Patterns from plant elements for children. Where is floral design used and what does it mean? §1. The emergence of ornament. Basic Concepts

Repeating dots and lines may have been the first human-made images. Thousands of years have passed since then, but repeating patterns still decorate our clothes, dishes and the walls of our houses. What is an ornament? How it has changed over time, and how ancient ornaments and patterns can be used in the interior modern house? We will try to consider the most popular patterns and ornaments that arose in ancient times, and have still not lost either their relevance or their bewitching beauty.

Mosaic with centric design, Brecci by Eidos Glass

What is an ornament?

Any ornament inherently represents a set of sequentially repeating individual elements or their groups. Rapport of ornament is the rhythmic repetition of one or more of these elements. The ornament does not just decorate the surface on which it is applied, it gives it a certain rhythm, giving completeness to the composition, and actively influences our perception of the surface. A pattern can easily make a plane appear closer or further, higher or lower, visually bend it or wrap it into a spiral. In ancient times, patterns on clothing and household items were a kind of language that made it possible to determine the gender, family and social status, and profession of the owner, or acted as talismans and amulets against evil spirits. Now, as a rule, they do not carry much meaning, although they often have their own rich history, which we are not even aware of.

All the endless variety of ornaments invented by man can be easily divided into 3 main groups:

geometric patterns
plant ornaments (phytomorphic), which are various stylized images of plants
meander patterns in the form of a continuous broken line

Mosaic from various types ornament in modern interior, Versace Home by Gardenia Orchidea

The selection of the most successful patterns in the history of mankind never stops. Some ornaments, invented many centuries ago, are still actively used in interior design in various styles.

Geometric patterns

The set of basic elements in geometric patterns is, of course, small, but of greater interest is the possibility of their endless combination with each other. In modern interiors, various options for horizontal and vertical stripes are actively used, which can significantly influence our perception of space, as well as squares, rhombuses, chevrons and circles.
Speaking of more complex geometric patterns with a rich history, special attention I would like to highlight tartan, which is also sometimes called Scottish check, and quatrefoil, which, despite the name, refers specifically to geometric patterns.

Tartan

Classic tartan, Tecnofloor Industria Chimica

The tartan pattern is formed by the intersection of horizontal and vertical lines different colors. Thus, a certain sequence of lines and squares is created, which is usually called “tartan”, although formally “tartan” can be called any checkered fabric. In the old days, each Scottish clan had its own original tartan color, which served as a clan identification mark. The fashion for tartan fabrics spread beyond Scotland thanks to Queen Victoria, a passionate admirer of the culture of this country.

For modern design Playing with scale is very typical, so the usual small checkered pattern on wallpaper can be replaced by tartan gigantic size, wallpaper Wall&Deco

Memo: Tartan is traditionally considered a “masculine” pattern and is often found in the decor of boys’ offices or nurseries.

A cage in the interior creates a feeling of stability and helps organize the space. Wallpaper and interior fabrics with a tartan pattern can most often be found in interiors in the British spirit or country style. In a classic office, in a warm country kitchen with checkered curtains and a tablecloth or family living room, tartan will help create an atmosphere of comfort, stability and connection between generations.

quatrefoil

Quatrefoil mirror with sharp corners, Pottery Barn

The quatrefoil or trefoil (quadrofolia and trifolio, respectively) are a geometric pattern of identical circles partially intersecting each other. The pattern can be complemented by additional sharp corners at the junction of the circles.

The history of this motif is lost in the mists of time; it can be found in national Moroccan costumes, among ancient Christian symbols, and in medieval architecture. In European art, quatrefoil became especially popular during the Renaissance, found in furniture decor, the shape of windows and stained glass windows of buildings.

Quatrefoil bed linen, Gracious Style

Like other geometric patterns, the quatrefoil brings a clear rhythm to the interior, but due to its rounded shapes, it looks softer and more unobtrusive. This motif can often be found in interiors stylized in historical styles, for example, Gothic or Renaissance, but in more modern variations it can also look organic.

Floral ornaments

From time immemorial, the natural world has served as the main source of creative inspiration, so new stylizations of leaves, flowers, fruits, trees, animals and birds appear in design almost every day. Nevertheless, some of the ornaments invented several thousand years ago turned out to be so successful that they still organically complement our interiors. That’s for sure: “Everything new is well forgotten old.”

