Chinese Cultural Symbols Research Articles

Application of Multivariate Statistical Analysis Based on the Random Matrix in the Study of Chinese Cultural Symbols

In today’s diversified development of contemporary culture, how Chinese traditional culture and contemporary graphic design can be perfectly integrated into contemporary design and how to reflect their unique cultural symbols in contemporary design is a major issue that designers and researchers must face. This paper takes Chinese cultural symbols as the research object and adopts a multivariate statistical model based on a random matrix. By means of factor analysis and cluster analysis, the number of dimensions of multivariate data is minimized while ensuring minimal information loss to improve the efficiency of the analysis. This paper takes Chinese cultural symbols as the core and adopts a multivariate statistical method based on the random matrix for factor analysis and cluster analysis, in an attempt to establish a complete and scientific evaluation index system, which provides a reliable tool for the study of Chinese cultural symbols.

Using Kansei Engineering for the Design Thinking Framework: Bamboo Pen Holder Product Design

Recently, as a potential source of stationery products, bamboo has been continuously excavated for its commercial value in sustainable development. The research on the design of the bamboo pen holder, based on the concept of sustainable design, is not only a symbol of Chinese culture but also a reflection of perceptual factors underlying college students’ preferences. This study aims at user-centered product design by integrating Design Thinking (DT) and Kansei Engineering (KE). We proposed the KE–DT framework which allows designers to coordinate the user’s feelings as design elements. With various college student questionnaires, expert interviews, and cluster analysis, 7 Kansei words were selected to describe the sentimental value first. Using statistical analysis, the users’ emotional preference for each Kansei word was determined. Finally, the best shape of the pen holder was obtained by Sequential Quadratic Programming (SQP), and the stereoscopic product was displayed. A new round of questionnaire surveys was conducted with the optimized pen container and the previous group. The results indicated that curvature had a significant effect on the preference for bamboo stationery in terms of user and designer cognitive differences. Furthermore, the bamboo pen holder designed by the KE–DT framework proved widely popular.

The Influence of Design Aesthetics on Consumers' Purchase Intention Toward Cultural and Creative Products: Evidence From the Palace Museum in China.

As a symbol of Chinese culture, the Palace Museum undertakes the mission of spreading Chinese culture. In recent years, through the innovative integration of traditional culture, the Palace Museum has provided a series of cultural and creative products to meet consumers’ personalized expectations, which has attracted wide attention from both academia and practice. Cultural and creative products, as one of the means of cultural dissemination by museums, affect the revenue and sustainable development of museums. Thus, it is of great significance to study how consumers arrive at the decision to purchase these products. This article explores the influence mechanism of design aesthetics on consumers’ purchase intention (N = 201). The results show that design aesthetics has a positive influence on consumers’ purchase intention through perceived value and that Chinese traditionality moderates the indirect influence of perceived value. The contributions and implications are discussed.

Comparative linguistic analysis of translations of Chinese fairy tales

The study conducted a comparative linguistic analysis of the originals of Chinese fairy tales and their translations into Russian (a prerequisite was the presence of at least two interpretations of each fairy tale selected for analysis). The translations were compared not only with the original texts, but also with each other, in order to establish the strategies of translation activities and the methods of translation transformations used. The source base of the study was a collection of Chinese fairy tales by the famous Russian sinologist Boris Lvovich Riftin and a similar collection of fairy tales "Fairy Tales of the Middle Kingdom", translated and prepared for publication by the Seventh Book editorial office in 2012. Two strategies have been identified: forenization and domestication, as well as methods of generalization, addition, omission, transcription, compensation, and sentence division. It is established that in a number of cases translators changed or missed Chinese cultural symbols, a possible explanation for this phenomenon is proposed: poetization, modernization of meanings, emotionally expressive allocation of any significant element (emphase). In practice, it has been established how the era in which the translator lives and the culture leave an imprint on the translations of ancient foreign-language texts. The linguistic analysis of Chinese phraseological units found in fairy tales and their Russian-language analogues or semantic substitutions is carried out. It is analyzed how and why morally indifferent Chinese fairy tales were interpreted in the logic of the victory of good over evil. The results obtained can be used in the course of teaching the disciplines "Written translation (Chinese)", "Poetic translation of Chinese texts", as well as in research activities.

