Table of Contents

C O N T E N T S

Abstract i
Acknowledgement iii
Table of Contents v
List of Tables ix
List of Figures xi

1. INTRODUCTION 1
1.1 Research background and significance 1
1.2 Research Objects 7
1.3 Research scope 7
1.3.1 Scope of content 7
1.3.2 Timeframe 7
1.3.3 Scope of Creation 8
1.4 Definition of Terms 8
1.5 Expected benefit 8

2. OVERVIEW OF HAN DYNASTY WADANG FORMS AND CERAMIC CRAFTSMANSHIP 11
2.1 Introduction of Wadang 11
2.2 Overview of the Han Dynasty Period 13
2.3 The Development of Wadang Pattern Form and Content 16
2.3.1 Forms and Subjects of Wadang Patterns 16
2.3.2 Origin and Development of Wadang 63
2.4 Overview of Chinese Ceramics History and Craftsmanship 68
2.4.1 Historical Evolution of Chinese Ceramics 68
2.4.2 Artistic characteristics of Chinese ceramics 78
2.4.3 Materials of Ceramics 80
2.4.4 Craft and production process of ceramics 82
2.5 Types and shapes of tea utensils 86
2.5.1 Types and types of main tea set 86
2.5.2 Types and shapes of auxiliary tea utensils 95
2.6 Literature Review 96
2.6.1 Research Background 96
2.6.2 Classification and Shortcomings of Previous Studies 97

3. DESIGN AND APPLICATION OF WADANG PATTERNS 101
3.1 Application of WaDang Patterns in Ceramic Works 101
3.1.1 Chen Hongshou’s inscribed and designed “Half-Moon WaDang” pots 101
3.1.2 Chen Hongshou Designed and Inscribed by Yang Pengnian, Feihong yannian Zisha Pot 103
3.1.3 Chen Hongshou’s Zisha Poetry But Moon Pot with Yang Pengnian’s Inscription 105
3.1.4 Jin Shiheng Purple-clay Extension of Life Pots 106
3.1.5 The end of the Qing dynasty Bei Yan Carved Purple Clay Wrist Lamp Pot by Fan Jing’an 108
3.1.6 Application of WaDang Patterns in Plane Ceramic Decoration 109
3.1.7 Application of WaDang Patterns on Kungfu Tea Set Designs 111
3.2 Compositional Principles of Han Dynasty Character WaDang Patterns 113
3.2.1 The design of natural processing method 113
3.2.2 The design method of deformation according to shape 115

4. ANALYSIS, DESIGN AND APPLICATION OF NEW FORMS 123
4.1 Summary of Chapters 2 and 3 123
4.2 Analysis of the WaDang pattern design 125
4.2.1 Design Principles of Chinese WaDang Decorations 125
4.2.2 Overview of Western Art Composition Theory 148
4.2.3 Reasons and Design Ideas for the Application of Patterns on Tea Ware 161
4.3 New Tattoo Designs 163
4.3.1 Inspiration and Design Ideas for the New Tattoo of “Chang Le Wei Yang” 163
4.3.2 Inspiration and Design Ideas for the “Ying Wu Suo Zhu zhu er sheng qi xin” Tattoo 175
4.3.3 Inspiration and design ideas for the new “You Wan Xi” decoration 187
4.3.4 Inspiration and Design Ideas for the “Flying Phoenix Bearing Flowers” Pattern 198
4.4 The process of creating experimental works 202
4.4.1 Series of black-glazed ceramics with “Chang Le Weiyang” decoration 203
4.4.2 Black pottery works of the “Ying Wu Suo Zhu Er Sheng Qi Xin” decoration series 222
4.4.3 “you Wan xi” text decoration series works 237
4.4.4 “Flying phoenix with flowers” pattern fabric artwork 249
4.5 Candelabra Design 257
4.5.1 Evolution of ancient Chinese lamps and lanterns 257
4.5.2 Modeling classification 258
4.5.3 Modeling elements 276
4.5.4 Product Design Methods 278
4.5.5 Height and spatial environment 278
4.6 The process of creating the final work 284
4.6.1 Innovative design of three-dimensional candelabra from WaDang pattern 284
4.6.2 Modifications and adjustments 299
4.6.3 Third Batch of Works: Neoclassical Styling 312
4.6.4 Final Work: Deconstruction and Reorganization of Text 319
4.7 Summary of Lamps Creations 335

5. CONCLUSIONS, DISCUSSIONS AND SUGGESTIONS 339
5.1 Purposes of the study 339
5.2 Research methodology 340
5.3 Conclusion 341
5.4 Discussion 342
5.5 Recommendations 342

References 343
Appendix A 347
Appendix B 359