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Interpretation of Yangshao floral art from the contemporary female perspective; Redesign of Yangshao floral patterns
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Interpretation of Yangshao floral art from the contemporary female perspective; Redesign of Yangshao floral patterns
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Content
Interpretation of Yangshao
Floral Art from
The Contemporary
Female Perspective
Redesign of Yangshao
Floral Patterns
by
Jingyao Zuo
A Thesis Presented to the
FACULTY OF THE USC ROSKI SCHOOL OF ART AND DESIGN
UNIVERSITY OF SOUTHERN CALIFORNIA
In Partial Fulfillment of the
Requirements for the
Degree
MASTER OF FINE ARTS
DESIGN
December 202 1
Copyright 2021 Jingyao Zuo
Acknowledgments
I would like to express my appreciation for the help I received from Professor Alexis
Zoto, Professor China Adams and Professor Osvaldo Trujillo during the thesis writing
process. They provided me with insight, suggestions and research guides.
ii
TABLE OF CONTENTS
Acknowledgement……………………………………………………………………………..ii
List of Figures………………………………..…………………………………………….…iv
Abstract…………………………………………………………………………….....…..........v
Chapter 1: Yang Shao Floral pattern development history………………… ……..………....1
Background……………………………………….....................………………....1
Early Yangshao Period……………………….....................……………...……....2
Middle Yangshao Period……………………………………………………….....3
Late Yangshao Period…………………………………………………....…….....3
Chapter 2: Common flower patterns in Yangshao...…...………...…………………......…......3
Main Patterns………………………………………...................…….………......3
The evolution of plant motifs……………………………….......…………….... ..5
Chapter 3: Why women’s art?..………...………………….……...………………….....…... 13
The reason behind the silent………………….………………...…………….....13
Women’s contributions to ancient floral art………………….……………….... 14
Chapter 4: Contemporary flower arts reference……...…………...…………………......…... 16
Chapter 5:My design……….....…………..……………………………...………….......…... 17
Earlier Experiments: You be you………………….…………....…….………....20
My expectation………………….…………....…….……………………...….... 2 1
Self-Critique and Meaning …….…………....…….……………………...…..... 22
Bibliography………….....……………...………………………………...………..................25
iii
List of Figures
1. Lonicera pottery………….....……………...……………...…………...…….......…... ..4
2. Sunflower on the bottom of a Yangshao pottery jar……...…………...……........….. . ..4
3. Grain pattern………….....……………...……………...…………...…….…....... .........4
4. Banana leaves pattern………….....……………...……………...…...……..........…... ..5
5. Cornu pot………….....……………...……………...…………...…...……..........….....6
6. Peony motif…….....……………...……………...…………...…...……..............…... ..6
7. Chrysanthemum pattern. ………...……………...…………...…...……..............…... ..7
8. Yangshao pottery plant pattern sequence……...…………...…......……..............…... ..7
9. Arc-edge triangular pattern evolution graph.…………...…......……...................…... ..8
10. Contrast example pattern.………………………..................................................… .....9
11. Variation example pattern.……………...………..................................................…...1 0
12. Repetition example pattern.……………….……..................................................…...1 0
13. Symmetry example pattern.……………….……..................................................…...1 1
14. The point, line, and plane design example pattern.……………….……..............…...1 1
15. Elaine Sturtevant - Warhol Flowers.……………….……..............……………….....16
16. My floral design work…………….……........................................……………….....17
17. Character design works………….……........................................………………...... .19
18. Draft for Yangshao floral pattern redesign.…………………………………...…...... .20
19. Repetition of floral pattern…………………………………………………....…...... 2 1
iv
Abstract
Chinese floral culture has a profound history. As a nomadic nation, the earliest
Chinese carefully observed and had deep appreciation for flowers and plants. Archaeologists
found that the earliest floral patterns, applied with stunning colors, were painted on stones
during the late Paleolithic before a formal written language was created
1
. The ancient Chinese
used floral patterns to decorate and deliver messages, which was perhaps the origin of
Chinese writing characters. The flower drawings would later become increasingly practical
and decorative. The patterns first appeared on frescoes and afterwards as simple decorative
paintings on objects and artifacts. Their richness and complexity laid the foundation for the
later textile patterns. With the ancient Chinese people’s increased understanding of floral
patterns, flower aesthetics in the society began to form.
In the long history of China, flowers were associated with emotional and spiritual
pursuits. Different from western culture, Chinese culture believes that everything has a spirit.
People subconsciously treat flowers as spiritual creatures thinking that flowers have
personality like human beings. For example, one of the oldest flowers in China, orchids were
cultivated around 738 AD
2
during the legendary Emperor Yao's reign. The ancients believed
that orchids had great fragrance, petals, and color, which embodied ideals of beauty. Poets
compared themselves to orchids to show they were achieving idealism and purity.
