Journal of Global Arts Studies (JGAS, p-ISSN: 3022-2893, e-ISSN: 3022-6600) is a peer-reviewed academic journal that publishes research on the arts, culture, and related interdisciplinary fields from global and cross-cultural perspectives. The journal provides a forum for scholarly work that examines artistic production, interpretation, circulation, education, management, and transformation across diverse cultural, regional, historical, social, and technological contexts. JGAS welcomes contributions that advance critical understanding of the arts and their relationship to society, culture, globalization, technology, sustainability, and contemporary life. JGAS publishes articles in English. Manuscripts may be submitted in Chinese, English, or Korean. Accepted manuscripts submitted in languages other than English are prepared for English-language publication in accordance with the journal’s editorial standards. The journal is published quarterly, with issues released on March 31, June 30, September 30, and December 31. Submissions are accepted on a rolling basis and are assigned to an issue following editorial assessment, peer review, acceptance, copyediting, and production. All submissions are subject to initial editorial screening. Manuscripts that fall within the journal’s aims and scope and meet basic scholarly and editorial requirements are sent for peer review. The review process considers originality, academic contribution, methodological soundness, clarity of argument, ethical compliance, and relevance to the journal. JGAS is committed to maintaining responsible editorial practices, supporting academic integrity, and promoting the international dissemination of research in the arts and cultural studies. Through its publication program, the journal aims to contribute to scholarly dialogue across disciplines, cultures, and regions.
Exploring Pathways for Academic Libraries’ Participation in Cultural Heritage Digital Dissemination: An Artistic Resource- Centered Approach
Background: The implementation of China’s National Cultural Digitization Strategy has made the digital dissemination of cultural heritage an important approach to cultural preservation, public engagement, and cultural value communication. Academic libraries have abundant artistic resources and digital infrastructures that provide unique advantages for contributing in this process. Purpose: This study explores the foundations, challenges, and implementation pathways of academic libraries in cultural heritage digital dissemination from an artistic resource‑centered perspective. Methods: Drawing upon Lasswell’s 5W Communication Theory, this study employs literature analysis and typical case illustrations to examine existing practices and construct a theoretical framework for cultural heritage digital dissemination in academic libraries. Results: The findings indicate that academic libraries benefit from strengths in artistic resource accumulation, digital platform development, and interdisciplinary collaboration. However, they continue to face challenges including resource fragmentation, content discontinuity, limited dissemination channels, insufficient public participation, and inadequate evaluation mechanisms. To address these issues, a five‑dimensional implementation framework is proposed, comprising artistic resource integration, digital storytelling, multi‑platform dissemination, public participation enhancement, and dissemination evaluation. Conclusion: Academic libraries should gradually transform from resource management institutions into active agents of cultural communication and knowledge services. By strengthening resource integration, communication innovation, public engagement, and dissemination evaluation, they can play a more significant role in promoting the preservation, dissemination, and value creation of cultural heritage in the digital age.
Copyright (c) 2026 https://creativecommons.org/licenses/by/4.0/
Research on Innovative Development Paths for the Jiangsu Lacquer Art Industry from the Perspective of Intangible Cultural Heritage Activation
Background: Jiangsu is a core region for the preservation and development of lacquer art in China. Yangzhou, Suzhou, Nanjing, and other areas have developed regional lacquer art systems with distinct styles and characteristics rooted in their rich historical and cultural foundations. Amid shifting consumer demands, the diffusion of digital technologies, and the transformation and upgrading of cultural industries, traditional lacquer art in Jiangsu has encountered development bottlenecks. Prominent problems remain in talent reserves, technological innovation, brand building, and industrial coordination, constraining the long‑term development and dynamic preservation of the lacquer art industry. Purpose: This study systematically examines the development challenges facing the Jiangsu lacquer art industry and explores development paths and optimization strategies suited to its preservation, innovation, quality improvement, and upgrading. This approach provides a theoretical reference and practical support for the dynamic preservation and high‑quality industrial development of local lacquer art. Methods: This study integrates a literature review, field research, and case analysis. From June 2025 to April 2026, researchers conducted field research involving 30 lacquer art enterprises in Jiangsu and Fuzhou. This primary research was supplemented by industry association data and a comparative analysis of typical cases. Results: The findings show that Jiangsu lacquer art currently faces multiple practical problems. These include disruptions in the transmission of skills, an imbalanced talent structure, insufficient innovation in traditional techniques, weak brand influence, a low degree of industrial integration, and an inadequate collaborative development mechanism among multiple stakeholders. These factors make it difficult for the industry to meet the evolving demands of cultural industries in the modern era. Conclusion: A four‑dimensional (4D) driving model comprising talent, technology, brand, and application scenarios should be established. Through differentiated regional strategies and industrial chain integration, Jiangsu lacquer art can achieve dynamic preservation and industrial upgrading.
