Abstract
This study verifies the relevance of the combination of traditional Chinese artifacts and perceptual semantic research. It provides new research ideas to study the Chinese artifact culture. Moreover, it helps people to understand the cultural spirit better and design crystallization of traditional artifacts. This study considered Chinese traditional incense burners in Ming and Qing dynasties to adopt morphological analysis and affinity diagram to select representative experimental samples. Furthermore, this research applied the perceptual engineering theory to explore the relation between design group’s description of perceptual semantics and the shape of incense burners. The focuses were the design group on the shape and style of ancient artifacts in aesthetic consideration. According to the results of semantic principal component analysis, the perceptual semantic bias of the design group towards incense burners was concentrated, which is related to the style acceptance of incense burners. Among these related incense burner styles, the design group paid more attention to the proportional design of “incense burner foot” in the perceptual bias of incense burner shape and preferred the proportional incense burner shape of “long foot.”
Highlights
Chinese incense burners became one of the popular artifacts in Tang and Song dynasties [1]
Aesthetic consciousness is related to the level of social development and restricted by the society, but at the same time, it develops into aesthetics with individual characteristics [6]. e essence of aesthetic contemplation is a kind of perceptual activity state in which the subject concentrates on the object and forgets the existence of other things, which is the starting point of all artistic activities [7]
Principal Component Correlation of Incense Burners in the Ming Dynasty. e KMO and Bartlett test of factor analysis showed that KM0 was 0.972, which indicated that the obtained data were suitable for factor analysis
Summary
Chinese incense burners became one of the popular artifacts in Tang and Song dynasties [1]. E culture of incense burners is closely related to people’s aesthetic consciousness at that time. Aesthetic consciousness is the active reflection of the subject to the aesthetic attribute of the objective image, including people’s aesthetic feeling, experience, viewpoint, and ideal [4]. Aesthetic consciousness is related to the level of social development and restricted by the society, but at the same time, it develops into aesthetics with individual characteristics [6]. E essence of aesthetic contemplation is a kind of perceptual activity state in which the subject concentrates on the object and forgets the existence of other things, which is the starting point of all artistic activities [7] Aesthetic consciousness is related to the level of social development and restricted by the society, but at the same time, it develops into aesthetics with individual characteristics [6]. e essence of aesthetic contemplation is a kind of perceptual activity state in which the subject concentrates on the object and forgets the existence of other things, which is the starting point of all artistic activities [7]
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