In the beginning, pottery served as a tool, in time the characters on the pottery
evolved into art work. The majority of the people that produced this transformation were
women. This was because hunting and gathering were the main means of subsistence in the
early stages of human history. This created a biologically based division of labor between the
2
Wu Kuo Cheng, “The Chinese heritage” ,New York, September 27,
2020,Publishers,https://en.wikipedia.org/wiki/Emperor_Yao.
1
Tang Suyu, History of Yutai Painting(Shanghai: Shanghai People's Art Publishing House, 1963), 241.
v
sexes. Men were responsible for hunting while women gathered and cultivated plants.
Chinese pottery was made by a layer of clay and hardened by heat
3
. Women decorate pottery
by depicting plants that they knew well and closely related to their lives, leading to
prehistoric botanical patterns on the pottery.
However, it was not until the late Qing Dynasty that their accomplishments were
mentioned. Female historian Tang Suyu compiled The History of Yutai Painting
4
in which
only 223 female artists of the Ming and Qing dynasties (1368-1912) were recorded. For
example, Ma Shouzhen (1548-1604), a famous prostitute in Jinling, was renowned for her
orchid paintings. Her works were sketchy but expressed the spirit of orchids. Ma's floral
paintings were so popular that even respected male painters collected her works.
The floral pottery patterns of the Yangshao period (5000 to 3000 BC) have a unique
and clear system that can still be understood today. Therefore, this paper will examine
Yangshao pottery patterns to investigate the patterns' internal rules, structure, and
organizational principles. This essay intends to find a way to redesign Yangshao pottery floral
motifs from a female perspective. What would the floral artworks from a thousand years ago
have looked like if contemporary female artists had designed them?
I will begin by discussing the development history of Yangshao pottery. I will
summarize the different types of floral patterns and their spiritual meanings. I will analyze
the design rules of Yangshao pottery patterns like composition and color scheme. I will
explain the reasons for the lack of female artists in the history of Chinese practices. Finally, I
will discuss the planning of the final design by referring to the cases of contemporary female
artists.
4
Tang Suyu, History of Yutai Painting (Shanghai: Shanghai People's Art Publishing House, 1963), 231.
3
Michael Sullivan, “Chinese pottery.,”Britannica,Chinese Porcelain, Feb 06,
2014,https://www.britannica.com/art/Chinese-pottery/additional-info#contributors
vi
Chapter 1: Yang Shao Floral pattern development history
1.1 Background
Tian Zibing's History of Chinese Arts and Crafts mentioned:
Faience pottery refers to a reddish-brown or brownish-yellow pottery painted with
black and red decorative patterns. The culture of this period is called the colored
pottery culture. Painted pottery was first discovered in YangShao Village, Mianchi
county, so it is also called Yangshao Culture.
5
Swedish geologists discovered Yangshao Painted Pottery in 1921
6
. The remains of
the Yangshao ceramics dating from 7000 to 5000 years ago are mainly distributed in the
northern part of the Tianshui area in the Qingyang and Pingliang prefecture-level cities of
Gansu province. Large-scale excavations have been carried out at Dadiwan in Qinan County
and Shizhao Village in Tianshui city. This is divided into two major periods, i.e. the early
period and the late period. From the early period to the late period, red pottery added a grey
color and light orange-yellow pottery also appeared.
This paragraph examines the patterns in colored pottery patterns of the Yangshao
Culture. I decided to use abstract, primitive, and symbol-like pottery patterns for my designs.
The art in this period tended to simplify complicated patterns into “the symbols”, which is
precisely the artistic design style that I appreciate. This streamlined design aesthetic is
popular with many people from a wide variety of backgrounds.
6
Xu Shaoyin. The Dictionary of Chinese Ceramics (Shanxi: China Literature and History Press, 2001), 24.
5
Tian Zibing. The History of Chinese Arts and Crafts (Beijing: Oriental Publishing Center, 2008), 45.
1
1.2 Early Yangshao Period
Carbon 14 dating of the early Yangshao culture site, revealed it was from 6739-5965
B.C., about 6,000 to 7,000 years ago.
7
Among the ceramics of the Yangshao culture at Dadiwan, there were three forms of
vessels: namely basins, bowls, and jars, all of which have gradually evolved overtime. The
early Yangshao pottery mostly contained reddish black and light red. Artists painted realistic
floral patterns at the bottom of the pot. Apart from that, there were some thick black lines
around the pottery's body. Other patterns used included: triangles, folding lines, and dots.
