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‘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.
。    本文来自微信公众号：凤凰网财经 （ID：finance_ifeng），作者：凤凰网港股，原文标题：《周大福珠宝又要涨价了！三季度销量下滑，半年关店611家》                    凤凰网港股讯10月20日，周大福珠宝相关负责人向凤凰网港股表示：考虑到金价持续上涨对成本的影响，周大福珠宝集团计划在10月底提高定价黄金产品的零售价格，大多数产品的提价幅度预计在12%-18%。

二 | 集团设有机制密切监测金价波动，并适时作出价格调整，以应对市场变化。                   黄金市场正经历一场史无前例的暴涨，短短两个月伦敦现货黄金价格涨幅超过25%，并创下每盎司4300美元的历史新高。

三 | 对于近期黄金市场波动加剧对集团的影响，周大福珠宝表示：各圈层消费者对不同黄金产品的需求持续，周大福珠宝集团将继续通过创新设计、优化服务、市场洞察等满足消费者的多元需求，积极开拓新市场。                   据凤凰网港股向线下门店核实，有店员回应称尚未接到集团关于近期产品调价的正式通知。本次并非周大福今年第一次涨价。今年3月，该品牌已完成一轮10%至20%的调价。据周大福珠宝官网数据，10月20日周大福珠宝足金饰品每克价格为1262元，投资黄金每克1113元，黄金增值服务金价为1108元/克，黄金回收服务金价为994元/克。凤凰网港股拨打线下门店店员称暂未接到近期调价的通知。                   在金价影响下，处于黄金产业链下游的足金饰品头部品牌大多销售疲软、业绩承压。周大福发布2025财年年度报告显示，期内，周大福营收、净利双下滑。营业额同比下降17.5%至896.56亿港元，归母净利润同比下降8.98%至59.16亿港元。短短一年时间里，周大福在中国内地市场净关闭896家门店。                   10月17日，周大福（港股代码：01929）披露截至2025年9月30日止3个月未经审核主要经营数据。周大福表示，受惠于定价产品的强劲增长势头及计价黄金产品的改善趋势，内地以及香港、澳门的同店销售增长均全面回升。报告期内，集团零售值增长4.1%。其中，定价黄金产品类别的零售值增长增速同比增长43.7%。公司期内零售值同比增长4.1%，其中内地市场零售值同比增长3%，香港、澳门及其他市场零售值同比增长11.4%。                   不过，品牌零售值的增长受益于金价上涨的带动，但整体销量其实有所下降。期内，内地的同店销量下滑8.6%，香港、澳门的同店销量则是下滑了10%。                   随着业绩不断承压，周大福继续大规模关店。截至2025年9月30日，周大福零售点共6041个，其中72.7%为加盟店形式。2025年3月31日至9月30日短短六个月时间，周大福在中国内地关店数量达611家。                             二级市场上，截止10月20日收盘，周大福(01929.HK)股价下跌0.79%，报16.39港元/股，市值为1617亿港元。                   近日，多家主流珠宝品牌的“一口价”黄金饰品陆续启动涨价，部分涨幅高达35%。据报道，周生生将于10月16日起正式调价，“一口价”黄金饰品涨幅在25-35%之间；周大生“一口价”金饰预计在月底进行涨幅15%左右的调价，有潮宏基店员透露调价后的标签或将在近期到店。老铺黄金发布预告称将于10月26日进行产品提价调整，产品调价详情，以线上线下门店产品实际标价为准。这已经是老铺黄金在今年年内的第三次涨价。

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