Interior fabric with paisley pattern, Decobel

One of the most popular and, at the same time, the most ancient plant ornaments. You can also often find another name for it: Indian or Turkish cucumber. It is based on a drop-shaped curl called “buta”, the first images of which appeared in ancient Babylon. Colorful Indian fabrics with intricate comma-shaped patterns came to Europe around the 17th century, but their popularity peaked during the craze for exotic oriental motifs in the 19th century. During this period, analogues of Indian fabrics began to be widely produced in Europe, in which the Scottish town of Paisley especially distinguished itself.

Modern styling of the “Indian cucumber” in the form of a plywood screen, LZF

The paisley pattern is ubiquitous in wallpaper and interior fabric collections. modern manufacturers. The bright “Indian cucumber” can be found in almost any oriental interior: Moroccan, Indian, etc. A more restrained and monochrome version of the pattern is quite suitable for the neutral decor of a modern interior, in which you want to create a more comfortable and warm atmosphere.

Damascus

Damascus in a classic interior, Coordonne wallpaper

Damascus is a complex floral ornament in the form of a lush flower, framed by an intricacy of leaves, arranged in vertical stripes. It is believed that this pattern appeared in the capital of Syria, Damascus, back in the Middle Ages, eventually spreading throughout the world.

Damascus in a modern interior, Architects Paper ®, a brand of A.S. Creation Tapeten

Nowadays, damask can be found, as in traditional classic interiors, and in glamorous living rooms and bedrooms, left with laconic modern furniture. For the first option, dim textured wallpaper with silk-screen printing is well suited; in the second, a more contrasting one, for example, a black and white version or a pronounced velvet texture of the pattern, is appropriate. This pattern is no less common in the decor of ceramic tiles.

Combination of ornaments: meander acts as a border for floral motifs, Versace Home by Gardenia Orchidea

A meander is a frieze pattern formed by a continuous line curved at a right angle. These are perhaps one of the oldest decorative patterns, known since Neolithic times, however, they are most widespread in art Ancient Greece. The meander decorates not only antique ceramics, mosaics and reliefs, but is also, for example, a trademark of the Givenchy brand.

Lamp sconce with meander border, Versace Home by Gardenia Orchidea

Nowadays, meanders can most often be found in classic interiors in the form of a border or edge element. The edging of a carpet, a border on wallpaper or a mosaic canvas with such an ornament looks both strict and elegant, giving the space a clear rhythm and orderliness. Against the background of the meander, minimalist modern furniture and classic furnishings in the Empire or neoclassical style will look equally organic.

Memo: Notice how varied the use of ornament is. Sometimes we don’t even notice that they surround us everywhere: from the pattern on the wallpaper, to the decor of dishes, lamps, carpets or pastel linen.

Ornament is universal language art and design that does not become outdated, does not go out of fashion and pleases the eye at all times. Of course, you need to use it wisely, taking into account the general style of the interior, and remember that experts do not recommend using more than two types of ornament in one room.

Floral ornament, the flowering of which was observed in the Yakut folk art of the 19th century, has no analogues among the original Siberian ornamental cultures. The presence of plant and floral motifs It also distinguishes it from the ornamental cultures of the peoples of the North and more southern neighbors belonging to the Mongol-speaking ethnic group. The floral ornament of the Yakuts most clearly expressed its Turkic-speaking nature, i.e. poetic perception of the world based on the spiritualization of plant natural forces, veneration of the spirits of herbs, trees, plants, which corresponds to traditional beliefs and folklore ideas. Floral ornamentation is most pronounced in Yakut silver items: bracelets, belts, and the decorative design of the front bows of saddles. It is represented by various modifications of a climbing stem with shoots, leaves, flowers extending from it, as well as a motif of a flourishing lyre and rosettes with plant filling.

