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Due to the lack of research on the embroidery types and needle techniques of the Gaoshan nationality of Taiwan, China, we used the two-dimensional verification method of literature and image analysis, Photoshop and Adobe Illustrator to illustrate their stitching techniques and to summarize the basic application rules of Gaoshan embroidery stitch. The results show that the Gaoshan nationality in Taiwan is closely related to the Han nationality. Since the Qing Dynasty, after the Gaoshan nationality traded with the Han nationality in Chinese mainland, the embroidery utensils of the Gaoshan nationality have been gradually improved. According to the degree of communication with the Han nationality, the embroidery of the Gaoshan nationality is divided into primitive ecological embroidery and immigrated embroidery. The primitive ecological embroidery has a strong primitive and religious atmosphere. The immigrated embroidery has been developed from the integration of Han and Gaoshan ethnic characteristics. [ABSTRACT FROM AUTHOR]

The comparison of Sogdian images in China and Central Asia has become a hot topic in academic circles in recent years. However, there is no specific comparison of Sogdian images on burial utensils in the existing studies. Accordingly, the author proposes to compare the images on burial utensils by collecting together the remaining materials as much as possible and making corresponding data tables. First and foremost, this paper focuses on the actual quantity of the remains and gives a table, "Statistics of the Sogdian Burial Utensils with Images", to show this quantity for the first time: there are 30 remains of Sogdian burial utensils in China (26 sarcophagi and four ossuaries) and 23 Sogdian burial utensils in Central Asia (all are ossuaries). Secondly, there are several tables based on remaining materials in this paper, including "Distribution of the Shapes of Sogdian Sarcophagi in China", "Historical Period and Shape of Sogdian Ossuaries in Central Asia", "Religious Images Table of Sogdian Sarcophagi in China", "Table of Religious Image Types of the Sogdian Ossuaries in Central Asia" and "Common Religious Images of the Burial Utensils in China and Central Asia". Thirdly, further analysis shows that there are two image systems. Grounded in the above analysis, this paper comes to conclusions at three levels. Firstly, there are two shapes of burial utensils. Sarcophagi are widely seen in China whilst ossuaries are commonly discovered in Central Asia. As a result, the images on the sarcophagi in China are large in size and wide in narrative themes, whereas those on the ossuaries in Central Asia are small in size, emphasizing important content and narrative themes. All are rich in image representation. Secondly, there are three types of religious images on the burial utensils. The comparison results of image types show the common images in three categories: gods, funeral ceremonies and sacred fire sacrifice. Thirdly, the images on burial utensils have different characteristics regarding religious transmission. Zoroastrianism is dominant in Central Asia, while Zoroastrianism, Chinese mythology and Buddhist images are primary in China and images of tomb owners embodying secularity are also widespread in China. [ABSTRACT FROM AUTHOR]

Chinese auspicious element is a kind of art which is used to express yearning of a happy life. It is one of the great treasures of China, with not only emotional value of the people but also an aesthetic value. Chinese auspicious element derives from the aspiration of luck, enthusiasm of life and conciseness of eliminating malicious. It is of great cultural connotation and widely used in interior design, graphic design, fashion design and such. There are many research papers on application methodology of auspicious elements; however, there are very limited research papers on three-dimension product, let alone application in tableware. This paper focuses on illustration of Chinese representative auspicious element "auspicious fish" in tableware design. The research of its application of auspicious element's styling characteristics is of important significance in auspicious element spread and tableware design. This dissertation aims to provide referential design methodology and experience for later researches on related topic. [ABSTRACT FROM AUTHOR]