There were increasing vessel styles at the later stage of the early Yangshao. These
new styles included: gourd-like vases, thin-necked pots, bud-shaped bottom vases, small jars
with lids, etc. The majority of them were black while a few were painted in red. At that time,
the geometric pattern was mostly roses which repeated twice in a row. There was also a
two-sided continuous pattern on the top and bottom of the pottery, which was more advanced
than the former single pattern. The thick line pattern was still a typical one on the bowl and
jar, but it was slightly narrower, darker in black, and sometimes engraved with various
symbols.
1.2 Middle Yangshao Period
The middle Yangshao period inherited the earlier features and was influenced by the
neighboring provinces. As a result, the pottery was more complex in shape and decoration.
The mouths of pottery vases became wider, had obvious creases at the bends, and the bottoms
became gently flattened. The rose pattern was still dominant, which evolved from realistic to
geometric patterns.
7
Tian Zibing. The History of Chinese Arts and Crafts (Beijing: Oriental Publishing Center, 2008), 12.
2
The early stage of the middle Yangshao pottery pattern revealed that the symbolic
geometric patterns had gradually replaced the realistic ones. The geometric floral art was rich
in ornamental forms, which was more suitable for decorating objects. By simplifying the
process of painting, the pattern was easy to acquire and teach, which was conducive to
production, marking the Yangshao pottery had entered a mature stage.
1.3 Late Yangshao Period
The late Yangshao period was mainly located in the Qingyang and Pingliang
prefecture-level cities, Gansu province, and the northern Tianshui prefecture-level city. A few
pots had red lines and continuous black triangular patterns on their upper section. However,
most of the patterns on the pottery were the same as before. The proportion of colored pottery
in the total potteries was even smaller— only about two percent.
Chapter 2: Common flower patterns in Yangshao
Many vessels from Yangshao for daily use are decorated with floral patterns, the main
kinds being peony, chrysanthemum, and various leaves. This section will introduce the main
botanical patterns of Yangshao culture. The ancient people shifted from realistic illustrations
of plants to stylized renderings, which presented them as modern pattern designs. I will
analyze the reason behind the development and explore the principles of Yangshao floral
pattern creation.
2.1 Main patterns
There are many common floral and plant patterns in Yangshao arts and crafts. A few
examples are listed as follows.
3
2.1.1 Lonicera
The Lonicera plant is very popular in Yangshao because it survived the
winter
8
. It was used in many decorative patterns, representing the
immortality of the human soul and the eternal life of reincarnation. At this
time, the lonicera pattern was relatively thin and programmed with
three-leaves and multiple-leaves styles. By the Tang Dynasty, it had
evolved into a complex scrolling plant pattern now known as vanilla.
2.1.2 Sunflower
The four-petaled flower with a cross structure is a combination
of sun and plant worship called the sunflower, it’s an imaginary flower
9
.
As an early Chinese motif, the " 十" (ten) pattern is derived from the
“米” (rice) pattern, pointing to the east, south, west, north,
northwest, southwest, northeast, and southeast poles. This pattern
extends from the center to all directions like light shining on the
earth, bringing warmth and hope to people. In addition to the meaning of praying for the sun
god's blessing, there is also a symbol of the imperial palace and the warding off evil.
2.1.3 Grain
A black earthenware pot carved with a symmetrical grain pattern
was unearthed in 1977—the grain in the center was standing
upward and others on the left and right dropping down to the
sides
10
. It was neatly arranged with seven grains carved on each side and a line around the
10
Li Shaying,A Survey Study of Historic Chinese Peony Patterns(Beijing: Beijing Cultural Relics Publishing
House,2016),421.
9
Gu Yue,Chinese Traditional Patterns Illustration(Xiamen: Oriental Publishing House,2010),241.
8
Zhang Mingchuan, Atlas of Chinese Painted Pottery, (Beijing: Beijing Cultural Relics Publishing House, 1990), 56.
4
bottom. The composition was complete and the carving was highly regular. The grain
pattern is no longer commonly applied nowadays.
2.1.4 Banana leaf
The shape of the banana leaf pattern is close to a triangle with
the waist curving inward, resembling the leaves
11
. It's called "banana
leaf" because it has long and smooth lines that look like a banana. In
the early period, the banana leaf pattern appeared on the pot as
the main decoration object. However, it was later used as a
secondary motif, appearing on the same pot with fish or animal
to express people's worship of nature.
2.1.5 Cornu
Ancient people believed that cornu could help avoid bad luck
and achieve longevity.
12
It is often combined with the cloud
pattern to form an endlessly long pattern, which expresses
ancestors’ wish for safety, security and the hope of immortality.
This is the beginning of using plant patterns for religious
purposes.
12
Li Shaying,A Survey Study of Historic Chinese Peony Patterns.( BeijingBeijing Cultural Relics Publishing House,
2017),34.
