Common Features of the Sea Waves and Cliffs Pattern on Ming and Qing Porcelain and Textiles

Chzhan Chi ORCID: 0009-0004-0309-7394 Postgraduate student; Institute of Design and Arts; St. Petersburg State University of Industrial Technologies and Design 194295, Russia, St. Petersburg, Prospekt of Artists, 16A alisa26c@yandex.com

Introduction

Chinese traditional decorative and applied art has a long history, in which a diverse range of ornaments has been formed, possessing not only high aesthetic value, but also great symbolic significance. Among them, "sea waves and cliffs" are particularly prominent, which are widely used in the decoration of porcelain and textiles from the Ming and Qing eras. This pattern, combining the dynamics of raging waves and the monumentality of rocky cliffs, is characterized by high artistic expressiveness and deep semantic content, occupying an important place in traditional art. It is often found on Ming porcelain and on the palace robes of the Manchu nobility of the Qing era. The pattern is distinguished by the strict canonicity of the composition.
"Sea waves and cliffs" have a balanced compositional structure that combines movement and static: the undulating lines of the sea surface convey variability and rhythm, while the stable massive rocks symbolize eternity and the unshakeability of power. This pattern carried a benevolent meaning, such as the idea of "peace on four seas" and an "unshakable state." It was especially in demand within the Confucian ritual system, decorating both imperial household items and official ceremonial costumes.
In the Ming and Qing eras, the "sea waves and cliffs" pattern began to be used not only in porcelain decor, but also on textiles. In the process of its distribution, various materials and techniques contributed to the emergence of unique stylistic variations. For example, on Ming porcelain, the pattern was most often executed using the technique of underglaze cobalt painting, which looked laconic and expressive at the same time due to the blue and white scale. At the same time, on textiles of the Qing era, this motif was created using complex techniques of jacquard weaving, silk embroidery and gold embroidery, which provided a rich color palette and a visual effect of layering.

Porcelain and textiles reflect the close interaction between the material and spiritual cultures of the Ming and Qing eras. However, academic research still does not sufficiently address the issues of the evolution of the style of this pattern in different types of art, as well as its symbolic function in various contexts. In his research, Bai Yanhui analyzes the features of the "sea waves and cliffs" pattern, paying attention to its artistic expressiveness and symbolic component in the culture of the Ming and Qing dynasties ^[1]. Wu Yuzhen offers new forms of application of this pattern in modern clothing design, including its placement in the corners and edges of fabrics ^[2]. Liu Xiaoqiao explores its use in modern jewelry, emphasizing its cultural significance and its inherent ability to emotionally impress, contributing to the creation of an artistic identity of the products ^[3]. Existing research is mainly focused on studying the symbolic component of this pattern in a narrow context (usually imperial robes) or on its stylistic standardization, however, there is no systematic comparison of the differences and similarities between the use of "sea waves and cliffs" on porcelain and textiles.

From the point of view of semiotics and the theory of cultural transmission, the object of research can be considered as a symbol that has spread in different periods of history, adapting to reality in new artistic forms. However, the mechanisms of its intermedial distribution and transformation require further investigation. The work is aimed at filling this gap through a comparative analysis of the pattern in various forms of art.

The study systematizes data from historical chronicles, treatises and modern scientific works, forming a historical perspective on the evolution of the "sea waves and cliffs" pattern and its theoretical interpretation.

Objects from the collections of the Gugun Museum and other leading museums are considered as examples. Special attention is paid to the analysis of the composition, color solutions and technological features of the pattern execution.
Combining the two approaches mentioned above, the study seeks to combine a macro-historical analysis with a detailed study of the artistic and technological characteristics of the pattern.

The theoretical basis of the work is based on semiotics and material culture in the context of the theory of cultural transmission, which makes it possible to analyze the mechanisms of pattern adaptation in various types of art. In particular, the study seeks to reveal how symbolic significance has been preserved and changed depending on the medium of reproduction, and why this pattern, having a sacred and ritual function in the past, continues to exist in modern design.

Within the framework of this work, the following research objectives are set:
to consider the evolution of the "sea waves and cliffs" pattern over the course of history and determine its original cultural meanings; to conduct a comparative analysis of the compositional, coloristic and technological features of the execution of this pattern on Chinese porcelain and textiles of the Ming and Qing eras; to identify intermedial transformations of the pattern and determine which elements of its traditional form have been preserved and which have undergone changes since the emergence of new contexts; to explore ways of inheritance and reinterpretation of the pattern in modern textile design, including its adaptation in the fashion industry, interior decor.

The present study aims not only to deepen the scientific understanding of the evolution of the "sea waves and cliffs" pattern, but also to expand the perspective of studying traditional Chinese decor in the context of intermedial interaction. In addition, the work offers practical insights that can be useful for designers exploring ways to integrate traditional ornaments into modern artistic and commercial projects.

