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Exploration of the Cultural Image of Chinese Form Using Culture Identity Design

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C. Stephanidis (Ed.): Universal Access in HCI, Part II, HCII 2011, LNCS 6766, pp. 488–497, 2011. © Springer-Verlag Berlin Heidelberg 2011

Using Culture Identity Design

Ying-Jye Lee1 and Cheih-Ying Chen2 1

Department of Cultural Business Development, National Kaohsiung University of Applied Sciences, 415 Chien Kung Road, Kaohsiung 807, Taiwan, R.O.C.

2 Department of Cultural and Creative Industries, National Pingtung University of Education,

4-18 Minsheng Road, Pingtung City, Pingtung County 90003, Taiwan, R.O.C. yjlee@cc.kuas.edu.tw, cychen@mail.npue.edu.tw

Abstract. The scope for the development of product design concerns several

fields including cognitive meanings, symbolic functions and cultural histories of form. Through effective intervention of the culture identity design, the dif-ference of the nationality will be decreased, the interaction between product and people will be improved, and the opportunities for cultural self-expression will be enhanced. The objective of this study mainly investigates the relationship be-tween Chinese form and implied cultural image. The study applied the knowl-edge of culture identity design to enrich design semantics of a new product. In regard to develop more strategically culture identity design, a conceptual basis is needed to guide the understanding of traditional culture and support design making. In order to achieve the objective, this study partitions the knowledge into three principles including metaphor coding, traditional frame and decora-tive pattern. The three principles contain insights regarding how people perceive and think in such a Chinese culture environment. Designers can under-stand the principles of Chinese culture identity and apply the concept to design cultural creativity product.

Keywords: Culture identity; Cultural image; Chinese style; Metaphor coding;

Decorative pattern.

1 Introduction

The cultural creativity industry has listed as Taiwan’s national prioritize plan since 2002, and become one of the most important industries. Cultural industries have been defined as systems for controlling innovation through gatekeeping processes [1]. The cultural industry fits the fashion industry, since a new collection is produced through a sequence of gatekeeping activities, which were identified by Blumer [2]. Besides, the cultural creativity industry is the activity of local actions based on the thinking of the globalization. The globalization is the social life striding across space and time by separating out the social situation and resulting in the interactive correlation process among society, culture, system and individual [3][4]. In Taiwan, the government deliberates definitions of various countries regarding the cultural creativity industry and considering the particularity of the development of Taiwan industries. Therefore,

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Exploration of the Cultural Image of Chinese Form 489

the cultural creativity industry in Taiwan is defined that is provided with the creation wealth, potential employment opportunity, and promotion of the whole living condi-tions which are derived from accumulacondi-tions of the creativity and the culture and utili-zation of the intellectual property. In addition, applying design to cultural creativity industry is gradually important. For example, Lee [5] extracted cultural elements from the representative landscapes in Kaohsiung, Taiwan, and designed a series of cultural creativity products.

A good design should help users to understand how to use products but also how to understand their cultural image including implied cultural meanings, stories and emo-tions. The most noteworthy design development maybe concerns about the cognitive meanings, symbolic functions and cultural histories of form. All man-made forms are provided with socio-cultural histories, existing archetypes, and implied cultural mean-ings that place them in the symbolic context during the use process. An object’s form reveals something about its function, usability and quality; sometime, an object’s form also reveals which country it is made in. Through culture identity design, de-signers can demystify nationality, improve the interaction between product and peo-ple, and enhance opportunities for cultural self-expression. In this Age we live in needs an emotional revival. It needs culture identity design. It is merely a design ac-tivity that keeps the user’s emotional, social, cultural needs in mind [6]. This study design activity requires the designers understand the user’s lifestyle and cultural background.