The Origin and Vision of National Cultural Park Management Policy in China

Research on the evolution of cultural policy is the key in the field of public policy study, and it is also an important means to solve the problems that have emerged in cultural heritage management. The National Cultural Park is an innovative cultural heritage protection system proposed by Chinese leaders within the context of national rejuvenation and building a culturally-strong country campaign. From the perspective of system evolution theory, this paper systematically sorts out the ideas behind international heritage management and the evolutionary process of the Cultural Relics Protection Unit system, in an effort to explore the origin, innovation and vision of the National Cultural Park System. A review of the international heritage documents revealed that the principle of heritage protection has developed from “authenticity” to “integrity”, and the focus of the protection object has also changed from “monism” to “diversity”, which provided a theoretical background for the burgeoning National Cultural Park. The Cultural Relics Protection Unit system has been promoted as the most crucial cultural heritage management system in China. Therefore, this study sheds light on the evolution and limitations of the system that lays a practical foundation for the National Cultural Park System. There have been three stages in the history of China's National Cultural Relics Protection Unit, namely, the creation of the system (1956–1965), the survival crisis of the system (1966–1977), and the rebirth and development of the system (1978 to the present), in which the main driving concepts of China′s cultural heritage management have been sequentially elucidated as simple protectionism, tolerant conservatism and comprehensive developmentalism, respectively. Since the establishment of China's Cultural Relics Protection Unit system, tremendous progress has been made not only in the enlightenment of the public's mindset and but also in the development of system and culture. However, the changes in the institutional environment gradually exposed its limitations regarding cultural relic management and value expression. The National Cultural Park System is the fruit created by the internal contradictions of the cultural heritage system itself and the evolution of heritage theory. Its biggest innovation lies in the two core connotations of “integrated protection” and “integrated development”. In the future, as the National Cultural Park management system matures, a Chinese cultural heritage management system will take shape in which the National Cultural Parks become dominant and various cultural resources are utilized. Finally, the National Cultural Park will become a symbol of Chinese culture and will be internalized into the common belief system of the Chinese nation.

A Reinterpretation of Kumarajiva’s Translation Thought and Its Enlightenment to the “Going Out” of Chinese Culture

The translation of Buddhist sutras has played a vital role in the spread of Buddhism in China, of which Kumarajiva has made a great contribution. With his unique translation ideas and translation practices, he made it easier for the Buddhist scriptures to be accepted by the public, thus promoting the spread of Buddhism and the exchange and integration of ancient Indian civilization and Chinese culture. Now, our country is also actively advocating the strategy of “culture going out”. To promote China’s culture to go abroad, to spread Chinese cultural symbols and values to the world?we will enhance China’s international discourse power and the international influence of Chinese culture, thus further enhancing China’s cultural soft power. In this context, more and more Sinology classics go to the world through translation, among which the translation of Sinology classics in English is undoubtedly the mainstream. Based on this, Kumarajiva’s translation thoughts can be used for reference to the translation process of “Chinese culture going out”, for instance, how to deal with cultural untranslatability and translate some words with cultural characteristics, which can better promote the spread of Chinese culture and enhance China’s international influence.

Perception difference analysis using digital technology: case study on Ghanaian Adinkra symbols and Chinese traditional symbols

Based on data analysis, this study measured the level of perception of Ghanaians and Chinese cultural symbols. The objective was to investigate the possible differences and misconception in visual perception and comprehension between Ghanaians and Chinese. One hundred symbols, fifty from Ghana and fifty from China was used to administer questions in a survey to a total of hundred Ghanaian and Chinese subjects. By employing digital technology such as data collection and data analysis the most typical and least typical cultural symbols among both countries were collected. Further analysis was done to find out the factors affecting the perception of symbols by subjects and interaction effects between genders. Findings show that at least 40% of both Ghanaian and Chinese subjects had a relatively good knowledge of their cultural symbols which help identify them as typical symbols of their nations. The cultures of the subjects played a significant role on the results while gender, level of education, employment and the academic status of individuals impacted minutely on the outcome. The significant outcome of this study provides the basic foundation for researchers who are interested in examining cross cultural perception of cultural symbols. This study increases the need for awareness of cultural symbols and their meanings outside a country’s borders.

The Cultural Communication Significance ofthe Mulan Films Made by Disney

In September 2020, the live-action film “Mulan” shot by Disney in the United States was released in mainland China. This is the fourth time that Disney has put Mulan, a traditional Chinese character, on the screen. The first time was the animated version in 1998. After the success, the “Mulan II” was released in 2004, the third time was the 2012 animation version for children. This time, Disney put this historical story that is well-known in China on the screen in the form of a live-action version. The Chinese elements presented in these four versions are undoubtedly obvious. Although many people in China think that the Mulan created by Disney is not the Mulan in their minds, and the interpretation of traditional Chinese culture in the play is not necessarily accurate. However, by observing Chinese traditional culture from Westerners’ vision and interpreting Chinese traditional culture with Westerners’ concepts, Disney’s efforts objectively played a role in spreading Chinese traditional culture on a larger scale. It shows the traditional Chinese values of “loyalty, righteousness, courage and filial piety” and the two unique Chinese cultural symbols of dragon and phoenix to audiences all over the world, at the same time, the concept of caring for women and publicity of individuality is integrated into it, which makes this traditional character have a strong contemporary character and is more easily accepted by modern audiences. Its significance in cultural communication is worthy of recognition.