11
Shi Yaqing. The cultural implications of the banana leaf pattern(Shenzhen:Xinzhi Sanlian Bookstore, 2008), 72.
5
2.1.6 Peony
Peony is a traditional Chinese flower, which is regarded as a
symbol of "prosperity, happiness, and peace" due to its richness in
the petals.
13
There were multiple pattern arrangement types from
single petals to six petals. A frequently used composition form is
to repeat it twice before individual patterns, and repeat it four
times. The lines are smooth and the colors simple. The petals on
the pottery might embody the worship of nature and reflect the healthy, simplicity, and
appreciation for the beauty of the ancestors.
2.1.7 Chrysanthemum
Chrysanthemum is similar to the modern Chrysanthemum
Mori folium. The chrysanthemum could grow in drought,
excessive salinity, and cold environments. The majority of the
species grows in northern China where Yangshao culture was
located. Chrysanthemum was very popular among ancient Chinese
because it was so strong that it could survive the frost and cold weather during the winter.
Furthermore in Chinese culture, chrysanthemums were believed to prevent disasters and
eliminate calamities.
2.2 The evolution of plant motifs
The interpretation of “art” in Chihai is “a social ideology that reflects social life by
expressing the creator's thoughts and feelings”. Art originates from the social practice of
13
Li Shaying, A Survey Study of Historic Chinese Peony Patterns.(Beijing: Beijing Cultural Relics Publishing House,
2017),35.
6
human beings and is the product of a certain social life from people's perspectives."
14
In
ancient times, people needed to rely on plants for survival. With the development of
agricultural culture, plant patterns reflecting farming life appeared in the ornaments and
painted pottery of Yangshao culture.
With the development of agriculture, ancient Chinese people shifted from rendering
plants and flowers realistically to rendering them in stylized design motifs. The creative
forms were diverse and the pattern compositions reflected modern design rules. When author
Su Bingqi studied the Yangshao culture, he found that the plant pattern pottery was the
easiest to identify among all the remains. The sequence of formal development was complete.
He said, "Among the plant motifs, there are two types with the most complicated structures.
The first one is similar to the Rosaceae’s corolla, buds, leaves, stems, and vines
15
; the second
one is identical to the disc-like inflorescence
16
formed by the chrysanthemum family's
sympathetic corolla."
17
. Mr. Zhang Pengchuan applied the principle of typology to analyze
the evolution of the pottery pattern (pictured above) . It was helpful in understanding the
transformation of the plant pattern.
2.2 The principle of pottery patterns
The Yangshao painted pottery patterns have various themes, reflecting different formal
rules on various vessel forms. After studying production and painting of pottery for a number
of years, the pottery developed and improved, which subsequently enriched people's
aesthetics as well. The following are some of the most common rules used when working
with traditional patterns.
17
Su Bingqi,Su Bingqi's Selected Discourses on Archaeology, (Shandong: Cultural Heritage Press, 1984),168.
16
New World Encyclopedia contributors, "Chrysanthemum," New World Encyclopedia, September 30, 2021,
https://www.newworldencyclopedia.org/p/index.php?title=Chrysanthemum&oldid=1033077
15
Da Chenghao, “Potentilla and Rubus medicinal plants“ScienceDirect, Medicinal Plants, 2015,
https://www.sciencedirect.com/topics/pharmacology-toxicology-and-pharmaceutical-science/rosaceae
14
Zheng Nongxia, Chihai,(Shanghai: Shanghai Lexicographical Publishing House, 1979), 621.
7
2.2.1 Contrast
There are usually two forms of contrast, similar shapes and
unequal shapes. Contrasting elements with similar shapes like yin and
yang patterns could create a distinct image. The contrast of two
unequal shapes is that the secondary pattern could make the main
pattern outstanding, distinguishing it from the rest of the elements and highlighting the
decorative points.
Dynamics, density, distance, angle, shape, and complexity are the most frequently used
contrast techniques in Yangshao floral pottery.
1. Dynamics
Yangshao pottery often has the contrast between parallel lines and
waves, swirls, or vortexes. The dynamic patterns are often used as the
main theme patterns while the stable ones are as supplements. The
parallel lines usually appear in the middle of the pattern, which sets a dynamic tone and
connects other elements to add a sense of rhythm to the pattern.
2. Angle
An essential decorative pattern involves using lines of different
angles to create contrast. The curve has a sense of flow, the diagonal
line is dynamic, and the straight is stable. The pattern will be boring
if it is composed of the same straight lines. If you only use curved
and diagonal lines, the motif would be unstable. Thus, the contrast between straight and
curved lines or straight and diagonal lines gives the viewer a sense of rhythm and visual
hierarchy.