One of the features of the Yakut floral ornament is the absence of a motif of herbs and fruits. The emphasis on the idea of growth and flowering, rather than fruiting, is obviously associated with local natural conditions: rapid growth of vegetation during white nights and the absence of traditions of fruit gardening on permafrost. The idea of fruiting was embodied in geometric forms of ornament with pastoral semantics, in contrast to Slavic ornament, where it is expressed in plant forms associated with the traditions of agricultural crops. Another feature of the Yakut floral ornament is the absence of the carpet principle of composition, so characteristic of the floral ornamentation of the peoples of the Caucasus and Central Asia. The Yakut ornament does not know the weaving motif, it never merges with the background, its placement on an object is always connected with the shape and design of the thing. The floral ornament of the Yakuts is also alien to the symbolism of color, characteristic of the folk art of the Mongol-speaking peoples. At the same time, a number of plant and floral motifs among the Yakuts are stylistically close to the floral patterns of folk art of the Caucasus, Central Asia, Ancient Rus', with its roots in the art of Asia Minor. The central motif of this group of ornaments is a flourishing lyre, associated with the motif of the tree of life and the circle of mythological ideas of the Yakuts. We associate its use in the center of saddle cloth and kychim embroideries with the triad of goddesses of the Yakut pantheon: Aiyysyt, Ieyehsit and Aan Alakhchyn. The latter lives in the sacred tree Aal-Luk-Mas (tree of life), which is the source of abundance; her children are countless spirits of trees and herbs. Both simple and complex motifs of plant patterns act as filler for the lyre: herringbone, trefoil, palmette of the Middle Eastern type, a conventional flower with an emphasized cup, corolla and core. The image of flowers in the ornament has a profile character. The herringbone and trefoil motif may be of local origin; it is noted in the embroidery of other peoples of Siberia, in particular the Evenks, who are associated with the local flora. The lotus motif dates back to ancient Egyptian ornamental culture. It is not found in Russian floral designs. The tulip motif perhaps reflects connections with Persia, Iran through Central Asia. Lush flower, correlated by some researchers with the Mediterranean area of culture, is inherent in both Old Russian and Caucasian art. Perhaps this is a modification of sardaana, a favorite flower in Central Yakutia from the lily family.

Yakut silver items are characterized by the motif of a curved stem with shoots, leaves, and flowers extending from it. Compositionally and stylistically, this motif is close to the Dagestan floral ornament of the tutta (twig, tree) and marharai (spiral-shaped stems, thickets) styles. However, the Dagestan floral ornament reflected the range of Muslim ideas and was often combined with the intricate script of religious texts. The Yakut ornament lacks the motif of interlacing stems and the motif of birds as parts of the ornamental composition. The profile image of a flower in Dagestan ornamentation is distinguished by a whimsically elongated core, sometimes twisted into a curl. Yakut ornamentation is more free and constructive. Even in lush plant compositions, a logical hierarchy of ornamental elements is preserved; simple geometric motifs are often present that perform a clear constructive function.

In general, the Yakut plant-floral ornament reflects the oriental taste, manifested in the selection and combinations of plant patterns, which allows us to draw a conclusion about the “eastern” style of this group of ornaments. The figurative structure of plant ornaments is associated with the Yakut ideas about the flowering land, the ancient goddesses of the matriarchal period, personified in Yakut mythology.

Lyre pattern

The central motif of the plant group of ornaments is the flourishing lyre (Fig. 6), associated with the motif of the tree of life and the circle of mythological ideas of the Yakuts. We associate its use in the center of saddle cloth and kychim embroideries with the triad of goddesses of the Yakut pantheon: Aiyysyt, Ieyehsit and Aan Alakhchyn. Both simple and complex motifs of plant patterns act as filler for the lyre: herringbone, trefoil, palmette of the Middle Eastern type, a conventional flower with an emphasized cup, corolla and core. There are different versions about the semantics of the lyre-shaped motif - “kesyur oyuu”. The lyre-shaped form is also a symbolic image of a plant breaking out of the ground. The lyre-shaped motif is common in the ornamentation of many nations. It is considered as a world tree - the tree of life, the tree of fertility, the tree of ascension. It has apotropaic and benevolent functions. The lyre-shaped motif is also associated with the cosmological view of the Yakuts; it is a symbol of growth, development, the desire for light, for the highest deities of Aiyy. The middle main lyre-shaped motif is called “iye ke?uer”, the branches rushing from it in different directions are “o?o ke?uer”, they are at the same time a symbol of the birth of new life, fertility, and wealth.

Fig.6 Lyre-shaped motif

The lyre-shaped motif in ornamental art symbolizes a blessing for development and prosperity in the Middle World, therefore, a mandatory tradition in the embroidery of this ornament is its symmetry and vertical arrangement. According to the ornamental canons of Yakut craftswomen, only the shoots that blossomed from the main motif could rush to all four directions. But sometimes an inverted lyre-shaped motif in shoes acts as a symbol of danger. Apparently, in this way, craftswomen protected themselves from demons and evil spirits of the Lower World through shoe embroidery.