Quantifying the Urban Visual Perception of Chinese Traditional-Style Building with Street View Images

As a symbol of Chinese culture, Chinese traditional-style architecture defines the unique characteristics of Chinese cities. The visual qualities and spatial distribution of architecture represent the image of a city, which affects the psychological states of the residents and can induce positive or negative social outcomes. Hence, it is important to study the visual perception of Chinese traditional-style buildings in China. Previous works have been restricted by the lack of data sources and techniques, which were not quantitative and comprehensive. In this paper, we proposed a deep learning model for automatically predicting the presence of Chinese traditional-style buildings and developed two view indicators to quantify the pedestrians’ visual perceptions of buildings. Using this model, Chinese traditional-style buildings were automatically segmented in streetscape images within the Fifth Ring Road of Beijing and then the perception of Chinese traditional-style buildings was quantified with two view indictors. This model can also help to automatically predict the perception of Chinese traditional-style buildings for new urban regions in China, and more importantly, the two view indicators provide a new quantitative method for measuring the urban visual perception in street level, which is of great significance for the quantitative research of tourism route and urban planning.

Analysis of the Coupling Path of Qi Culture and Regional Economy

<p>At present, local culture is becoming more and more important in the developing process of national economy and society, increasing the significance of the development and reconstruction of local culture in various places as well. Local culture can promote the brand building, tourism and economic development. In the long history from the Spring and Autumn Period to the Qin and Han Dynasties and till now, Qi culture has been eclectic, becoming a symbol of Chinese culture, and forming a unique spiritual characteristic of self-improvement, kindness, virtue and wisdom. This paper analyzes the coupling path of Qi culture and regional economy.</p>

장예모의 영화《영》의 중국문화상징과 현대문화상징의 응용에 관한 내용

장예모의 영화《영》의 중국문화상징과 현대문화상징의 응용에 관한 내용

Fairness-related behaviour modulation by friendship is moderated by American primes in Chinese participants

Empirical studies from the fields of psychology and behavioural economics indicate that people do not like being treated unfairly and may punish those who violate the norm, even at a cost to themselves. Recent research has emphasized the relationship effect on fairness-related behaviour but has shown conflicting results and has not focused much on the characteristics of culture. This study used the cultural priming paradigm and the Ultimatum Game (UG) to explore whether cultural primes could moderate the relationship effect on fairness-related decision making. We primed Chinese participants with either Chinese cultural symbols or American cultural symbols and asked them to play as responders with friends or strangers in the two-party UG (experiment 1) or in the three-party UG (experiment 2). Results from the two experiments confirm that Chinese participants accepted unfair offers more often when the offers were made by friends than when the offers were made by strangers. However, the relationship effect was diminished after American cultural priming. These results suggest that American primes can moderate the relationship effect on fairness-related behaviour in Chinese people. This finding may shed new light on the likelihood of exiting from the heavy reliance on social relationships in Chinese society.

The Writing Consciousness of Chinese Calligraphy, Theory to Practice

Chinese calligraphy has developed for more than 3,000 years and become a symbol of Chinese culture. To the artist, calligraphy is a mental exercise that coordinates the mind and the body. This paper focus on the writing consciousness problem. If you don't solve the problem, you'll waste your time to study calligraphy writing. style of writing brush is a ancient concept. The strength, speed and direction embodied in the characters, as a style. We also consider this important problem in this paper and make the following major contributions. First, the concept of the situation style is redefined and demonstrated. Second, the problem of choosing the suitable calligraphy copybook is elaborated. Third, a case of calligraphy practice is developed to guide enthusiasts to improve writing skills day by day.

Oxytocin increases liking for a country's people and national flag but not for other cultural symbols or consumer products.

The neuropeptide oxytocin enhances in-group favoritism and ethnocentrism in males. However, whether such effects also occur in women and extend to national symbols and companies/consumer products is unclear. In a between-subject, double-blind placebo controlled experiment we have investigated the effect of intranasal oxytocin on likeability and arousal ratings given by 51 adult Chinese males and females for pictures depicting people or national symbols/consumer products from both strong and weak in-groups (China and Taiwan) and corresponding out-groups (Japan and South Korea). To assess duration of treatment effects subjects were also re-tested after 1 week. Results showed that although oxytocin selectively increased the bias for overall liking for Chinese social stimuli and the national flag, it had no effect on the similar bias toward other Chinese cultural symbols, companies, and consumer products. This enhanced bias was maintained 1 week after treatment. No overall oxytocin effects were found for Taiwanese, Japanese, or South Korean pictures. Our findings show for the first time that oxytocin increases liking for a nation's society and flag in both men and women, but not that for other cultural symbols or companies/consumer products.

