Research On Design Of Changsha Kiln Ceramics In The Context Of Cross-cultural

The Changsha kiln in the Tang and Five Dynasties was the representative of trade and design in the early period of globalization.Changsha Ceramic combined function and aesthetics,art and commerce,and had obvious Persian and Islamic cross-cultural design attributes.To explore the creation characteristics,design activities and evolution process of its food utensils,as well as the hidden design methods and creation thought,we can find out the traditional design principle and excavate the contemporary value of ancient design.The research is based on the national science and technology support project,“Design+New Silk Road” program,and the author's teaching practice work about the Changsha kiln in recent years.Based on the global history and cross-cultural perspective,the dissertation focused on the Changsha kiln design and cultural interaction from design ? production,circulation and sales to consumption and use.Based on the framework of design,this dissertation explored the design thinking and design philosophy of the Changsha Kiln to cross-cultural consumers,researched the communication and mutual learning of technology and art from the multidimensional view of cultural system.Meanwhile,we also exploit the methods of literature research,field investigation,typology,case study and cross-cultural research.Firstly,the related concepts,connotation and scope are defined,and the previous research and problems are analyzed.Then the dissertation analyzes the cross-cultural factors,designer culture and consumer culture,as well as the design characteristics of Changsha ceramics in the Islamic world.This dissertation focuses on three aspects: functional value,decorative aesthetic and commercial design.In the research of ceramic function and shape,the dissertation makes a comparative study on the typical ceramic objects of Changsha kiln and Islam,and the "thing" behind the "object ",that is,the diet life style and cultural custom at that time,and explores the applicable design principle of Changsha kiln based on life style.Then from the view of aesthetic and decorative design,the dissertation researches the typical glaze colors such as celadon and white,as well as the painting decorative themes such as birds,geometry,plants and characters,which are closely related to Islamic culture,and discusses the aesthetic orientation and motivation of color setting and decoration.The dissertation also discusses the performance and foundation of commercial design of Changsha kiln in ancient times,analyzes the target market and consumer orientation,and makes a diachronic analysis on the innovation evolution of Changsha kiln based on consumer demand.Based on the above research,this dissertation refines the typical strategy of innovation design and the ideological characteristics of cross-cultural design from the level of "skill" and "Tao ",and thinks about the contemporary globalization and localization design under the background of "The Belt and Road".It is pointed out that Changsha ceramics have the characteristics of globalization and cross-culture,which are reflected in all links from design production,trade circulation to consumption and use.Based on the analysis of literature and material objects,the dissertation finds that the main ceramic types of Changsha Kiln in Islamic world are bowls,plates,saucers,pitchers,jars,etc.The decoration is mainly moulded decals and paintings,in line with Persian and Islamic aesthetic orientation.The research restores the use scene and cultural context of Changsha ceramics,and deduces that Changsha ceramics have practical function,aesthetic function and meaning function in Islamic world,which are luxury goods for cross-cultural consumers.Therefore,the target market and consumer group of Islamic world are different from the middle class of Tang Dynasty,but the elite class,including Royal families,social elite and rich people.This dissertation summarizes the typical design strategy and technological innovation model of Changsha Kiln from three technological forms,such as tool technology,body technology and social technology.It is concluded that modular and stylized support its efficient design,batch and standardized production.It has been widely used in the combination of bodies,form and pattern matching and pattern motif.The division of design also provides the guarantee for the production efficiency,quality and the continuous innovation.This division manifests in the production subdivision for product types,the coordination of multiple jobs,the cooperation of different level potters,as well as the interaction between merchants and designers and so on.The design strategy of "Decoration priority" adopted in the social background at that time ensured the diversification of products and the flexibility of design,and promoted the value of goods.The research holds that in the cross-cultural context at that time,designers use the design technology which combine the technology of Yuezhou kiln,Tang Sancai and other domestic kilns,and the art elements of Persian,Sogdiana and Buddhist.Aiming at the demand of Muslim,Buddhist and other consumers in material technology,social life,aesthetic consciousness and other cultural dimensions,the continuous design innovation was carried out.It shows the multi-dimensional blend of local and foreign cultures.Starting from the dialectical relationship among designers,consumers and objects,this dissertation discusses the natural view,Interpersonal relationships and attitude towards material use in the production process of Changsha Kiln.This dissertation is the first attempt to summarize the ideological characteristics of design creation in cross-cultural context and explore the "truthfulness,kindness,beauty" character of Changsha kiln design.Under the influence of ancient creation culture and Huxiang regional culture spirit,Changsha Kiln formed the natural view of "integrating innovation and daring to be the first ",which reflected the attitude of seeking "truthfulness".Changsha Kiln adhere to "consumer-centered ",formed a customized design and production mode,showing "kindness" and " Hejing,Jian'ai" and service concept.In order to achieve the goal of "beautiful object and extremely use",Changsha kiln based on the local,looking overseas,carry out " applicable-oriented " design along with time passes and the change of domestic and foreign consumers,The designers keep pace with the times,be open and lenient,demonstrates a culture-and user-centred design thought."Objects" and "Creation" of Changsha Kiln are precious wealth for future generations.Especially under the background of "the Belt and Road ",regional cultural revitalization and design innovation face the opportunities and challenges of globalization and cross-cultural.Changsha kiln undoubtedly provides cultural nourishment and method reference for contemporary design,which has far-reaching historical value and strong practical significance.