The basis of the arrow-shaped ornament, called “aya yrbata,” is made up of arcs and arrow-shaped figures extending upward from the arcs, used in the ornamental art of the Yakuts mainly as a protective, warning sign. The meaning of the name of the pattern indicates that it may have a magical-protective function. This is emphasized by the location of the ornamental motif - along the edges of clothing and household items. Perhaps in this way the person tried to protect himself from the influence of various evil spirits.

Heart pattern

The heart-shaped pattern (Fig. 7) is traditionally always used in the decoration of elegant mittens, leg guards, saddle cloths, and kychyms. The lush flowering of the heart-shaped motif in the ornamentation of all nations is a symbol of love and harmony. It does not look like the lyre-shaped motif common in Yakut sewing. The middle, main, motif has the shape of a common heart motif. Three tree motifs are located along the vertical axis of the ornament; they are not connected, as is usually the case in a lyre-shaped motif, by one trunk. The designs of the top motif, directed upward, the middle one, which is inscribed in the core, and the bottom motif are motifs of the common tree motif - trefoil, gogglyfoil or seven-leafed tree.

Fig.7 Heart-shaped pattern

The lower tree usually goes upside down. Obviously, these motives determine the trichonomic division of the Universe into heaven (the habitat of the gods), middle world, inhabited by people-aiyy, and the underground demonic world, where most of the demons live - abaasy. Thus, this composition of the ornament clearly shows the imaginary world of the ancestors: outer space in different dimensions-- the verticals correspond to the tops, trunks and roots of trees, and the horizontal directions correspond to branched lines extending from the core of the ornament.

This pattern is usually embroidered using the common type of embroidery “tanalaidy annyyy”

Many cultural concepts are based on material manifestations of the people's consciousness: household items, clothing, the manner of building houses, and so on. It is quite obvious that these phenomena are studied by scientists as closely as possible, starting from external manifestations and ending with the sacred meaning inherent in them.

Ornaments are of particular interest in this regard, since they simultaneously identify a particular culture or nationality, and at the same time are common to completely different, sometimes diametrically opposed cultures.

Types of ornaments

On at this stage development of cultural studies, it is customary to distinguish four main types of these decorative elements. One of the most common is the geometric pattern, which is characterized by an abundance of clear lines, points and geometric shapes.

The next most popular is the floral pattern, which is based on the image of various leaves or flowers arranged in a certain order and specific shapes. This type of decoration of clothing and household items is very characteristic of our Slavic culture.

Zoomorphic ornaments have become approximately as widespread as floral ornaments. In a sense, they are even close to each other, since elements of flora are often found in this kind of images. However, the main emphasis in this case is on animals (both real and fictional).

Finally, culturologists distinguish the so-called anthropomorphic type of ornament, the concept of which is based on a person.

In this article we will define what a floral ornament is, what cultures it is typical for and what it symbolizes.

Historical roots

In general, the depiction of flora elements is characteristic of almost all cultures, since this tradition is directly related to the concept of the world tree.

This cult is considered one of the oldest and most widespread. For the Slavs in the era of paganism, it occupied one of the dominant places, being the basis of the worldview as a whole.

Egyptian culture

Floral ornamentation was also characteristic of the culture of Ancient Egypt. Some researchers even argue that it is this part Globe and the culture can be called the birthplace of floristic patterns, due to extremely favorable natural conditions.

The Egyptians depicted mainly lotus and reed, which were the most common and revered as sacred plants.

Art of the East

Floral ornaments were no less popular among the Sumerians and Assyrians. Most often, these peoples depicted daisies and daisies, which, from their point of view, personified the sun. You could also often find images of cones, pomegranates, palm trees and ears of corn.

Persian tradition

If in previous cases the image was quite schematic, then in this case there is a much greater desire for a naturalistic image. Floral ornaments of Persian decor most often included carnations, anemones and daffodils.

Ancient Greece

Naturally, one cannot help but say that such elements were very often used in Hellenic culture. Along with geometric figures, there were also plant ornaments and patterns depicting palm, laurel branches, grape vines and even algae, which is directly related to the territorial location of Greece.