Tao Yuanming: A Symbol of Chinese Culture

A writer of enormous impact on Chinese literary history, Tao Yuanming 陶淵明 (ca. 365–427) became a cultural symbol through his deep and pervasive influence on generations of scholar-officials. What emerged was the image of an individual pure and high-minded, freethinking in spirit, reconciled to poverty, and upholding “ineptitude.” Through a survey of the mu Tao 慕陶 (idolizing Tao) phenomenon in Chinese cultural history, this essay discusses the process by which Tao assumed the status of a wenhua fuhao 文化符號 (cultural symbol) and explores the factors that made it possible. Specifically, this essay maintains that Tao achieved this exemplary role through the cultural work of later scholar-officials who reimagined, constructed, and selectively formulated a paradigmatic character-type on top of the base supplied by his own core character. Finally, this essay discusses the international and contemporary significance of Tao Yuanming.

A tale of two social networking sites: How the use of Facebook and Renren influences Chinese consumers’ attitudes toward product packages with different cultural symbols

Culture influences people’s information processing and attitude formation. This study examined the effects of using social networking sites from a cultural perspective, based on the culture learning model in the acculturation literature. A total of 251 Chinese individuals residing in the U.S. participated in the experiment. They were randomly assigned to one of four product package conditions with different cultural symbols (either American cultural symbols or Chinese cultural symbols, or both, or neither). Their usage intensity of two social networking sites, U.S.-based Facebook and China-based Renren (“the Facebook of China”), was measured. It was found that participants’ usage intensity of Facebook and Renren reflected their cultural orientation, language proficiency, and length of stay in the U.S. It was also discovered that more intensive Renren usage led to more favorable attitudes toward packages carrying Chinese cultural symbols. However, participants’ willingness to pay for the products with different packages was not affected by their usage intensity of social networking sites, due to the country-of-origin effect.

URGENSI PENGUATAN IDENTITAS KEWARGANEGARAAN SUBNASIONAL DI KOTA PADANG PASCA GEMPA 2009 STUDI TENTANG REPOSISI ETNIS CINA TERHADAP KEBIJAKAN PUBLIK DAN POLITIK LOKAL

After earthquake disaster occurred on 30 September 2009, the government of Padang city and its people is not only faced with the question on Padang economic recovery and rebuilding efforts on city infrastructure but also on isssue on how to reconstruct the social structure of local population which was torn due to the handling and management of victims of post days of earthquake. One main issue is the emergence of apriori attitude felt by Chinese residents toward the neglected and discriminative attitude of government. However, it raises social solidarity amongst them post earthquake. As a minority group, Chinese is not only susceptible to economic issues, they are also vulnerable to social and cultural issues, including in the case of post-earthquake in Padang. Strengthening on subnational awareness within Chinese society reemerges when Padang municipal government in the early 2012 is about to demolish unload Gate of Friends Amical Association (Gapura Himpunan Tjinta Teman), one of Chinese cultural symbols built by Chinese ethnic in Padang as a form of solidarity. Thus, the campaigns and slogans glorifying the recognition of the diversity of life constantly voiced by Padang goverment becoming counterproductive and paradox in viewing social phenomena and empirical facts concerning government relations and their minority citizens. It is because the efforts to rebuild the pieces of social solidarity that has been torn, is in fact, it is not a simple task. To establishing uniformity in diversity takes commitment and consistent recognition as to create city residents that is more cultured and dignified in the future. This paper sees the struggle of Chinese people in Padang in their effort to reclaim the cultural symbols in public spaces after the earthquake occurred in 2009 and the emergence of dispute regarding the existence of Gate of Friends Amical Association (Gapura Himpunan Tjinta Teman) in Pecinan Padang area in early 2012 through field research and theoretical studies in analyzing the relationship between public policy and minority groups.