China possesses a long cultural history which has generated distinctive Chinese symbols and forms including Chinese writing, Chinese painting, Chinese knot, Chi-nese architecture and decorative arts. This research mainly investigated the relation-ship between Chinese forms and cultural meaning. The research applied the knowl-edge of culture identity design to enrich the design semantics of a new product. This study explored product semantics to create the cultural cognitive models that explain the meaning of form and allows users to understand Chinese origin of product. The Chinese decorative arts always contain some metaphorical poetry, but most of modern Chinese don’t understand those cultural meanings, because the western style replaces the Chinese tradition gradually. For example, the dragon is the metaphorical meaning of royal power. The butterfly is the metaphorical meanings of joy. Much of the new design approach embodied by Post-Modernism focuses on metaphor, as powerful a device for design, because it illuminates a new perspective by suggesting connections between the subject and memories from our experience [7]. This study not only af-fords users to see the aesthetics of the Chinese objects but also enable users recognize the culture meanings of the decoration.

In regard to develop more strategically culture identity design, a conceptual basis is needed to guide the understanding of traditional culture and support design making. In order to achieve the objective, this study partitions the knowledge of the culture iden-tity design into three principles including metaphor coding, traditional frame and decorative pattern. The three principles assume the definition of culture identity design as a dialogue. Good design provides an effective information transfer among the dialogue’s participants in which the user can understand the cultural meaning emotionally. The following three principles contain insights about how people per-ceive and think in such a Chinese culture environment. Results of this study provide valuable references for academic circles and related industrial field. Additionally, the

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culture identity design model addressed by this study can be extended to develop cultural creativity design for other related fields.

2 Metaphor Coding

Chinese arts always contain some metaphorical poetry that is the culture meanings of the decoration art. This study classifies metaphor coding of the Chinese style into three portions including homonym, metaphor and metonymy.

2.1 Homonym

Most Chinese characters evolved from essential pictures. In comparison, westerners are ‘people of the ear’ rather than of the eye. Chinese words can’t be spelled, and there are not too many phonemes, so the number of homonyms remains very high. Often, the concept of the Chinese word is phonetically close to the symbol itself. For example, we can say shat ”fu” represents the culture meaning of good luck, and the pronunciation of the bat is phonetically close to “fu” (Fig.1).Therefore, the pronuncia-tion of the bat symbolizes good fortune. In such homonym cases we can speak of ‘phonetic’ or ‘ aural’ symbols [8]. The reason for this must be sought in a phonetic parallel: the word for ‘vast’ (ping) is identical in sound with the word for ‘peace’ (ping); the word for ‘fish’ (yu) is identical in sound with the word for ‘abundance’ (yu), as shown in the Fig. 2; the word for ‘orange’ (ju) is phonetically very close to the word for ‘lucky’ (ji).

Fig. 1. Bat (fu) representing the culture meaning of

good luck

Fig. 2. Fish (yu) representing the

culture meaning of abundance

2.2 Metaphor

The symbolism are often used in ancient China. The Chinese applied symbols to deco-rate everything in life including clothes, household utensils, furniture, architecture, etc. There are some metaphors of the good wishes hiding those symbols that became the part of the ancient Chinese. We may say that the pictures of those objects contain symbols, or that the symbols take graphic forms. The picture can be read in two ways—as a work of art which is intended to give aesthetic pleasure to the beholder, or as an expression of good wishes concerning the recipient’s longevity, progeny, etc. Some of the shapes are indeed pleasing, and remind one of another similar auspicious images, including: the gallant peonies (wealth and status) (Fig. 3), The inside empty of evergreen bamboo (modesty and maturity) (Fig. 4), the tortoise (long life), etc. [9]

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Exploration of the Cultural Image of Chinese Form 491

Fig. 3. Peonies representing wealth and

status

Fig. 4. Bamboo representing modesty and

maturity

2.3 Metonymy

The metaphor works by transposing qualities from one plane of reality to another, while the metonymy works by associating meanings within the same plane. The rep-resentation of reality inevitably involves a metonymy: we choose a part of reality to stand for the whole. The selection of metonymy is clearly crucial, for from it we con-struct the unknown remainder of reality [10]. The symbol of yin-yang (i.e. dark and bright) is the part of Tai-Ji (Fig. 5) to stand for the ruling principle of the whole meta-physical world. The sign of eight trigrams (Fig. 6) is the basic form to stand for the all changes of Yi-Jing.