Slavic culture

As mentioned earlier, our culture is also completely no stranger to the use of this kind of elements. Floral ornaments and patterns are most firmly established in Ukrainian culture, but before that they were actively used by all Slavs.

Most often, plants were depicted such as hops, poppy, wheat ears, periwinkle, oak and grape leaves, and viburnum. As a rule, these elements were depicted in red on a white background.

Secret meaning

It is quite obvious that the floral elements of the ornament were never depicted as simple decoration. From time immemorial, the image of a particular figure or phenomenon had a hidden sacred meaning. Viburnum on clothes and household items, for example, symbolized not only cosmic harmony, but also prosperity, health and strength of the family.

Oak leaves embroidered on men's shirts and towels were supposed to bring strength and courage to their owners.

Grape leaves and bunches meant the strength and happiness of the family, healthy offspring and all sorts of benefits associated with the family hearth. Poppies were supposed to protect the owner from evil in all its manifestations.

Ornament stripes

As you know, there are two main ways to depict symbolic elements - in the form of a single line (parts of the pattern follow one after another) and circular.

The floral pattern in the strip represents constant repetition and alternation of various elements. Wheat ears, for example, can alternate with hops. This kind of arrangement was most often used in clothing, since it had a kind of protective function. As a rule, patterns of this type were placed on cuffs, belts, at the collar and on skirts. Girdling with plant elements was extremely important for the people, which in many respects has been preserved to this day.

Linear images were also used in home decoration - often plant elements can be found around the perimeter of doors, on house shutters, tables and other interior items.

Circular image

Along with the above method of application and placement, there was another. An ornament in a circle, floral or otherwise, was more often used in decorating dishes and jewelry, although in meaning it did not differ from patterns made in stripes.

The circular image of certain elements also symbolized the cyclicality, repetition and infinity of life.

§1. The emergence of ornament. Basic concepts.

The ornament is a very ancient type of DPI. The language of each ornament is associated with the history and culture of the people. The creators of ornaments always turned to nature, using what they saw. Ornament is music. The rows of his lines are like the melody of some eternal song before the universe.

Ornament is a part of our spiritual life, expressing the human need for beauty. Having expressed in its rhythms an emotional attitude to life, ornamental art can become a kind of imprint of the psychological makeup of people of a certain era, nation, or social layer. Each nationality retained in its ornament the most characteristic, the closest to the national character, aesthetic tastes, and concepts of beauty. Folk craftsmen created patterns distinguished by a wide variety of individual motifs, which intertwined real observations of the nature around them with fabulous performances.

Basic concepts:

· Ornament (pattern)– sequential repetition of individual graphic motifs or a group of them.

· Rapport– repetition of part of an ornament (group of elements) without any change in linear dimensions and shapes.

· The ornament can be rapport And without rapport.

Ornament, being one of the most ancient types of DPI, has retained not only traditions, but also the deep symbolism of ornamental motifs, compositional design and color scheme. By studying the ornament of any nation, you can learn more deeply about its history, traditions, and worldview.

The main means of expressiveness of the ornament:

Rhythm–rhythmic alternation of similar or contrasting elements.
The creative combination of individual components is called composition and consists of alternating individual figures and their rows located horizontally, vertically and diagonally.
Plays a very important role in all types of creativity - coloring harmonious combination of colors and their shades.

Classification of ornaments.

Type of ornament – classification of ornaments according to design features (stripe, rosette, mesh);

Type of ornament - stripe. An ornament located vertically, horizontally or circumferentially in the form of a strip or ribbon. An ornament in a stripe is also called: ribbon, garland, frieze.

The type of ornament is a rosette. Rosette (from the word “rose” - a centrally symmetrical or mirror-symmetrical ornament.

The type of ornament is mesh. The repeat of a mesh ornament can be either a stripe or a rosette; when repeated many times, they fill the plane completely, as if they are covered with a mesh.

Type of ornament : classification of ornaments according to the features of visual motifs (geometric. Floral...).

Geometric ornament. The geometric ornament is based on such figurative motifs as geometric shapes and bodies (lines, zig-zags, dots, squares, circles, stars...).

Floral ornament. The basis of the floral ornament is figurative motifs of floristic themes (flowers, leaves, shoots, buds, trees, etc.).

Zoomorphic ornament.“Zoo” is an animal, “morph” is a form. The zoomorphic ornament is based on figurative motifs from the fauna kingdom (animals, birds, insects, fantastic beasts, etc.).

