断背山
‘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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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.
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.
。 RENO, Nev. -- In an ongoing legal battle with the Biden administration over a Nevada lithium mine, environmentalists are poised to return to court with a new approach accusing U.S. wildlife officials of dragging their feet on a year-old petition seeking endangered species status for a tiny snail that lives nearby. The Western Watersheds Project said in its formal notice of intent to sue that the government's failure to list the Kings River pyrg as a threatened or endangered species could push it to the brink of extinction.It says the only place the snail is known to exist is in 13 shallow springs near where Lithium Americas is building its Thacker Pass Mine near the Oregon line.President Joe Biden has made ramped-up domestic production of lithium a key part of his blueprint for a greener future. Worldwide demand for the critical element in the manufacture of electric vehicle batteries is projected to increase six-fold by 2030 compared with 2020.Past lawsuits filed by conservationists and tribes have taken aim — largely unsuccessfully — at the Interior Department’s Bureau of Land Management, which they accused of cutting regulatory corners to expedite approval of the mine itself in 2021.The new approach targets the department's Fish and Wildlife Service, charged with ensuring protection of fish and wildlife habitat surrounding the mine site 200 miles (321 kilometers) northeast of Reno.Western Watersheds Project says groundwater pumping associated with the mine’s 370-foot-deep (113-meter) open pit will reduce or eliminate flows to the springs that support the snails.In the formal 90-day notice of intent to sue sent to Interior Secretary Deborah Haaland last month, they say her agency's failure to make a 12-month finding on the listing petition filed in September 2022 is a violation of the Endangered Species Act.“The Fish and Wildlife Service isn’t supposed to sit on its hands while species are in imminent danger of extinction, but the fact that it hasn’t met the deadlines on the pyrg raises questions about why they might be delaying,” Adam Bronstein, the project's Nevada director, said in a statement.“It would be absolutely unacceptable if the Biden Administration is waiting until it’s too late to save the species so as not to interrupt the construction of a lithium mine," he said.Interior Department spokeswoman Melissa Schwartz said in an email Thursday the department had no comment on the group's intent to sue.Western Watersheds Project said time is of the essence because the snails were imperiled even before any new mining was contemplated due to livestock grazing, round-building and, increasingly, the anticipated impacts of climate change.“The species has no regulatory protection whatsoever ... because it is not an endangered species, or even a Bureau of Land Management-listed Sensitive species, and has no state law protections," the notice said.Conservationists and tribal lawyers claimed a partial victory last year when U.S. District Judge Miranda Du concluded the bureau failed to fully comply with new interpretations of the 1872 Mining Law. But she stopped short of blocking the project, allowing construction to begin as the bureau shored up plans for disposal of waste rock.The opponents appealed, but the 9th U.S. Circuit Court of Appeals upheld Du's ruling in July.The tiny snail’s shell is less than 2 millimeters (0.08 inches) tall. By comparison, a U.S. nickel coin is 1.95 millimeters thick. They've managed to survive in isolated springs, which are remnants of extensive waterways that have covered what is now dry land only to recede many times over the last 2 million years, the listing petition said.The project says three of the springs are within a 1-mile (1.6-kilometer) buffer zone, the bureau established in its review of potential impacts of a 10-foot (3-meter) drawdown of the groundwater table, and the rest are less than 4 miles (4.8 kilometers) away."As drought frequency increases with climate change, the Kings River pyrg will be at high risk of extinction,” the letter to Haaland said. It notes that the Nevada Department of Wildlife considers the pyrg “extremely vulnerable to climate change.”Lithium Americas had no comment on the notice of intent to sue the Fish and Wildlife Service, spokesman Tim Crowley said. The company said when the listing petition was filed last year that it's done extensive work to design a project that avoids impacts to the springs.The Bureau of Land Management said earlier its environmental review of the project that it didn't detect any of the snails "within the direct footprint of the project or any area likely to be adversely affected by the project.”。
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