Fig. 5. The symbol of yin-yang (Tai-Ji) Fig. 6. The symbol of Eight trigrams

3 Traditional Frame

Chinese style frame is one of the characteristics of Chinese art and design. It is inter-esting to find these frames so widely applied on the painting, furniture, wall and win-dows. Framing is most often associated with ornate carving and complex shape. We can pick up such characteristics and produce collections based on minimal lines with an oriental feel. In this study, the traditional frame was classified into three portions of the Chinese style including geometric figure, utensil figure and particular figure.

3.1 Geometric Figure

In China, the circle represents the unity, consummation and strength. Besides, the square represents the integrity, regular, and orthodoxy. Therefore, both frames of the geometric shape are usually used on many objects in Chinese culture. There were two circular motifs containing single loop and double loop. The double loop pattern was actually a concentric circle. The internal and external square frames are emphasized as the prevailing motif by the square formed usually in vertical- horizontal relation or X-substitution (Fig. 7). When the small square is in the large circle as a coin (Fig. 8), the circle of heaven and the square of earth symbolize deities that are omnipresent.

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Table 7 shows the significance exists among three principles. According to the result of the Scheffe’s test, the metaphor coding is the best of three principles to represent the Chinese style (Table 8). Homonym, metaphor, and metonymy explain clearly the meaning of form and allow users to understand Chinese culture, so metaphor coding is well suited to apply on the design of the Chinese theme. Traditional frame and decorative pattern are applicable to the background design for the Chinese style.

7 Conclusion

The ideas developed in this short paper continue to evolve. The principles make up a growing body of knowledge that can help make decisions for the Chinese styles of today’s design. All the principles can represent the Chinese style clear and reasona-bly, specially metaphor coding. The Particular figure of traditional frame, and the animal motif and particular motif of decorative pattern are also well to communicate the meaning of the Chinese form. The results will be become the reference resources provided the conceptual basis of culture identity design, and let Chinese style well merge the western aesthetic with centuries-old idea being reworked into the directions for modern products.

References

1. Hirsch, P.: Processing fads and fashions: an organization-set analysis of cultural industry systems. American Journal of Sociology 77(4), 639–659 (1972)

2. Blumer, H.: Fashion: from class differentiation to collective selection. Sociological Quar-terly 10, 275–291 (1969)

3. Featherstone, M.: Global and Local Cultures. In: Bird, J. (ed.) Mapping the Futures: Local Cultures, Global Change, Routledge, London (1993)

4. Giddens, A.: The consequences modernity. Standford University Press (1990)

5. Lee, Y.J.: Exploration of local culture elements and design of cultural creativity products. Journal of Statistics and Management Systems 13(4), 823–834 (2010)

6. Friedlaender, U.: An Historical Perspective on the New Wave in Design. Innovation, The Journal of the Industrial Designers Society of America 3(2), 12–14 (1984)

7. McCoy, M.: Defining a New Functionalism in Design. Innovation, The Journal of the In-dustrial Designers Society of America 3(2), 16–19 (1984)

8. Eberhard, W.: A Dictionary of Chinese Symbols. SMC publishing, Taipai (1994) 9. Ye, Y.S., Ye, S.Q., Ye, D.Y.: Chinese Lucky Picture, Chunghwabook, Taipei (2002) 10. Fiske, J.: Introduction To Communication Studies. Routledge, New York (1990) 11. Sheets, D.: A Grammar of Chinese Lattice. SMC publishing, Taipai (1990)

12. Scheffe, H.: A Method for Judging All Contrasts in the Analysis of Variance. Bio-metrika 40, 87–104 (1953)

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