8
In Yangshao floral patterns, curves are divided into large and small curves and straight
lines are divided into vertical and diagonal lines, thus producing four forms:
● Large curve and upright straight
● Small curve and diagonal straight
● Small curve and vertical straight
● Large curve and diagonal straight
3. Density
The density contrast is divided into dense style and loose style.
Some floral patterns have dense floral elements that are not boring.
The key is to decorate the center circle of the pattern with a simple
floral pattern and surround it with a dense smaller floral pattern. The
dense flower could highlight the center pattern and make it stand out.
4. Distance
In the Yangshao floral patterns, people always draw patterns with
a black background and leave blank space to paint floral motifs later.
For example, in the painted pottery pots excavated in Yongjing, the
pattern on the center is black and has orange rosebuds. Patterns next to
the black area are drawn in the empty left place, which is very
striking.
9
5. Shape
Squares and circles form the contrast between straight lines and
curves. It is one of the most commonly seen decoration techniques.
For example, in the late Yangshao period, a large circle pattern was
often decorated with vertical lines to make the circle softer and
smoother. In a few cases, the opposite design strategy was
implemented - that was to arrange circles in a square pattern.
2.2.2 Variation
Yangshao's late floral patterns have parallel stripes, which vary in
thickness, density, and color. The craftspeople also added Jagged
lines between the parallel stripes. Therefore, although the patterns are
mainly composed of parallel stripes, they do not look dull due to the
differences in shape and color.
2.2.3 Repetition
The Yangshao period floral motifs used repetition to reinforce the
design style and create a strong visual impression. For example, the
continuous rosebud pattern is repeated sequentially. The second
repetition method is to arrange the same pattern repeatedly in different
positions, which helps to decrease the complexity of the pattern and
makes it more harmonious.
10
2.2.4 Symmetry
Symmetry is a format often used in painted pottery patterns,
which is also a kind of repetition embodied in the position and shape
of the design elements. As for flatter pottery, the format of left-right
symmetry is the most common decoration format. Symmetry is one of
the most dynamic forms with a sense of musicality and rhythm.
2.2.5 The point, line, and plane
The point, line, and plane are the three major elements of
geometric design, which is reflected in the floral pattern of Yangshao
culture. The role of "point" is prominent—it is the start of the pattern.
The lines and planes are the extension and expansion of the point.
Points in the pottery’s pattern have the function of positioning,
transition, articulation, embellishment, and cohesion.
2.2.6 Illusion
The placement of elements creates a visual illusion, which could
enhance the sense of layering. Various plant patterns are filled in the
small grid of the net pattern which thus becomes the first layer. The
rest of the smaller floral patterns are presented from a distance,
giving viewers a deeper visual experience.
11
Through the analysis of floral compositional patterns during the Yangshao period, it
revealed that ancient painters mastered their design principals over years of study that lead to
the evolution of their designs. These examples provide a lot of valuable information for
current artists. Many decorative techniques are still worthy of learning and using for
reference.
12
Chapter 3: Why women’s art?
When we look for female artists represented in traditional Chinese art history, we find
that there are few records of female artistic production. Chinese art culture is created by both
men and women. However, women's voices have always been silenced in a history that is
dominated by male artists, including a history of women's "absence" from pottery art.
3.1 The reasons behind the silence
In the traditional Chinese culture, women were not independent and were neglected.
Society regarded a woman's lack of talents as a virtue and women who love writing poems
and learning art would be criticized for inappropriate behavior.
18
Therefore, from the
Yangshao period to the Qing Dynasty (more than 5000 years), less than 300 hundred female
artists were recorded in history.
19
There were two main kinds of female floral artists in history—prostitutes and upper-class
ladies. Prostitutes were allowed to paint because they mainly served the literati and powerful
officials. Creating floral art was their way of attracting, communicating, and satisfying their
clients. The upper-class ladies could learn floral art because of their prestigious and wealthy
families. Their families attached great importance to the education of female family members
and taught them how to understand and appreciate art.
Flowers were the main creation theme for ancient female artists. In Chinese culture,
artists used the "personality" of flowers to indicate their spiritual pursuit. For example,
orchids embodied fearlessness and robustness. Famous prostitutes showed their ambition for
19
Victor C. Falkenheim, “Shaanxi”, Britannica, Jan 29, 2021, https://www.britannica.com/place/Shaanxi
18
Dong Xiaowan, A Study of Chinese Women Painters, (Shandong: Cultural Heritage Press, 2007), 28.
