Decorative Patterns Research Articles

Intelligent Decorative Pattern and Color Optimization Based on CAD and Big Data

Intelligent Decorative Pattern and Color Optimization Based on CAD and Big Data

Constructing a Semantic System of Facade Elements for Religious Architecture from a Regional Perspective: A Case Study of Jingzhou

The application of semantics in facade elements mainly involves the association between architectural elements and their cultural, historical, or functional significance. By analyzing the shape, layout, and decoration of various elements (such as windows, doors, decorative patterns) in facades, semantics helps us understand the symbolic meanings and cultural implications behind these design choices. This study selects twenty-eight pavilions and buildings from five temples and Taoist sites in Jingzhou City as the research objects, exploring the composition and patterns of religious architectural facades in Jingzhou through the extraction of structural and decorative elements. The study establishes the “Semantic System of Façade Elements in Jingzhou Religious Architecture”, from which the distinctive characteristics of Jingzhou religious building façades are identified. The study finds that side halls predominantly feature hard gable roofs, while the main halls use double-eave hip-and-gable roofs, reflecting differences in architectural hierarchy. The sack with three arrows pattern is the most widely used in door and window decorations, demonstrating the aesthetic preferences of the Jingchu region. Both side halls and main halls commonly adopt high podiums, with the main hall podiums typically exceeding twenty steps in height, which is closely related to Jingzhou’s climatic conditions and architectural hierarchy. This study provides scientific evidence for the preservation, new design, and harmonious integration of traditional culture and architectural features in regional religious architecture.

Tropomyosin Isoforms Segregate into Distinct Clusters on Single Actin Filaments.

Tropomyosins (Tpms) are rod-shaped proteins that interact head-to-tail to form a continuous polymer along both sides of most cellular actin filaments. Head-to-tail interaction between adjacent Tpm molecules and the formation of an overlap complex between them leads to the assembly of actin filaments with one type of Tpm isoform in time and space. Variations in the affinity of tropomyosin isoforms for different actin structures are proposed as a potential sorting mechanism. However, the detailed mechanisms of the spatio-temporal sorting of Tpms remain elusive. In this study, we investigated the early intermediates during actin-tropomyosin filament assembly, using a skeletal/cardiac Tpm isoform (Tpm1.1) and a cytoskeletal isoform (Tpm1.6) that differ only in the last 27 amino acids. We investigated how the muscle isoform Tpm1.1 and the cytoskeletal isoform Tpm1.6 nucleate domains on the actin filament, and tested whether (1) recruitment is affected by the actin isoform (muscle vs. cytoskeletal) and (2) whether there is specificity in recruiting the same isoform to a domain at these early stages. To address these questions, actin filaments were exposed to low concentrations of fluorescent tropomyosins in solution. The filaments were immobilized onto glass coverslips and the pattern of decoration was visualized by TIRF microscopy. We show that at the early assembly stage, tropomyosins formed multiple distinct fluorescent domains (here termed "cluster") on the actin filaments. An automated image analysis algorithm was developed and validated to identify clusters and estimate the number of tropomyosins in each cluster. The analysis showed that tropomyosin isoform sorting onto an actin filament is unlikely to be driven by a preference for nucleating on the corresponding muscle or cytoskeletal actin isoforms, but rather is facilitated by a higher probability of incorporating the same tropomyosin isoforms into an early assembly intermediate. We showed that the 27 amino acids at the end of each tropomyosin seem to provide enough molecular information for the attachment of the same tropomyosin isoforms adjacent to each other on an actin filament. This results in the formation of homogeneous clusters composed of the same isoform rather than clusters with mixed isoforms.

Research on the Application of Chinese Traditional Decorative Water Patterns in Ceramic Visual Communication Design

Research on the Application of Chinese Traditional Decorative Water Patterns in Ceramic Visual Communication Design

Application and Exploration of Baoxiang Flower in Ceramic Incense Burner Design

Traditional Chinese decorative patterns are often based on animal and geometric elements. However, since the introduction of Buddhism during the Wei, Jin, and Northern and Southern Dynasties, plant and floral motifs have gradually emerged. During the flourishing period of Buddhist culture in the Tang Dynasty, plant-based decorative patterns were widely integrated into ceramics, metalware, and decorative arts. During this period, the Baoxiang flower pattern, influenced by foreign cultures, evolved into one of the distinctive traditional Chinese motifs. This study focuses on the artistic exploration of combining traditional floral patterns with the design and creativity of ceramic incense burners. By systematically analyzing the application of Baoxiang flower in ceramic incense burner design, through in-depth analysis of its historical evolution, cultural connotation, and artistic characteristics, and integrating modern design concepts and aesthetic trends, the innovative application of Baoxiang flower in ceramic incense burner design is explored. The research shows that the Baoxiang flower, with its unique artistic charm and profound cultural connotation, injects new inspiration and insights into ceramic incense burner design, enhancing its practicality, aesthetic appeal, cultural connotation, and artistic value.

