绣春刀

‘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.
。    受台风“白海豚”带来的持续强降雨影响，富阳区岩石岭水库水位快速上涨，8月9日夜间，在保障大坝工程安全的前提下开启有序泄洪，全力减轻下游河道防洪压力。昨天上午，岩石岭水库溢流坝旁，奔涌的水流顺着弧形坝面倾泻而下，在坝底撞击出数米高的白色水浪，水声持续回响，细密的水雾裹挟着雨意漫向岸边。泄洪通道水流顺畅、行洪有序，各类监测设备实时运转，精准追踪水位与流量的动态变化。岩石岭水库削峰率超过四成据富阳区岩石岭水库管理中心工作人员钟群锋介绍，水库从前天23时02分开始泄洪，最大洪峰出现在昨天5时20分左右，达到水库最高水位53.36米，超过溢流坝1.22米。“岩石岭水库的闸门是藏在溢流坝下面的，所以，闸门如果拉起来，其实是挡水的。目前，闸门全部关闭，水全部从溢流坝上直接溢流。现在出库流量是139立方米/秒。泄洪三四天，水位能降到汛限水位以下。”钟群锋说。通过水库的调蓄削峰，削峰率超四成，有效缓冲了洪水对下游的瞬时冲击。针对公众关心的泄洪下游影响，水利部门明确表示，本次泄洪严格遵循汛期调度方案，下泄流量始终控制在下游河道设计安全行洪能力以内，正常情况下不会造成下游村镇、农田洪涝灾害。水库通过拦蓄调洪拉长了洪水下泄过程，避免天然洪峰直接冲击下游河道，大幅降低了沿线的行洪压力与灾害风险，当前下游河道水位整体平稳。下一步，富阳区将持续紧盯台风动向与水情变化，加密全区山塘水库巡查监测频次，遇险情第一时间启动应急处置，全力保障人民群众生命财产安全。余杭北湖分洪闸6个闸门全部开启受台风“白海豚”影响，8月10日1时40分，杭州苕溪流域瓶窑站水位涨至5.66米。

二 | 8月10日8时30分，余杭区启用北湖滞洪区，北湖分洪闸6个闸门全部开启，通过分洪削峰，缓解东苕溪流域严峻防洪压力，保障区域防洪安全。余杭区地形复杂，东苕溪河道源短流急，极易引起水位暴涨暴落。

三 | 西险大塘位于东苕溪右岸，是杭州西北部重要防洪屏障，也是守护杭嘉湖平原的最后一道防线。北湖滞洪区位于瓶窑镇张堰村，地处三苕溪汇流三角地带，总面积5.3平方公里，滞洪库容2050万立方米，是一个生态湿地，俗称“北湖草荡”。目前，西险大塘已先后实施加固工程，二次改造后的北湖分洪闸分洪能力由每秒315立方米提升至525立方米，为本次应急分洪提供了有力保障。北湖滞洪区定位是东苕溪的蓄洪专属空间，全部蓄满可容纳2000万立方米的水。相关部门表示，启用北湖滞洪区不会危及群众生命财产安全。北湖滞洪区就是一个天然生态湿地，没有人员居住，泄洪前相关部门也进行仔细排查，确保里面没有人员。

四 | 8月10日8时，东苕溪水利工程运管中心拉响了分洪预警，提醒群众不要进入滞洪区，8时30分启动闸门进行分洪。北湖滞洪区启用之后，还会继续加强东苕溪、中苕溪、北苕溪的堤防巡堤查险工作，及时发现各类风险隐患。同时，余杭区林业水利局一支专家队伍下沉到了3个片区，及时进行研判处置，做到险情“抢早、抢小”。

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