Introduction
The decorative pattern is a design pattern used in object-oriented programming that enables the dynamic addition of behaviour to a single object without changing the behaviour of other objects belonging to the same class.
The Tibetan nationality, which is a significant component of China, has a rich history, distinct national identity, and considerable usage of religious decorative motifs. In real life, these designs with special meanings are employed to convey this distinct national and religious culture through everyday necessities as well as for hanging or decorating. It has been observed that as Tibetan furniture has evolved, its beautiful patterns have served not only as decorative elements but also as a fantastic source of spiritual nourishment and Tibetan cultural ideas.
Studying the furniture’s beautiful patterns is a way to learn about the decorative patterns arts used on various types of furniture in the halls of Tibetan Buddhist temples in Northwest Sichuan. In this essay, the subject types, patterns, colour connotations, and decorative elements of the patterns are mostly used to analyse the aesthetic qualities and cultural meanings.
Issue Categories
In the halls of Tibetan Buddhist temples, the furniture’s decorative patterns themes are extremely varied and rich. It can be separated into characters and symbols associated to many religions. Animals, plants, kitchenware, and abstract categories are examples of symbolic topics. The principal animals are deer, lion, elephant, and tiger.
The most prevalent plant patterns are the lotus, hawthorn, Baoxiang flower, and datura. Common utensil patterns include the vajra, golden wheels, and so forth (see Figure 1). Swastika, cloud patterns, and other abstract patterns are included. Each of these emblems embodies a rich religious tradition.
A popular symbol of the indestructibility of the Vajrayana is the vajra, which represents the completion of Buddha-nature and represents the illusive, indestructible, unshakeable, unchangeable, invisible, and steady state of absolute truth. One of the oldest and most popular symbols is the swastika. On Buddha’s breast, it is frequently painted. Additionally, it generally refers to the ground, one of the four elements, and its rock-solid stability in the Vajrayana.
National figures, portraits, and figures from religious tales, such as Buddha, Bodhisattva, Drolma, and Dharmapala, are examples of character topics. Characters from sacred stories are the main theme of the furnishings found in the halls of Tibetan Buddhist temples. In order to meet the needs of a religious setting, these characters are typically used to set off the Buddhist atmosphere (as shown in Figure 2). Tibetan Buddhist temple furniture’s ornamental concept has undergone constant growth. Its varieties have been extremely varied.
Pattern Form
In Buddhist temples, furniture is decorated in a variety of ways, the majority of which are straightforward and useful. Generally speaking, the design is rectangular or square.
Displaying a largely constant feature. In general, this style of music is in line with Tibetan Buddhism’s spiritual ideals. The composition of such a rectangle or square is still primal and wonderful when viewed from the external and internal structure of furniture, and the furniture is embellished with elaborate patterns. It makes human vision and psyche mysterious.
The Effects of Color
In addition to being a representation of Tibetan furniture design, the colour of the furniture in the halls of Tibetan Buddhist temples has significant religious connotations. Because of the hues of their clothing, the Bkav Brgyud, Nyingma, and Gelu sects of Tibetan Buddhism are referred to as “white religion,” “red religion,” and “yellow religion,” respectively. Distinct political and religious ruling parties have different tastes in colours, which has a direct impact on the colour tradition of Tibetan ornamental art. Tibetan politics, economy, and culture are all significantly influenced by its religious culture.
As the centre and pillar of the Tibetan Buddhist universe, Mount Xumi is revered. The mountain’s east is compared to white silver, its west to red jade, its north to gold, and its south to sapphire. Tibetans therefore have a unique philosophy that supports the colours red, white, and gold. These are seen as the colourful monarchy. For instance, the furniture in the temple’s hall is primarily red, with additional hues added to mix and adorn.
The Decoration’s Material
Temple furniture in Tibetan Buddhism is made of a variety of decorativepatterns materials. The hall furniture of Tibetan Buddhist temples in Western Sichuan is primarily made of wood, with additional decorative elements.
Tibet has a big landmass, a sizable forest cover, and a sizable store of lumber. Because of the chilly environment, the mountain region in northwest Sichuan has excellent wood texture. Pine and spruce make up the majority of the furnishings in Tibetan Buddhist temples in Northwest Sichuan.
Metal, fur, pigments, and other materials affixed to wood to play to the properties of various materials make up the majority of decoration materials. To properly exude the creative qualities of decorative materials, artists and craftsmen prepare various decorative materials using various artistic approaches based on their properties.
Conclusion
The soul and heart of Tibetan furniture is the traditional culture reflected in the furnishings of Tibetan Buddhist temples in Northwest Sichuan. The furniture in the hall serves a utilitarian purpose, but it also carries Tibetan Buddhism culture’s enduring spirit.
The form and decorative patterns of furniture are infused with the rich religious culture and creative qualities. Technology has advanced to a very high level, and its ornamentation makes use of the aesthetic concepts and principles of contrast, unity, balance, and harmony.
The mood of religious culture permeates both the main body and the section throughout. The study of the furniture’s decorative pattern art in the halls of Tibetan Buddhist temples in Northwest Sichuan offers a wealth of creative elements.
For the selection of modelling and decorative art for modern furniture and serves as a significant vehicle for the study of Tibetan Buddhism’s and Tibetan culture’s aesthetic philosophy. We can better comprehend national traditional culture by studying the decorative pattern culture of Tibetan furniture.