Multimodal Fusion Technology in Art Decorative Pattern Design

Multimodal Fusion Technology in Art Decorative Pattern Design

Revitalizing Chinese Culture Through The Inheritance of Peony Fractal Images in Contemporary Furniture Decorative Patterns

Revitalizing Chinese Culture Through The Inheritance of Peony Fractal Images in Contemporary Furniture Decorative Patterns

Reconstructing the trade history: provenance study of Han bronze mirrors in and out of Han China

A rapidly increasing number of bronze mirrors dated to the Chinese Han dynasty (202 BC – AD 220), known for their unique decorative patterns and highly developed alloying techniques, have been widely discovered in both China and beyond, providing fresh materials and scientific data to revisit their geological provenance, production and circulation network along the ancient Silk Road. In this paper, 47 bronze mirrors unearthed in the southeastern provinces of China, including Zhejiang, Anhui and Fujian provinces, have been characterized by typo-chronology, lead isotopic analysis, compositional analysis and metallography. A much wider comparative study is also carried out through a combination of data from China, Japan, Central Asia, and Southeast Asia, leading to a more updated lead isotopic database of the Han mirrors spreading out of China in various directions. Compared with the traditional ‘optimal’ model based on the Han mirrors recovered in Japan, the current study contributes several key changes in the bronze mirror production of the Han dynasty. The systematic analysis of the alloy composition, trace elements and typological studies shows that the bronze mirror industry shifted towards a more standardized production in the middle to late Western Han Dynasty. In contrast to the substantial change of non-mirror bronze productions, the similar distribution of lead isotope data in early and middle to late Western Han mirrors suggests that the ‘official monopoly of salt and iron’ policy was less effective for the management of lead involved in mirror production. Bronze mirrors dated to middle to late Western Han discovered outside Han-China, such as Japan, Thailand, Afghanistan, Xiongnu and the ancient Dian Kingdom, appear to be subjected to a more specific type of lead as a result of the state-centralized policy of the Western Han court.

Study on Traditional Architectural Decoration Patterns of Temple of the Three Sus

Temple of the Three Sus, which was first established during the Yuan Dynasty, features a natural, unrestrained, and classically elegant garden architectural style. This paper discusses the multiple characteristics and meanings of traditional architectural decorative patterns at Temple of the Three Sus from a semiotic perspective. First, it analyzes the denotative aspects of these patterns, including their stylistic forms, structural frameworks, and craftsmanship techniques. Second, the paper classifies the traditional architectural decorative patterns of the Temple of the Three Sus based on the types of sources of these patterns and interprets the implied meanings of each. Finally, the paper explores the application of these traditional decorative patterns in modern urban design, specifically in Meishan City, discussing the inheritance and innovation of these patterns in contemporary urban design and emphasizing the importance of integrating tradition with modernity.

Formative Assessment in Kurikulum Merdeka for Ornamental Drawing Lessons in Secondary School

This study aims to identify the form of formative assessment instruments used by teachers and to understand the implementation of formative assessment within Kurikulum Merdeka in ornamental drawing lessons at the secondary school level. The research employs a descriptive qualitative approach with activity analysis methods. Primary and secondary data were obtained through interviews and observations. The sample in this study consists of eight cultural arts teachers from secondary schools. The results indicate that the application of formative assessment in learning leads to students achieving good learning outcomes because teachers can identify students' strengths and weaknesses, thus facilitating the improvement of the learning process and focusing on indicators such as the process of cultural arts (decorative patterns) learning in class, the form of formative assessment instruments, the implementation of formative assessment, and examining the strengths and weaknesses of formative assessment implementation. Furthermore, the implementation of formative assessment has been well-executed in the learning process, as observed directly by the researchers during the learning activities and the teachers' evaluation methods. Formative assessment in ornamental drawing lessons at the secondary school level applies three assessment instruments within one sub-chapter or material, including knowledge, attitude, and skill assessments. Teachers conduct formative assessments for each sub-material, and the evaluations cover the three aspects in every session.