Anthropomorphic (humanoid) ornament.“Anthropos” means man, “morph” means form. The anthropomorphic ornament is based on images of human figures, humanoid gods, angels, and masks.

Font (calligraphic) ornament. The font ornament is based on visual motifs associated with letters, fonts, calligraphy - Russian and Arabic script, drop caps, initials, hieroglyphs, etc.

Heraldic (symbolic) ornament.

The heraldic ornament is based on motifs associated with the image of coats of arms, emblems, signs, and symbols.

Sign(in art, design) - the visual part of the logo, as a rule, also including the name (written - alphabetic or hieroglyphic - part, often also artistically designed) of the branded product, service, organization, event or person.

http://ru.wikipedia.org/wiki/Sign

Symbol in art there is a characteristic of an artistic image from the point of view of its meaningfulness, its expression of a certain artistic idea. Unlike allegory, the meaning of a symbol is inseparable from its figurative structure and is distinguished by the inexhaustible ambiguity of its content.

http://ru.wikipedia.org/wiki/Symbol

Coat of arms (Polish herb from German Erbe - inheritance) is an emblem, a distinctive sign passed on by inheritance, which depicts objects symbolizing the owner of the coat of arms (person, class, clan, city, country, etc.). Heraldry deals with the study of coats of arms.

http://ru.wikipedia.org/wiki/Coat of arms

Braided ornament or “wickerwork”.

The basis of a wicker ornament (braid) always contains figurative motifs of weaving, regardless of what elements are involved in the ornament (floral, zoomorphic, etc.).

Practical work №1:

WETTER ORNAMENT (with elements of zoomorphic and anthropomorphic) - “teratological style.

Historical information (read):

Wicker patterns in Russian books appeared with the advent of books from Bulgaria. It includes tightly intertwined harnesses or belts. Complex weaving of a rope-like appearance, tied in many places with knots. This is basically how the headbands were drawn: the circles are repeated and connected with patterned ligature and knots, the initials are multi-colored.

Braided ornament of the “Balkan type”. This is an interweaving of circles, eights, rectangles and squares. Strict symmetry. The “Balkan ornament” came to Rus' in the 15th century, when the Turks fought for the Balkan Peninsula. Many artists and scribes left for Rus'. By the end of the century, the Moscow court workshops had developed a version of the luxurious “Balkan” ornament with multicolor coloring. And a lot of gold. In the book ornament of the 13th–14th centuries. a “monstrous” style appeared. The Greek word teratos means monster. A close interweaving of ribbons ending with snake heads. The legs, tongues, heads, tails, and wings of animals are entangled with ribbon weaves. A similar ornament is known among the Balkan Slavs, in Scandinavia, Ireland and in many works of the Romanesque style from different regions of Europe. The basis of this stylistic unity is the common origin of the animal ornaments of the Eastern European nomads of the era of migration of peoples. This art arose in the context of major movements, when contacts between European barbarians and nomads of the Eurasian steppes played a significant role.

The most popular image of a predatory beast in ancient Russian applied art. In some cases, we can talk about a certain desire to convey the image of a lion, which is often mentioned in ancient Russian written sources - a brave and strong beast, the king of beasts. Images of real and fantastic animals play an important role in ancient Russian art. They decorated the churches of the cities of Vladimir and Suzdal, as well as jewelry: bracelets and hoops. Used in the book craft, starting with the Ostromir Gospel.

Guidelines:

Make a copy of the teratological ornament, choosing a sample of your choice (Internet, books, albums, cards).
A4 sheet size, overall dimensions ornament no more than 150x220mm.
Technique – achromatic graphics.

Today I will continue the story about Chinese culture with its variety of patterns and symbols.
The first part can be found here:

A large number of images in China are associated with the plant world.

Evergreen trees were believed to contain especially high levels of life-giving yang elements, which ensure the maintenance of green foliage in winter. Such trees were planted in the courtyards of ancestral temples - this was supposed to bring happiness and good luck to the living.Trees of certain species were attributed special qualities and all sorts of legends were made about them, which became widespread among the people. WITH base was considered a symbol of longevity and high moral purity. However, the image of a pine tree and a crane meant recent years long life.
“Neither elm nor poplar can compare with pine. It reigns over all. Pine is greener than all.” (Du Fu).
“Pine and cypress are naturally straight and straight. It’s hard for them to have the face of a peach or plum.” (Li Bo)

In China, people have long loved touchingly flowers peach, which personified spring. People received aesthetic pleasure from contemplating the bright, graceful and sophisticated flowers of peach: they resembled the face of a beauty.