中国武術の文化産業化

The Legend of Kungfu (hereinafter "Legend") is a musical of Shaolinsi Kempo as the central theme and it describes the process of hardship of a child called Junichi in becoming a chief priest through the Zen practice and knightly efforts. Since its first performance in July 2004, it has received good reputation mainly from foreign tourists and its overseas performance since August 2005 was successful. It is one of the most attention-drawing cultural products. They established their subsidiary company in Branson, Missouri in July 2010 to go international, and performed "Legend" which was revised into an American version. There are two purposes of this thesis. First, the social background of martial arts' industrialization is discussed; through what process it came to play an important role as a symbol of Chinese culture although it was positioned as a mere type of sport. Next, transformation of cultural symbol of martial arts in the process of industrialization is clarified. Two factors may be considered as social background; one of them is related to change of the government's ideology policy around the 1990s. Due to the political convulsion and corruption of cold war structure from the Cultural Revolution to crushing of the pro­democracy movement, public faith towards Marxism and Maoism was greatly disturbed. Furthermore, the reform and door-opening policies had not conformed to the existing style of nationalism such as the existing anti-feudalism and anti-imperialism. Under such social circumstance, it is inevitable to change the nationalism in order for the Communist Party to recapture the public faith for them and continue economic modernization maintaining united stability of the nation. By focusing on the peculiarity of Chinese culture to flourish the nationalism which became superficial, they started to justify government from nationalist's view. Based on such background, the value of martial arts has been highly evaluated as a symbol of traditional culture. The second factor is the influence of cultural system reformation. Cultural policy used to be considered as a mean to advertise the Communist Party's ideology. Since Chinese economic system was logically clarified as Chinese socialist market economics in 1992, market economics logic has been brought to the cultural policy which had been conducted as the nation's public service. In the late 1990s, GDP per person reached nearly $1,000, where a large amount of surplus fund would turn into consumption in the near future, and in 2005, potential cultural consumption ability was expected to double that of 1997. In consideration of the above condition, in 2000, the concept of industrialization of culture began to be proposed and positioned as an important part of the nation's economic development plan. Cultural industrialization, from an aspect of cultural content, is to bring the logic of profit and competition to tangible and intangible cultural heritage. While cultural replication is developed, people demand more realistic culture. They, however, result in the paradox that there is no real culture anywhere. This thesis first-refers to Cao Xiao-ning, the president of Heaven Creatio!l who produces and operates "Legend". Cao used to work as the head of an art organization which belonged to the Ministry of Inner Mongolia, but he started up Heaven Creation by himself riding on the wave of reform and door-opening. Cao's background and process of company establishment well reflect the situation of culture industrialization from 1990 to 2000. Furthermore, through the analysis of the "Legend" text, we present the specific sample where martial art is de-contextualized from its original culture and symbolized in cultural hybridity. (※Due to word limit in J-Stage, please refer to the PDF file below)

形象／意象／意念／觀念─楊英風雕塑創作的四個時期

Yu Yu Yang (1926-1997) was one of the most critical artists during the post-war period in Taiwan. He was so versatile that no single artistic titles would suffice to describe him. He was an oil painter, a graphic artist, a photographer, a cartoonist, a product designer, a sculptor, a landscape planning specialist, and even a laser artist. It is because he had worked on so many fields of art, applied such a great variety of materials to his works, developed such unprecedented avantgarde techniques and expanded his profound thoughts of art, that he had become so influential.Among his various achieved works, Yang's series of sculpting art is recognized by both researchers and the general public for its strong coherence and completeness. This article examines the artist's development course of sculpting art by dividing it into four periods: the initial period in which ”form” was explored; the period of ”image” during his years in Italy; the period of ”ideas” when he returned to Taiwan to create the ”Taroko Gorge” series; and the ”concepts” period when he incorporated traditional Chinese cultural symbols, such as dragons, phoenixes, the Sun, the Moon, and the Universe into his stainless steel sculptures, while reflecting on the meanings of landscape sculpting. It is hoped that, by analyzing the course of development of Yang's sculpting art, this article would serve as reference not only for researchers to further explore his works, but also for other artists to learn about and interested members of the public to appreciate Yang's creation.

Yü Chi and His Mongol Sovereign: The Scholar as Apologist

AbstractThis paper, a study of the career of Yii Chi (1272–1348), explores the nature of Chinese literati support of Mongol rulers during the Yiian period. Yii Chi served as the leading apologist for the usurper Tugh Temiir (Wen-tsung, r. 1328 and 1329–1332). The most prominent court scholar of his time, Yii Chi devoted himself to the enhancement of Tugh Temiir's prestige, authority, and legitimacy. The paper explores Yii's activities in detail and speculates on his motivations in serving his Mongol emperor. In particular, it suggests that Yii Chi's ultimate aim in bolstering the usurper's claims to the throne, as well as in encouraging imperial support of Chinese cultural symbols and values, was to make Mongol rule more predictable and stable and thus to benefit the Mongols' Chinese subjects.