A Sino‒Thai Blue-and-White Porcelain at UMMA

A blue-and-white porcelain lidded bottle housed at the University of Michigan Museum of Art stands as a significant representative from a collection of late 19th-century tea sets crafted in China for the Siamese court. This brief examination delves into crucial visual cues, such as the bottle’s distinct ringed-neck shape, incorporation of typical Chinese auspicious motifs, depictions of Siamese coinage and royal monograms from the Rama V period in its decorative patterns, and the presence of a Chinese-language hallmark on its base. These visual elements and inscriptions collectively unveil insights into the bottle’s purpose, origins, and its broader significance within the realm of Sino–Thai ceramics.

청동기시대 無文土器의 分類에 관하여

This research reviews the purposes and methods of the classification of Mumum pottery discussed in the Korean Bronze Age research until now and argues the need for a basic classification system that considers various features, such as shape, production technology, and function. Mumun pottery has been classified based on the shape of the rim and the decorative patterns engraved at the rim of the pottery to identify the spatial and temporal aspects of the material culture of the Korean Bronze Age. There has been research on the socioeconomic aspects, such as the production and distribution of Mumum pottery, but most of them focused on specific vessels, such as the Red burnished pottery, or vessels with certain sizes that are thought to be utilized for storage purposes. To explain an aspect of a certain society through pottery, information on the total population of the pottery of the group should be assumed. The production and distribution of each pottery should be understood within the basic classification system that covers the vessel types, proportions, usage, and production technology within the production system of the group. Therefore, this research argues for the need for a total and cumulative basic classification system that considers the shape-technology-usage of pottery. This research classifies the vessel shapes of the Mumum pottery complex of the Daepyung-ri site, Jinju, which is a large settlement located in the Nam-river basin, based on the size and shape of the vessels, to establish a basic classification system of Mumun pottery. As a result, it has been observed that Mumun pottery with different shapes was produced and the proportion, the time of use, and the area of usage were different for each period. Finally, this research emphasizes the significance and need of the basic classification system of Mumun pottery by examining research cases based on the basic classification system dealing with issues such as the technological tradition within a group, the spread and expansion of technology between different groups, the estimation of a group’s social boundary, and issues relevant to social change.

Application of the artificial intelligence system based on graphics and vision in ethnic tourism of subtropical grasslands

This study aims to optimize the evaluation and decision-making of ethnic tourism resources through the utilization of deep learning algorithms and Internet of Things (IoT) technology. Specifically, emphasis is placed on the recognition and feature extraction of Mongolian decorative patterns, providing new insights for the deep application of cultural heritage and visual design. In this study, the existing DL algorithm is improved, integrating the feature extraction algorithm of ResNet + Canny + Local Binary Pattern (LBP), and utilizing an intelligent decision method to analyze the intelligent development of indigenous tourism resources. Simultaneously, the DL algorithm and IoT technology are combined with visual design and convolutional neural networks to perform feature extraction and technology recognition. Visual design offers an intuitive representation of tourism resources, while fuzzy decision-making provides a more accurate evaluation in the face of uncertainty. By implementing an intelligent decision-making system, this study achieves a multiplier effect. The integration of intelligent methods not only enhances the accuracy of tourism resource evaluation and decision-making but also elevates the quality and efficiency of the tourism experience. This multiplier effect is evident in the system's capacity to manage substantial datasets and deliver prompt, precise decision support, thus playing a pivotal role in tourism resource management and planning. The findings of this study demonstrate that optimizing intelligent development technology for rural tourism through IoT can enhance the efficacy of intelligent solutions. In terms of pattern recognition accuracy, AlexNet, VGGNet, and ResNet achieve accuracies of 90.8 %, 94.5 %, and 96.9 %, respectively, while the proposed fusion algorithm attains an accuracy of 98.8 %. These results offer practical insights for rural tourism brand strategy and underscore the utility of applying fuzzy decision systems in urban tourism and visual design. Moreover, the research outcomes hold significant practical implications for the advancement of Mongolian cultural tourism and provide valuable lessons for exploring novel paradigms in image analysis and pattern recognition. This study contributes beneficial insights for future research endeavors in related domains.