The results of the study can contribute to the study of the cultural continuity of traditional Chinese patterns, as well as offer new ideas for integrating classical decorative and applied art into the global design context.

Artistic and cultural features of the "sea waves and cliffs" pattern in the decoration of porcelain and textiles

Features of the pattern composition

In the Ming and Qing eras, the "sea waves and cliffs" pattern in the decoration of porcelain and textiles demonstrates a combination of static and dynamic. Initially, it was widely used on porcelain, where it was executed in the form of continuous circular waves with towering rocks, differing in visual depth and spatial dynamics. In textile art, especially in the lower part of the robes of the mandarins (officials) of the Qing Dynasty, this pattern was located on the edges of the clothes, creating an impression of poise.
On porcelain, the features of the pattern varied depending on the historical period. For example, in the Yongzheng era (1723-1735), the pattern of sea waves on blue-and-white porcelain products was often created by repeating geometric shapes, emphasizing their dynamism. Using different shades of blue added visual depth ^[13]. At the same time, on the robes of the Qing mandarins, the pattern was created by a symmetrical arrangement of rocks and waves, which symbolized the greatness and stability of imperial power ^[24].
Thus, compositional solutions for porcelain and textiles follow the same idea of combining dynamics and stability: waves symbolize movement and change, and mountains symbolize stability and strength, which makes this pattern a universal symbol.

Adaptation of color solutions and technologies in different mediums

Despite the common features, coloristic solutions and techniques for the execution of patterns on porcelain and textiles have their own characteristics.

On blue-and-white porcelain products of the Ming and Qing dynasties, the pattern was created using cobalt underglaze painting. Additional colors were used for polychrome porcelain to enhance the decorative effect.

On the imperial robes of the Qing Dynasty, the pattern was embroidered with gold threads. Sophisticated jacquard weaving techniques were also used to achieve the effect of visual wave layering ^[4].

Differences in techniques also affect the perception of the pattern. Painting on porcelain allows you to create a play of shades and their smooth transitions, enhancing the feeling of water movement. In textiles, on the contrary, the use of multicolored silk threads and complex seams forms clear contours and relief, emphasizing depth and volume ^[8].
For both porcelain and textiles, contrasting coloristic solutions are used, as well as complex craft techniques, thanks to which the pattern acquires depth.

The symbolic meaning of the pattern and its transformation

The "sea waves and cliffs" pattern has not only an artistic, but also a symbolic function, reflecting the ideas of imperial power and sustainable state order. However, its meaning and application have changed over the course of history.
In the Ming and Qing eras, this pattern was used on imperial porcelain and mandarin robes, symbolizing the stability of the state and the longevity of the dynasty. For example, on the longpao of the Qing emperors, the motifs of sea waves were combined with the image of a dragon, enhancing the sacred status of the ruler ^[26].

Distribution among artisans

Over time, the use of the pattern shifted from court art to folk craft. The process particularly affected porcelain and casual wear. New elements appeared, such as clouds, cranes, and the eight Bagua trigrams, which reinforced the symbolic message of well-being ^[23].

In recent decades, "sea waves and cliffs" have become actively used in modern fashion, interior design and souvenir products, adapting to new artistic trends. For example, at the APEC Summit in 2014, the pattern was included in the design of national clothing, representing a combination of traditions and modern stylistic trends.
The evolution described above shows that "sea waves and cliffs" not only retain their original symbolic components, but also adapt to changing cultural contexts.

The use of the "sea waves and cliffs" pattern in modern design

With the change of Chinese society and the development of new design concepts, the "sea waves and cliffs" pattern gradually transformed from an imperial symbol into a more universal cultural sign. Its symbolic significance has weakened, but artistic features reflecting cultural identity continue to be preserved in modern design. Below we look at how this traditional pattern, used on imperial household items and clothing of the Ming and Qing dynasties, has moved into the field of textile design and interior items of today, acquiring new artistic forms in an actual context.

The evolution of traditional ornament in modern design

Initially, the "sea waves and cliffs" pattern was widely used for the decoration of porcelain and textiles from the Ming and Qing eras. This was especially true of court clothes and household items. Due to the fact that a significant number of these products have been preserved in museums, the pattern remains one of the most recognizable symbols of Chinese decorative and applied art in society.
Compared to traditional "imperial" artistic solutions, modern design focuses on visual appeal and cultural identity rather than the political significance of the pattern.
In addition, its use on the latest porcelain has significantly decreased – designers are more likely to prefer minimalism and abstract interpretations rather than classical compositions with detailed waves and rocks.

This transformation is due to the difference in available materials and technological capabilities. On traditional porcelain, the pattern was usually created using blue-and-white painting and polychrome glaze, which emphasized the flexibility of the lines and the depth of the composition.
In modern textiles, designers use jacquard weaving, digital printing, and embroidery. This allows you to achieve a variety of textures and complex color transitions.
The development of modern technologies has made it possible to more freely adapt the pattern to different types of products, integrating it into the modern design context.

