Chinese craft design excelled in the manipulation of geometric space and reached its highest point in the design of window lattices on Chinese houses. Long recognized as an important folk art, window lattices have been generally neglected as an art form and this book is the first work on the subject since the 17th century. Fortunately, it is also the definitive work on the subject, and though no book can present a complete coverage of Chinese lattice, this book is a great classic study and an incredibly rich source of design for Westerners. More than 1200 designs are shown here, arranged in a clear system of classification that includes 22 areas of related design — borders, brackets, tail pieces, and so on. The lattices are classified according to one basic figure or concept, and the hundreds of beautiful design variations fall into only 26 categories: parallelogram, octagon or octagon square, hexagon, single focus frames, double focus frames, triple focus frames, quintuple focus frames, no focus frames, wedge-lock, presentation, out-lock, in-out bound, the Han line, parallel waves, opposed waves, recurving wave, loop-continued, like swastikas (a Buddhist symbol), unlike swastikas, central Ju I, allover Ju I, S-scroll, U-scroll, rustic ice-ray, symmetrical ice-ray, and square and round. Each category is introduced in sections at the front. In addition, there is usually a short description for each design and every design is designated by name, location, and approximate date of construction. Professor Dye spent over 21 years studying and copying lattices all over China, and because of the ravages of time and changing cultural values, this collection can probably never be duplicated. Balanced, intricate, sometimes asymmetrical, usually harmonious, these lattice designs present a wealth of material for the Western commercial artist, textile designer, pattern-maker, and craftsman. Reflecting their Chinese heritage, these designs are universal and can be used almost anywhere.

Classic work, both in West and in China, on the intricate geometric window grids. 372 lattice designs never before published, expand Dye's earlier classic work. Frames, borders, octagons, swastikas, intricate patterns.

Outstanding selection of 41 designs dragons, cranes, fish, bats, lotuses, peonies, chrysanthemums, many more. "

284 Chinese motifs — flowers and plants, animal life, and more. 100 plates.

You've probably seen many examples of Chinese latticework everywhere you turn without giving any thought to where the designs originated. From the Art Nouveau, Mission and Art Deco traditions to the present, Chinese Lattice has been incorporated into architecture and fine art, textiles and home decor of all types. Enjoy coloring all of the intricate designs you will find in these coloring selections, adding your own interpretations and modern twists to the centuries-old tradition."

This dissertation, "Re-discovering the Design of Latticed Windows and Doors in TraditionalChinese Architecture in Hong Kong" by Chi-yung, Andrew, Law, 羅致勇, was obtained from The University of Hong Kong (Pokfulam, Hong Kong) and is being sold pursuant to Creative Commons: Attribution 3.0 Hong Kong License. The content of this dissertation has not been altered in any way. We have altered the formatting in order to facilitate the ease of printing and reading of the dissertation. All rights not granted by the above license are retained by the author. Abstract: Traditional Chinese architecture is one of the major historic building types in Hong Kong. Though the documentation on traditional Chinese building structure and form is extensive, the study on the decorative components is not as abundant. The deficiency is recognized particularly in timber components due to their high vulnerability to weather and fast deterioration under natural condition. Such situation is also observed in the design of traditional Chinese timber lattices in the partition doors and windows, which are regarded as unique artistic components in the traditional Chinese architecture. The objectives of the study are set to re-discover on the design, expression and associated cultural meanings of the traditional Chinese lattices in Hong Kong and its identity in the Lingnan context. Apart from being an artistic expression with high aesthetic value, the design of the lattice patterns and features are also recognized as symbolic means for the manifestation of collective and individual aspirations and beliefs of the people. They carry the hope for fortune, peace and longevity; and the influence of traditional Chinese thinking from Confucian and Taoist can also be traced. In the traditional Lingnan architecture, Hong Kong is closely related to its context, Guangzhou style. However variations in character of the local lattice design can still be found and the identity of Hong Kong is also to be sought. A field survey on the lattice design in the graded historic Chinese architecture in Hong Kong was carried out. As there is little research reference and the sampling is limited, the objective is set to establish a procedure for the collection of data for comparative analysis. By recording the results, finding out the characters and symbolic meanings, the associated intangible cultural significance can be established. The understanding of such intangible substances will be the essence for future conservation and the conserving of authenticity will rest on the inheritance of the intangible rather than the tangible form and material. DOI: 10.5353/th_b4834557 Subjects: Lattice windows - China - Hong Kong Doors - China - Hong Kong

Published to coincide with the three hundredth anniversary of the birth of Thomas Chippendale, England’s most famous cabinetmaker, this issue of the Bulletin addresses the history of Chippendale works at The Met. Morrison H. Heckscher recounts the designer’s meteoric rise from rural obscurity to the heights of the London luxury trade, crediting that remarkable success to the publication of the Chippendale Director, an instructive book on furniture design and ornament. The text analyzes the Museum’s rare collection of drawings by Chippendale, revealing a gifted and highly imaginative designer who mastered what today would be called branding. Illustrating a wide selection of the Director drawings alongside furniture inspired by the Director or actually made in Chippendale’s shop, this Bulletin features works of art that attest to the museum’s century-long infatuation with drawing, prints, books, and furniture in the Chippendale style.