Research on the Integrated Design of Art and Craftsmanship of Song Brocade Patterns in the Digital Intelligence Era: Smart Children’s Sports Shoes as an Example
Background: Digital intelligence has expanded Song brocade research from digital preservation to innovative design, yet existing studies largely focus on pattern replication, AI‑based generation, and conventional cultural and creative applications. Challenges remain in technical definition, cultural authenticity, smart‑product transformation, and art–craftsmanship integration. Purpose: This study clarifies the boundaries among digitization, digital intelligence, and intelligentization, defines art–craftsmanship integration in the context of intangible cultural heritage (ICH), and explores the contemporary transformation of Song brocade patterns in smart product design. Methods: Focusing on Suzhou Song brocade, this study digitally extracts and reconstructs Ruyi cloud, Baoxiang flower, and water‑wave patterns. These motifs were translated through high‑precision embroidery and integrated with lightweight composite materials, positioning sensors, and flexible LED modules to develop the “With Brocade, Grow with Kids” smart children’s sports shoes. Results: The study demonstrates that digital intelligence can transform Song brocade patterns from static decorative motifs into controllable design resources, while high‑precision embroidery provides a feasible craft translation path from brocade texture to footwear structure. The narrative association between pattern meaning and smart functions further strengthens the coherence among cultural symbolism, product function, and the interactive experience for children. Conclusion: A digital‑intelligence‑enabled art–craftsmanship integration model based on deep artistic and engineering collaboration can enhance the contemporary vitality of ICH and provide a reference paradigm for the modern product transformation of traditional brocades.
Integration Design Strategies for Modern Home Products in Tea Culture Spaces
Background: Driven by evolving consumer demands and digital technologies, modern home products are reshaping contemporary tea culture spaces. Previous research has focused primarily on new Chinese‑style expressions, teahouse furniture, and smart technologies, yet has paid insufficient attention to how such products jointly construct spatial atmosphere, behavioral experiences, and cultural identity under digital intervention. Purpose: This study examined the collaborative role of modern home products in tea culture spaces, explaining how materials, interfaces, furniture scale, environmental control, and behavioral rhythms promote the experiential translation of traditional tea culture imagery in contemporary spaces. Additionally, the study proposes integrated design strategies under low‑intervention digitalization. Methods: Drawing on genius loci theory, emotional design theory, and the concept of low‑intervention digitalization, this study selected the Shanghai J‑Office Five‑Dimensional Tea Culture Space and Zhejiang Damushan Teahouse as high‑ and low‑intervention cases, respectively. The two cases were compared in terms of stylistic integration, functional adaptation, and cultural translation. Results: The results indicate that the high‑intervention tea culture spaces better support composite functions, spatial flexibility, scenario transformation, and environmental control, although excessive technological presence may weaken immersion and ritual rhythms. Conversely, low‑intervention spaces emphasize atmosphere, dwelling experiences, and natural perception, strengthening place identity and cultural experience, although their adaptability to composite functions remains limited. Conclusion: In conclusion, the role of modern home products in tea culture spaces is no longer limited to furniture configuration or technological intervention; rather, their value lies in coordinating traditional cultural imagery with contemporary living needs.
