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Discussion on the Application of Four Deities Tile-end Motifs of China in Art Design

Author(s)

Kehan Huang, Ruohong Wang

Affiliation(s)

School of Design, Xi’an Technological University, Xi’an, Shaanxi, China

Abstract

Shaanxi Province, as a pivotal cradle of Chinese civilization, boasts profound historical and cultural legacies that have propelled its prominence in both cultural heritage and economic development. The diverse folk arts of Shaanxi—such as paper-cutting, woodblock New Year prints, and shadow puppetry—epitomize the unique spiritual ethos of the Chinese nation while reflecting the ingenuity and diligence of its people. Among these artistic traditions, the Four Deities tile-end motifs (Qinglong, Baihu, Zhuque, Xuanwu) from the Han Dynasty stand out as iconic visual symbols, embodying cosmological philosophies and aesthetic principles of symmetry, geometric abstraction, and symbolic animal imagery. This design practice centers on the innovative reinterpretation of these motifs through cultural and creative product design. By analyzing case studies—such as the integration of tile-end patterns into functional items like wall lamps, scarves, and puzzles—the research explores methodologies to bridge traditional cultural elements with contemporary design demands. Moreover, the study underscores the role of cultural and creative products as dynamic mediums for heritage revitalization. By synthesizing Han Dynasty aesthetics with modern design paradigms, this approach not only preserves the "vigorous simplicity" of traditional art but also fosters sustainable cultural industries, aligning with national strategies for rural revitalization and intangible cultural heritage preservation.

Keywords

Shaanxi Culture; Four Deities Tile-End Motifs of the Han Dynasty; Creative Product Design; Integration of Traditional Culture

References

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