Study on decorative patterns in The Great Nuo Picture

The Great Nuo Picture《大傩图》collected by the Forbidden City in Beijing is a Song Dynasty genre painting, which depicts twelve people wearing strange costumes, wearing various hats, holding musical instruments or daily utensils, dancing and showing a joyful atmosphere. By interpreting the meaning of Nuo in various dynasties, it was determined that this was a Nuo opera activity that took place in the Jiangnan area during the Southern Song Dynasty. Based on the classification and research of the decorative patterns that appeared more frequently on the costumes of the characters in the painting, it was found that this may be a borrowed object from the painter. To express emotions, it expresses the expectation that the imperial court will regain its lost territory in the north as soon as possible. The painting not only has a strong atmosphere of the market, but also depicts exquisite and luxurious costumes. The fusion of two completely different artistic styles in the painting is obviously related to the special environment of the painters of the Southern Song Dynasty Painting Academy.

Historical examples and modern application of the "Chinese style" in the art of British interior design

"Chinese style" is a new form of combining Chinese and Western styles, formed on the basis of Western decorative art after a large number of Chinese exported works of art were imported to Europe in the XVII—XVIII centuries. The article takes the famous British country estate of the XVIII century as a starting point, and combines the relevant elements of interior decoration to analyze the influence of Chinese design on British decorative patterns and decorative techniques. "Chinese Style" is an innovative combination of Chinese and Western art based on Western decorative techniques.The article also analyzes the influence of the Chinoiserie style as a new art form combining traditional Chinese elements with Western forms on British decorative methods, with an emphasis on a specific study of this phenomenon.The purpose of the author of this study is to study and familiarize readers and the scientific community with the development and application of the "Chinese style" in British decorative methods of interior design. To achieve this goal, the author uses comparative historical, historical and cultural methods, iconographic method of description, as well as stylistic analysis, analyzes historical sources: historical documents, images, artifacts and literature. The research methodology includes a comprehensive approach to the study of the historical context and its impact on the formation of the British interiors. An empirical generalization of the material allows us to conclude about the significance of the above research and the influence of the "Chinese style" on modern decorative methods of interior design and design in Britain. The novelty of the research lies in the application of a combination of methods, analysis of historical forms to study this topic, which has been little studied in the segment of Russian historical science, which allowed us to obtain results that can arouse increased interest in the formation of the British interior among specialists. The author emphasizes the importance of the ability of design masters and architects to combine elements of Italian and British design to create a unique interior. The author's special contribution lies in the analysis of historical materials, practical examples of the successful application of the "Chinese style" in British interiors, which makes this article a valuable study for designers and lovers of interior art.

新疆彩陶中的中华文化基因及其美学建构

新疆彩陶是中华文明史前交流的见证，纹饰艺术的发展历程书写着中华民族交流与融合的历史，其美学特色体现了早期的审美意识和文化精神。本文以新疆彩陶纹饰为切入点，指出纹饰和装饰美学特色的主要表现，并以此为线索分析审美意识在中华文明交流过程中的发展转变，进而探索新疆彩陶和国家形象的美学建构之间的关系和可能性途径。 Xinjiang painted pottery bears witness to the prehistoric exchanges of Chinese civilization, with the evolution of decorative art chronicling the nation’s exchanges and integrations. Its aesthetic features embody the early aesthetic consciousness and cultural spirit. This paper, focusing on the decorative patterns of Xinjiang painted pottery, identifies the primary expressions of these patterns and decorative aesthetics, using these insights to trace the evolution of aesthetic consciousness in the context of Chinese civilization’s exchanges. It then delves into the relationship and potential pathways between Xinjiang painted pottery and the aesthetic construction of national imagery.

Research on the Characteristics of Figure Round Pattern in Qing Dynasty

Round pattern, also known as round nest pattern. It is one of the most common patterns in ancient China, that is, symmetrical radial or rotating round decorative patterns around. Such patterns are often found on ancient bronze ware, ceramics, weaving and embroidery products, and modern silk fabrics. Round pattern is an important part of the study of Chinese costume patterns, which contains the cultural concepts that Chinese people yearning for perfection, auspiciousness, reunion, harmony and beauty. Cloud bat pattern, rich and noble peony pattern, colorful cloud pattern, sitting dragon pattern, phoenix pattern, butterfly pattern, and so on, the subject matter is numerous. Central symmetry type, Tai Chi type corresponding type, rotary radiation type, asymmetric flower type, and so on, the style is rich. Among them, the Qing Dynasty appeared a round pattern with character stories and relatively free composition. The pattern of the character round has unique characteristics of the Times. On the basis of the aesthetic feeling of the round flower form, it integrates the plot of the characters, reflecting the characteristics of the social customs and aesthetic taste at that time, and establishes a bridge for the traditional pattern and custom illustration.

