Josephus (AD 37-c.100) and Origen (AD 185–253). In modernity he highlights Khalil Sakakini (1878–1953), whose remarkable educational reforms, emphasizing a ‘philosophy of joy’, emerged at a similar time to A.S. Neill's Summerhill School in the UK. Women's education is featured, from the time of the Palestinian Madrasas under the Ayyubids and Mamluks (1187–1517) onwards, a powerful tradition which continues into the modern era. When press censorship was relaxed following the Ottoman Young Turk Revolution of 1908, there was a huge growth of newspapers, photography, and photojournalism, a remarkable figure here being the Palestinian photographer Karima ‘Abboud (1893–1940). Masalha draws attention to the importance of translation in Palestinian history, especially in the important figure of Khalil Ibrahim Beidas, a relative of Edward Said, who was interested in the works of Pushkin, Gogol, Dostoevsky, Tolstoy and Gorky. There is a fascinating chapter on the interactions of Palestinian scholars and the Crusaders, with free passages of ideas, goods and technologies; arabesque became a mainstream European decorative art. The result of these multiple explorations is a major transformation in how we think about the world.

HACI BEKTAŞ VELÎ TÜRBESİ İÇ MEKÂN DUVAR YÜZEYLERİNDE YER ALAN KALEMİŞİ TEZYÎNÂTI VE DÖNEMSEL ÇÖZÜMLEMELERİ

Hacı Bektaş Velî, one of Ahmed Yesevî's Anatolian saints, migrated from Nishapur and settled in today's Hacı Bektaş district. He founded Kızılca Halvet, that is Çilehane, and after his death he was buried next to Çilehane and a tomb was built on it. The tomb structure, which is the center and part of the complex, is located opposite the entrance door of the Hazrat Courtyard, which is the third courtyard of the lodge. Although it is not known when the tomb was built, it is dated to the 15th century. When the dervish lodge and lodge were closed during the Republican period, the kulliye was closed in 1925. After serving as an Agricultural School for a while, it was restored with the 1925 letter of the Ministry of National Education and opened as a museum. It conforms to the original structure numbered 22 May 1964 and 1935. It was arranged in accordance with the original in the repairs made between 1950-1960. Although there is information about Bektashism and Hacı Bektaş Velî in our sources, there is no explanatory information about the historical and artistic features of the tomb and the painted decorations. When we examine the painted ornament patterns that we can see in a renovated state today, it is seen that they belong to the 15th century. At the end of the century, perhaps at the beginning of the 16th century, II. We can see the traces of decoration art of Bâyezid period. Keywords: Hacı Bektaş Velî Complex, Hacı Bektaş Velî Tomb, Pîrevi, Painted Decoration, Bâyezid II Period Decoration.

Voronoi Diagrams Generated by the Archimedes Spiral: Fibonacci Numbers, Chirality and Aesthetic Appeal

Voronoi mosaics inspired by seed points placed on the Archimedes Spirals are reported. Voronoi (Shannon) entropy was calculated for these patterns. Equidistant and non-equidistant patterns are treated. Voronoi tessellations generated by the seeds located on the Archimedes spiral and separated by linearly growing radial distance demonstrate a switch in their chirality. Voronoi mosaics built from cells of equal size, which are of primary importance for the decorative arts, are reported. The pronounced prevalence of hexagons is inherent for the patterns with an equidistant and non-equidistant distribution of points when the distance between the seed points is of the same order of magnitude as the distance between the turns of the spiral. Penta- and heptagonal “defected” cells appeared in the Voronoi diagrams due to the finite nature of the pattern. The ordered Voronoi tessellations demonstrating the Voronoi entropy larger than 1.71, reported for the random 2D distribution of points, were revealed. The dependence of the Voronoi entropy on the total number of seed points located on the Archimedes Spirals is reported. Voronoi tessellations generated by the phyllotaxis-inspired patterns are addressed. The aesthetic attraction of the Voronoi mosaics arising from seed points placed on the Archimedes Spirals is discussed.

An Analysis of The Artistic Features and Cultural Connotation of The Bronze Mirror Decoration in Tang Dynasty

Bronze mirrors played an indispensable role in the development history of Chinese ancient arts and crafts. It plays a pivotal role in the whole cultural system. Its shape and decorative patterns embody the essence of Chinese traditional culture, and at the same time, it is the product of the comprehensive influence of political, economic and cultural elements in the specific historical period, and with the progress of society and the development of the era, it shows the unique artistic style and characteristics. As an ancient creature image, sea beasts have a close relationship with bronze mirrors. They not only reflect the yearning and pursuit of beautiful things at that time, but also reflect the unique ideas and aesthetic taste of Chinese people. This article takes the decoration theme of the Tang Dynasty sea animal grape mirror as the entry point and probes into its decorative art features and cultural connotation.