Not only peach flowers were valued, but also its fruits and branches. So from peach tree, having magical properties, Taoist monks made seals, the impressions of which were used to decorate talismans and amulets. The branches of the peach tree were attributed healing properties: They used them to whip those with fever and thus exorcise evil spirits.
In China, the peach is called the “peach of immortality” or “birthday peach.” People give peaches as a birthday gift to wish them long life. An ornament with a picture of a peach is usually hung near front door to ward off evil spirits.
The peach fruit represented marital happiness.

Plum flowers.
The amazing color, graceful shape and wonderful aroma of the blossoming plum made it very popular in Chinese art. Watercolors and patterns on fabric, inlays, songs and poems elevate the sophisticated image of a blossoming plum branch to the category of national symbols. Plum blossoms in early spring, when it is very cold around and there is even snow.

The purity and nobility of a flower, in spite of the snow and cold, opening its delicate petals towards the sun in early spring, charges human hearts with energy and vitality.

peony flowerequated to the national symbol of China for its beauty and wonderful fragrance (It was declared the national flower of China in 1903). Its sophisticated, elegant shape symbolizes prosperity, happiness and peace. He is called the ruler of flowers.IN Chinese“Peony” sounds like “a flower of nobility and wealth”; it is called a flower of nobility and honor, and is presented to friends as a sign of good wishes.
“The peony is a rich and luxurious flower. It suits the emperor’s daughters.” (Dream in the Red Chamber)

As an ornamental plant, peony has been cultivated in China for 1500 years; in the 16th century, more than 30 varieties of peonies were known in China, some of which were very expensive and could only be exchanged for gold. In Chinese fairy tales, if a hero reaches the pinnacle of wealth and power, he will certainly plant peonies in his gardens, “which change color four times a day.

Peony is considered a flower that represents yang power. In addition, the peony is considered an emblem of earthly love.

Chrysanthemum. The passive principle of yin in the flower kingdom is the chrysanthemum, which personifies peace, longevity, simplicity and pride. This is the most autumn flower. The traditional colors of Chinese chrysanthemum are white and yellow.

Buttons in the shape of golden chrysanthemums are common.

As well as embroidery and printing on fabric.

Lotusis a symbol of purity and perfection, because it grows out of dirt, but itself remains clean. It is considered the emblem of progeny, as well as of summer and harvest due to a large number seeds in its pod. The lotus symbolizes harmony and love between husband and wife, as the word "union" and "lotus" sound the same, and "lotus root" is pronounced the same as "married couple".

The symbolism of the lotus in Chinese culture is closely related to Buddhism: it is a flower reaching towards the light through the darkness of water and silt.
At the same time, the lotus is tender and beautiful flower, symbol of femininity.

It was especially revered, which can be found in any region of China. Thisthe tree was revered primarily because it creates reliable shade with its leaves, giving people the opportunityenjoy the coolness during hot, sunny days.In Buddhist beliefs, the willow symbolizes meekness and the onset of spring. Its beauty, flexibility and fragility are sung by great Chinese poets and embodied in the paintings of outstanding Chinese artists. This tree has also become a symbol of the fair sex. A woman's thin waist in China is compared to a willow tree.
Willow branches were hung over the doors of residential buildings, because they promised happiness and goodness. Women stuck willow branches into their hair, which protected them from evil spirits, added sharpness to their eyesight, and protected them from blindness.
Willow, a symbol of the sun and spring, is one of the first trees to bloom its delicate leaves under the rays of the spring sun.
The intertwined branches of willow are a symbol of indissoluble love.

The Chinese word "is similar in sound to "generation after generation", therefore in ornaments the pomegranate symbolizes numerous offspring.

Its fruit is depicted with a burst skin so that the grains are visible through the crack, which looks like a smiling mouth. This drawing reads like “one hundred sons.”

Ornaments from dogwood(dogwood) became popular during the Han era. Dogwood was used as a medicine, and folk beliefs, he was capable of bringing good luck. Currently, the image of dogwood is used in decorations and jewelry.