Droplet dynamics affecting the shape of patterns formed spontaneously by transforming UV-curable emulsions

Forming large pitch and depth patterns spontaneously based on a bottom–up approach is a challenging task but with great industrial value. It is possible to spontaneously form an uneven (concave–convex) patterns with submillimeter-to-millimeter-scale pitches and depths by the direct pattern exposure of a UV-curable oil-in-water (O/W) emulsion liquid film. UV irradiation generates a latent pattern of a cured particle aggregation in the liquid film, and an uneven structure is spontaneously formed during the subsequent drying process. This process does not require any printing and embossing plates or development process. In this report, we presented an example of unevenness formation with a maximum pattern depth of approximately 0.4 mm and a maximum pitch width of 5 mm. The patterns formed by this method have raised edges in the exposed areas and fogging in unexposed areas. The pattern shapes become conspicuous under overexposure conditions, but the formation mechanism has not yet been understood in detail and needs to be investigated. In this study, we focused on the exposure process and clarified the mechanism of pattern formation by analyzing the dynamics of emulsion droplets in the medium by an in situ microscopy observation method. As a result, we found that the fogging was mainly caused by light leakage from the exposed area, and the raised pattern edges were caused by droplets transported from the unexposed area to the exposed area. Furthermore, the convection caused by the heat generated from polymerization is a determining factor affecting all these phenomena. By controlling the pattern shape related to convection utilizing direct projection exposure, we showed an example of eliminating raised pattern edges with a height difference of approximately 0.1 mm. By devising and selecting exposure methods, we can expand the range of design applications such as interior decorative patterns.

Research on the extraction of RMB decorative pattern configuration and its innovative design: Analysis based on OpenCV calculator visual library and shape grammars

Relevance. The study addresses the potential application of configuration rules in creating decorative designs for RMB, focusing on improving design aesthetics and functionality. Purpose. To analyze the feasibility of using configuration rules to enhance the design of Chinese currency. Methodology. The study involved the analysis and synthesis of decorative patterns, the establishment of configuration rules, and the examination of their application in currency design. Results. The findings demonstrate that configuration rules can effectively utilize existing patterns to improve Chinese currency design, providing opportunities for new design variations that align with modern aesthetic and functional requirements. The analysis revealed that Chinese currency patterns often embody cultural significance, historical events, and characters through complex geometric and abstract elements. Key features of the patterns were identified, highlighting the potential for more efficient use of configuration rules in design. Conclusions. Configuration rules can successfully organize and enhance the decorative patterns in the Chinese currency. The study confirms the feasibility of applying these rules to create cohesive and culturally rich designs. Additionally, the integration of configuration rules can streamline the design process and ensure consistency in aesthetic quality. Keywords: computer technology; image processing; syntactic structure extraction; monetary unit

Elements of Bantenese, Javanese And Balinese Art Carved on Lawangkori Gedongwani in East Lampung, Indonesia

This research aims to reveal the Lawang Kori Gedongwani carving art in East Lampung, one of the areas in South Sumatra which since the early 17th century was the territory of the Banten Sultanate. Based on its current appearance, Lawang Kori is carved in the typical Bantenese art style that dominantly decorates pottery shards and tombstones at Banten Lama urban site. However, in certain details Lawang Kori also showed the influence of art from other regions in Java and Bali. To determine the existence of these artistic elements, research will focus on the forms and types of ornaments that were manifested in the Lawang Kori carvings, both in whole and in part. Therefore, direct observations were carried out in Gedongwani Village, Mergo Tigo District, East Lampung Regency, where Lawangkori was found. Identification of shapes and decorations produces very diverse decorative patterns. By focusing on the analysis on structure, construction and decorative elements in the form of geometric, floral and figurative motifs, Lawang Kori presented the characteristics strongly influenced by the decorative arts of Banten, East Java and Bali. Islamic art itself was the result of modifications from the Hindu-Buddhist period. Referring to historical sources and oral traditions, the Lawang Kori gate was probably made in the late 17th and early 18th centuries. The growth of port cities under the rule of the Javanese-Islamic polity stimulated the development of decorative arts in their area of influence. Islamic works of art themselves were the result of modifications from the Hindu-Buddhist period. In this case, Banten was an agent for the spread of Islamic art in the Lampung region, from its golden age to its decline in the early 19th century.