13
purity by painting orchids, even though in reality they were stuck in brothels. In addition, the
orchid has a simple shape and is easy to draw in a short time — it could be painted as three or
two branches. Hence it does not require a deep understanding of painting technique, which
made it possible for the prostitutes living and working in the brothels. Unlike the prostitute
artists, the painting environment for the upper-class ladies was much better, because of this
their flower compositions were more complex and labor intensive. In ancient Chinese society,
upper-class ladies were not allowed to travel alone, so they didn’t have a chance to observe
landscapes and animals. It was easier for them to study and observe the flowers in their
family courtyards and to practice drawing them.
3.2 Women’s contributions to ancient floral art
The primitive mode of production created a biologically-based division of labor
between men and women. Men were responsible for obtaining food by hunting while women
gathered and cultivated plants. "Men and women were masters of their fields — men were
the masters of the forest while women were masters of their homes. Women were also the
heads of their families.
Men and women used gender specific tools that they made based on their particular needs.
For example, men used tools like fishing and hunting equipment, while women used
household appliances like utensils."
20
Women made baskets, mats, and pottery, which
contributed to their culture. Women also made pottery, which they decorated with floral
carvings of plants that they used in their everyday lives. The prehistoric botanical patterns
rendered on the pottery were created by women who were the originators of Yangshao floral
motifs.
20
Friedrich Engels,The Origin of the Family, Private Property and the State, (Wuppertal: Penguin Classics, 2010),152
14
In short, women created the floral motifs in Yangshao culture, but they were not recorded
in the history of Chinese art production. There are no recorded women’s names associated
with the floral motifs of the Yangshao culture.
Ancient China was a feudal society with the social value of not respecting women and
thinking men were superior to women. The dominators set up a caste system, and artisans
were the least. Women who created art were considered craftsmen instead of artists; they
were not respected and recorded in history. Not until Tang dynasty, which is about 3600 years
later, were the first female artists recorded. The Illustrated Treasure Book recognized the first
female artist named lady Li. Apparently she had been raped and imprisoned by an invader.
21
While being held prisoner, she found bamboo where she was being held captive, with it she
invented a new bamboo painting style.
21
Wen Yanxia, Illustrated Treasure Book, (Yuan:Shanxi Education Press,2010), 230
15
Chapter 4: Contemporary flower arts reference
Though Elaine Sturtevant imitated other artist’s
works, whe was not a forger. Her work mirrored Andy
Warhol, Roy Lichtenstein, Robert Rauschenberg, Marcel
Duchamp, Jasper Johns, Keith Haring, and a slew of
other icons of modern art. She was known as the "Mother of
Appropriation Art"
22
a style that blossomed in the 1980s and subsequently created new
artworks by copying old ones. By imitating her male colleagues, her work served as a vehicle
to better understand art and to make the viewer consider how to look beyond the surface of a
painting. Her work raised questions about deeper ideas around representation, appropriation,
copying and ownership.
The history of the Yangshao culture recorded only the names of the male artists but
failed to mention the female artists who played a vital role in recording and developing the
floral patterns on the ceramic works. Inspired by Sturtevant, I also wanted to recreate these
ancient graphics by analyzing the original patterns as a female artist.
22
Michele Chan, “Sturtevant: On Repetition and Différence”, last modified by Mar 22, 2019,
https://www.sothebys.com/en/articles/sturtevant-on-repetition-and-difference
16
Chapter 5: My Design
5.1 Earlier Experiments: You be you
Last year, I began experimenting with design motifs that combined flowers patterns and
women’s figures. The inspiration was about body positivity. So many women are insecure
and shamed by their body shapes simply because they don’t look like the slim, sexy bodies
represented in advertisements. My aim is to praise all types of women’s bodies. In order to
do this, I created several floral patterns that I believe represent various examples of female
beauty. Here are some examples:
I used highly saturated colors to represent the dynamism and vibrancy of spirit and
mind. I used myself and I relied on using my friends to inform my designs and how I
developed them. My illustrations are centered around female subjects that I know because I
am able to use my experiences with these women to inform my designs. I also include fun
bits of my daily life in my designs. This might include my observations or thoughts that
developed from pieces of a conversation. In essence, my designs become reflective of my
day to day experience as a woman.
1 7
This sense of fun and playfulness have been with me since I was a teenager when I found my
adoration for anime which led me to design my own characters for the stories. I was excited
about the illustration because I could create a fantasy, an ideal world. I could express my
thoughts and ideas visually in a way that words could not explain. I took courses in
illustration to perfect my craft, which became an obsession. Illustrating became my ardent
passion. Now, I think of my floral pattern illustrations like a collection of journal entries
because each one is connected to my life experiences and represent the satisfaction I feel in
being an empowered female artist
As for my process, I always start with sketches in my sketchbook, which makes me feel freer
than starting sketches in a digital format. Then, I scan the sketches and do the illustrations
digitally. I always use the pencil textures to create a more analogue look.