Application in clothing and accessories

The "sea waves and cliffs" pattern is most widely used in modern textile design, especially in the field of fashion and decorative products. In recent years, there has been an increased interest in "new Chinese fashion" ("Xin zhongshi"), which combines traditional motifs with modern silhouettes and materials. "Sea waves and cliffs" are used in the design of evening dresses, traditional qipao dresses, casual items and sports equipment.
For example, famous Chinese brands Li-Ning and Peacebird have integrated stylized waves and rocks into the design of sportswear, hoodies and T-shirts, creating a special urban style. Fashion allows the younger generation of Chinese to identify themselves as part of the national culture, and also contributes to the development of the global trend "Guochao" ("national wave").

Application in packaging design of goods and souvenirs

In this decade, the pattern began to be actively used as an ornament for souvenir and designer products.
Cultural institutions such as the Gugong Museum and the Suzhou Museum have released collections of accessories, stationery, textiles and tableware with motifs of sea waves and cliffs.
Interior designers include patterns in the decoration of porcelain sets, wall panels, decorative pillows and carpets, creating an effective combination of traditional elements with modern minimalism.
In the packaging industry (for example, for luxury tea, perfumes, jewelry), the motif of sea waves and cliffs is actively used to decorate boxes and bottles, emphasizing the connection of products with traditional Chinese culture.

Design innovation and cultural sustainability

The use of "sea waves and cliffs" in modern design demonstrates not only their artistic value, but also the ability of traditional culture to adapt to new realities. Modern designers simplify the pattern by using geometrization and abstraction. For example, on textiles, it is often found in the form of concise lines reminiscent of Japanese minimalism, which makes it more versatile and adaptive.

Cross-media application and digital technologies

With the development of digital art and new technologies, the "sea waves and cliffs" pattern has gone beyond traditional textiles and porcelain.
Digital artists use traditional Chinese patterns in crypto art, creating unique NFT tokens.
With the help of 3D printing and interactive design, the pattern is embedded in the decoration of clothes with a variable range, interactive panels and even architectural projects.

National identity and global popularization

In recent years, China has been actively developing a cultural policy aimed at popularizing traditional elements in global design.
For example, at the 2022 Winter Olympics in Beijing, the "sea waves and cliffs" pattern was used in the design of official costumes and souvenirs, which emphasizes its inclusion in the national artistic code.

Conclusion

The "sea waves and cliffs" pattern, being an important part of traditional Chinese decorative and applied art, became widespread on porcelain and textiles of the Ming and Qing dynasties. Over the centuries, it has gradually developed and evolved significantly. The associated system of social hierarchy gradually disappeared. Although this pattern was no longer used in formal attire after the fall of the Qing Dynasty in the early 20th century, it has been preserved on numerous artifacts and has become an important object of study and inspiration for subsequent generations. In the modern era, the "sea waves and sheer cliffs" pattern is seen as a symbol of traditional Chinese culture and is in demand by designers again. In this work, using art and cultural analysis, research of museum collections, as well as methods of semiotics and the theory of cultural communication, a comprehensive analysis of the origin, style formation, intermedial distribution and modern interpretation of this pattern was carried out, which allowed to reveal its transformation from an imperial symbol to an element of mass culture, as well as modern decorative art.
The study shows that in the Ming and Qing eras, the "sea waves and cliffs" pattern had a deep symbolic meaning associated with strengthening positions of power, wishes for well-being and the idea of the unity of the state. It was widely used on imperial robes, ritual vessels, and court ceremonial objects. A comparative analysis of the use of the pattern on porcelain and textiles revealed both common features of visual execution (for example, symmetrical composition, a combination of dynamics and statics), and differences due to materials and techniques of creation. On porcelain, the pattern was created using blue-and-white painting and polychrome glaze, which made it possible to convey the fluidity of lines, while on textiles it was realized through embroidery and jacquard weaving, often complemented by gold thread. This gave it a special refinement and static feel.
In modern society, with a change in the political context, the symbolic meaning of the pattern has become weaker, but its cultural role and artistic features have begun to be more pronounced. In the latest design, the "sea waves and cliffs" pattern demonstrates a dual trend – the reconstruction of tradition and cultural innovation.
On the one hand, its use on modern porcelain is decreasing, but in the textile industry, fashion industry and interior design, on the contrary, there is an active development. Designers use digital printing, jacquard weaving, 3D printing and other advanced technologies, adapting the traditional pattern to a new visual language.
On the other hand, the rise of the Guochao movement ("national wave") promotes the revival of traditional motifs in popular culture. The "sea waves and cliffs" pattern, as an important symbol of Chinese heritage, is widely used in high fashion, premium packaging and interior products, becoming a key visual element of China's cultural identity and self-expression on a global level.