A Semiotic Study of the Translation of the Twining Lotus (Chanzhi Lian) Pattern in Contemporary Ceramic Brand Visual Design

DOI: https://doi.org/10.62517/jhet.202615317

Author(s)

Zhu Yanli

Affiliation(s)

Jingdezhen Ceramic University, Jingdezhen, Jiangxi, China

Abstract

The goal of this paper is to explore the semiotic system and cultural semantic inheritance mechanism of the traditional Chinese twining lotus (chanzhi lian) pattern, construct an ordered translation path for its application in contemporary brand visual design, and solve the problem of how to innovatively pass on traditional Chinese patterns in modern design. According to Peirce's triadic theory of signs and Morris's three-dimensional semiotic system, this paper will study the sign system of the twining lotus pattern at the levels of syntax, semantics and pragmatics. Shape grammar is also presented as an operating mode that can modify patterns through extraction of units, reconstruction of structures, substitution of proportions and modern colouring techniques, etc. From the above results, although the cultural recognition of the pattern has been maintained, it can also meet the requirements of contemporary branding in terms of visual language. An operating translation system for traditional ceramic patterns has been created in this paper to provide both the theoretical foundation and the empirical basis of the modern redrawing of similar traditional motifs.

Keywords

Twining Lotus Pattern; Semiotics; Brand Visual Design; Design Translation; Ceramic Culture

References

[1] Peirce, C. S. (2014). On Signs (trans. Zhao Xingzhi). Chengdu: Sichuan University Press. [2] Morris, C. W. (2011). Signs, Language and Behavior (trans. Yang Chengkai). Shanghai: Shanghai People's Publishing House. [3] Zhou Xian. (2008). The Turn to Visual Culture. Beijing: Peking University Press. [4] Xu Hengchun. (2008). Design Semiotics. Beijing: Tsinghua University Press. [5] Chen Liping. (2019). A study on the evolution of twining lotus patterns on Yuan, Ming and Qing dynasty ceramics. Zhuangshi, (5), 88-91. [6] Liu Zongming. (2021). Design translation and innovation of Chengcheng embroidery from a semiotic perspective. Meishu Yanjiu, (3), 112-115. [7] Han Meilin. (2016). A Compendium of Traditional Chinese Patterns. Beijing: People's Fine Arts Publishing House. [8] Li Yanzu. (1993). The Way of Decoration. Beijing: China Renmin University Press. [9] The Palace Museum. (2015). Palace Museum Classics: Ming and Qing Ceramic Patterns. Beijing: Palace Museum Press. [10] Zhao Guangchao. (2017). The Charm of Porcelain: Ming Dynasty Official Kiln Ceramics and Patterns. Beijing: Zhonghua Book Company. [11] Wang Shouzhi. (2002). A History of Modern World Design. Beijing: China Youth Press. [12] Su Ning. (2018). Research on the application of shape grammar in product form design. Packaging Engineering, 39(10), 156-160. [13] Zhang Xiaoming. (2021). Design translation pathways of traditional patterns in the context of 'guochao.' Yishu Sheji Yanjiu, (2), 45-49. [14] Huang Yongsong. (2006). Analysis of Traditional Chinese Auspicious Patterns. Taipei: Hanheng Magazine Press. [15] Cahill, J. (2009). The Compelling Image: Nature and Style in Seventeenth-Century Chinese Painting (trans. Li Peihua). Beijing: SDX Joint Publishing Company.