As mentioned, I use aesthetic analogies of myself and those around me to inform the
characters and their situations. I love observing real life: many small and funny moments can
inspire me. In this way my work has an expressionistic quality, since my floral patterns speak
to the moods and feelings that I felt which inspired the creation of the patterns.
The patterns are not real flowers. They are just my impression of how flowers look, I
draw them based on my memories. The flower is a common gift to show people's affection or
appreciation to someone. Even though they are grown in the dirt, they generate beautiful,
colorful petals. This is why I chose the flower to celebrate women's natural beauty.
After finishing the drawings, I animate the floral patterns. I make them flow upward,
to create a unique juxtaposition with the stationary surroundings. Though today’s
environment may not celebrate the differences in women's body types, it cannot conceal the
1 8
fact that all women were born to be gorgeous (in body, mind and spirit) and that they will
never stop overcoming oppression.
The main color palette of the "You be you" project is red and green. The contrast of red
and green creates a strong and vibrant visual effect that creates a celebratory and traditional
feeling. When I put my work on social media, it was really exciting to see people's reactions.
Several male viewers asked me questions like," Why does the woman's body look like this?"
or "Do you intensely draw ugly women?" They are not talking about my design style- I hope
not- instead, they questioned the female figure in the painting. The characters I presented in
have natural and normal human body features - a little belly, stretch marks, and thicker
thighs. I learned a lot through the creating process and through the feedback from the
viewers. This is the project that finally unified my signature visual style. I like how I added
my female perspective and included Chinese texts in the illustrations.
I will continue to entertain and surprise others with my bold illustrations. It has been
really hard to be happy and creative during the pandemic, but I wish to continue to create
interesting and dynamic illustrations that focus on empowering women.
1 9
5.2 My expectations
After researching and analyzing the Yangshao pattern, I decided to create a design based on
the design methods of Yangshao floral patterns mentioned earlier: contrast, variation,
symmetry, point, line plane, illusion, repetition. The first step will be drawing the black and
white drafts that can reflect the Yangshao motif principle. However, I will not just repeat or
copy the design, but make it more geometrical and succinct. After selecting the drafts, I will
apply colors to the patterns ,which will be the traditional color palette of black, brown, and
red. Next, I want to experiment with floral patterns on clothes. It will be great to design
clothes that make women feel safe, strong, and beautiful. As a character illustrator who has
always been working on drawing figures and drawing patterns on the character’s clothes, I
am excited to incorporate the original floral graphics that I designed.
The above pieces are my paintings of female characters. Through my drawing
practice, my images will be expressions of my thinking process and perspective. Most
character design nowadays are focused on painting an "ideal" female figure that completely
20
fits the "male gaze." Some of the works have characters in weird and unusual positions; the
angles are strange: almost like the viewer is secretly spying on the women in the painting. I
want to design bold floral patterns on clothes that every girl can wear unapologetically. I
want to create floral patterns on comfortable clothes that a girl can wear while doing anything
and not care about how people perceive them. I hope that women and girls wearing my floral
patterns can confidently show their beauty and embrace their differences.
Below are some of my drafts created based on the design principle of Yangshao floral
patterns. Colors will be applied later in the graphics to reduce the distraction and let viewers
focus on the shape and format in the early creating process.
Draft 1: The contrast between equal grain shapes
2 1
Draft 2: Repetition of floral pattern
5.3 Self-Critique and Meaning
Analyzing the earlier floral works and reading the history, I, as a design student, want
to bring the fantastic pattern elements of the Yangshao period to the contemporary art world.
With the floral pattern redesign project, I am opening new possibilities to women who love
fashion and are willing to wear boldly designed graphic clothes to celebrate their natural
beauty. The redesigned floral patterns are a bridge connecting women who anonymously
created them and contemporary women who will wear the patterns. It is my hope that the
vibrancy of the patterns will accentuate and bring out their personalities.
In the future, I hope that my design motifs will appear on other platforms. For
example, customers who want an exotic decorative style could consider using my floral
designs for the interiors of their apartments. Perhaps, instead of a lot of explanation in a
2 2
video, people could use the animated redesigned graphics to demonstrate the art history of
Yangshao.
Many people voiced their concerns that ancient graphics will be hard to appreciate or
understand as their cultures and backgrounds differ. However, the Yangshao floral pattern
served as a recording method when they were first created. It was an aesthetic language that
was passed down from generation to generation for thousands of years. With the development
of pottery and drawing techniques, crafts people created floral motifs, which are surprisingly
close to the design styles popular today.
For instance, repetition is a frequently used contemporary design strategy. To utilize
repetition, I drew several repeating floral patterns and added variation to the leaves. As a
result, the repeated flower highlights the theme of the design, with the assistance of the leaves
as the secondary element. The final outcome looks contemporary even though it originates
from and preserves the distinct characteristics of Yangshao floral design motifs.
Graphic design is a thriving industry that continues to redefine itself. The Yangshao
floral patterns from the past, one of the most remarkable pieces in art history, have been silent
for many years. It is an untapped resource. Contemporary Chinese designers who wish to
achieve attention and a reputation in this fast-paced environment, need to look back and dig
into the history where this original styled developed.
As a foreign design student born and raised in a different country, I was inspired by
the energy of Los Angeles. It inspired me to create vibrant, saturated color palettes, curvy
and self-assured characters, and rich details. However, I began to think about the combination
of my background and the knowledge I have acquired. I wanted something fresh that
originated from China. Immersing my audience in wit and visual beauty, I wanted to use
floral patterns that were designed and created by women. I started experimenting with
illustration and found a way to integrate them into the design practice. I will gradually dig
2 3
deeper into my heritage, exploring Chinese ancestry and my dual cultural experiences
through creativity. By engaging the Chinese diaspora through illustration, graphic design, and
most recently, animated art, I want to offer my spin on the ubiquitous visual symbols within
Chinese communities, familiar to anyone who regularly visits these communities.
2 4
6. Bibliography
Tang, Suyu. History of Yutai Painting. Shanghai: Shanghai People's Art Publishing
House,1963.
Wu, Kuocheng. "The Chinese heritage." last modified Sep 27, 2020.
https://en.wikipedia.org/wiki/Emperor_Yao.
Gong, Qiming. "Social organization and social development stages of Yangshao
culture from archaeological data." last modified May 1, 2005.
http://economy.guoxue.com/?p=2034.
Tian, Zibing. The History of Chinese Arts and Crafts. Beijing: Oriental Publishing
Center, 2008
Xu, Shaoyin. The Dictionary of Chinese Ceramics. Shanxi: China Literature and
History Press, 2001.
Zhang, Mingchuan. Atlas of Chinese Painted Pottery, Beijing: Beijing Cultural Relics
Publishing House, 1990.
Li, Shaying. A Survey Study of Historic Chinese Peony Patterns. Beijing: Beijing
Cultural Relics Publishing House, 2017.
2 5
Zheng, Nongxia. Chihai. Shanghai: Shanghai Lexicographical Publishing House,
1979.
Su, Bingqi. Su Bingqi's Selected Discourses on Archaeology. Shandong: Cultural
Heritage Press, 1984.
Dong, Xiaowan. A Study of Chinese Women Painters. Shaanxi: Cultural Heritage
Press, 2007.
Falkenheim, Victor C. "Shaanxi," last modified Jan 29, 2021.
https://www.britannica.com/place/Shaanxi
Chan, Michele. “Sturtevant: On Repetition and Différence”, last modified by Mar 22,
2019. https://www.sothebys.com/en/articles/sturtevant-on-repetition-and-difference
Sullivan, Michae. “Chinese pottery”, last modified by Feb 06, 2014.
https://www.britannica.com/art/Chinese-pottery/additional-info#contributors
Chenghao, Da.“Potentilla and Rubus medicinal plants “ScienceDirect, Medicinal
Plants”, last modified by 2015.
https://www.sciencedirect.com/topics/pharmacology-toxicology-and-pharmaceutical-science/
rosaceae
2 6
New World Encyclopedia contributors. "Chrysanthemum," New World Encyclopedia,
last modified by Sep 30, 2021.
https://www.newworldencyclopedia.org/p/index.php?title=Chrysanthemum&oldid=1033077
2 7
Abstract (if available)
Abstract
The thesis begins by discussing the development history of Yangshao pottery, then follows by summarizing the different types of floral patterns and their spiritual meanings. After analyzing the design rules of Yangshao pottery patterns like composition and color scheme, it presents the lack of female artists in the history of Chinese practices. Finally, it discusses the planning of the final design by referring to the cases of contemporary female artists.
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Asset Metadata
Creator
Zuo, Jingyao
(author)
Core Title
Interpretation of Yangshao floral art from the contemporary female perspective; Redesign of Yangshao floral patterns
School
Roski School of Art and Design
Degree
Master of Fine Arts
Degree Program
Design
Degree Conferral Date
2021-12
Publication Date
11/22/2021
Defense Date
11/22/2021
Publisher
University of Southern California
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Tag
Art,Design,Feminism,Floral,OAI-PMH Harvest,Yangshao
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Language
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Trujillo, Osvaldo (
committee chair
), Adams, China (
committee member
), Zoto, Alexis (
committee member
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jingyaoz@usc.edu
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