A Study on Visual Simplification Strategies for Picture Book Illustrations for Children Aged 3–6
Background: Original Chinese picture book illustrations for young children are often dominated by adult perspectives and overloaded with redundant visual elements. This overload can easily create a perceptual mismatch between pictorial meaning and the cognitive‑developmental level of children aged 3 to 6 years who are in the preoperational stage. Purpose: This study aims to move beyond the limitations of a single disciplinary paradigm by systematically removing redundant visual information from original picture books and constructing scientifically adaptive visual simplification strategies for illustration. This approach promotes a shift in picture book illustration from empiricist creation toward a child‑centered perspective. Methods: Based on literature research and case analysis, this study examined six representative picture books for young children from China and abroad, including A New Year’s Reunion and The Very Hungry Snake, as textual objects, and interdisciplinary deconstruction was conducted by deeply integrating developmental psychology, Gestalt psychology, and reception aesthetics. Results: The study constructed a dual‑dimensional strategic framework comprising formal and narrative simplification, systematically refining micro‑level indicators related to form, color, composition, characters, scenes, and continuity. These strategies were subsequently translated into an operational three‑stage practical model of conception, drawing, and layout. Conclusion: The simplification strategies proposed in this study help reduce the visual processing and cognitive load of children aged 3 to 6 years when they encounter large‑scale or complex narrative scenes. These strategies not only provide explicit practical guidance for transforming original picture book illustration toward a child‑centered perspective but also expand the theoretical and paradigmatic space of interdisciplinary research on preschool children’s visual cognition and illustration design.
From Perception to Image: A Study on Perceptual Translation Pathways in Visual Healing through Natural Imagery
Background: Nature is not merely an external landscape; rather, it participates in emotional regulation and physical and mental restoration through multiple sensory stimuli, such as plants, scents, light and shadow, and spatial dynamics. The relaxation and restoration that people gain in nature arise from a deep perceptual resonance between the body and the environment. Ecological aesthetics, the biophilia hypothesis, attention restoration theory, and stress reduction theory together indicate that natural healing is not an incidental aesthetic experience, but rather a psychophysical manifestation of the long‑term symbiotic relationship between humans and nature. Purpose: This study aims to explain how natural imagery, through visual translation, transforms light and shadow, water ripples, vegetation, the sensation of wind, airiness, and spatial rhythm into a visible and associative visual language, and to discuss how it evokes natural perception, relieves emotional stress, and encourages direct contact with real nature during viewing. Methods: This study combines a literature review, theoretical interpretation, and image‑based case analyses. It integrates ecological aesthetics, the biophilia hypothesis, attention restoration theory, and stress reduction theory, and conducts a comparative analysis of the author’s creative work, Forest Whispers, and two additional cases of natural imagery. Results: The study finds that the healing quality of natural imagery does not arise from the direct representation of natural landscapes, but is instead generated through the interaction of embodied experience, sensory memory, aesthetic projection, and visual order. Visual elements such as water ripples, grass leaves, light spots, transparent layers, blue‑green hues, and open space can transform auditory, tactile, visual, and spatial experiences in nature into image cues with an emotional orientation. Conclusion: The value of visual healing lies neither in replacing real nature nor in creating an insular image‑based sense of comfort, but in using natural imagery to open a perceptual channel between humans and nature and to guide viewers toward rediscovering the psychophysical significance of direct contact with real nature.
The Spatial Translation of Rituality: From Historical Ritual Spaces to Contemporary Experiential Spaces
Background: From early ritual sites and sacred landscapes to religious sanctuaries and contemporary spaces for spiritual experience, rituality has consistently operated as a mechanism for organizing space, behavior, and perception, ultimately constructing spiritual experiences distinct from everyday life. Existing studies tend to discuss historical ritual spaces and contemporary healing spaces separately; consequently, systematic research on the historical continuity between them and the mechanisms of spatial translation is limited. Purpose: This study examines how ritual spatial mechanisms persist across different historical stages and spatial types and analyzes their translation paths and modes of expression in contemporary spaces for spiritual experience, revealing their contemporary value. Methods: Drawing on ritual theory, spatial phenomenology, and case studies, this study conducts a comparative analysis of historical ritual spaces, religious sanctuaries, and contemporary experiential spaces. It also establishes an analytical framework based on ritual behavior, spatial paths, sensory atmosphere, spiritual perception, and cultural meaning. Results: The findings show that the contemporary translation of rituality manifests in the continuous transformation of behavioral procedures, spatial paths, perceptual atmospheres, and mechanisms of spiritual experience. Ritual spaces across different historical periods construct extraordinary experiences through path progression, liminal transition, environmental staging, and bodily participation. Conclusion: Ritual demonstrates continuous and translational characteristics across the development of historical ritual spaces, religious sanctuaries, and contemporary spaces for spiritual experience. Its contemporary value lies in the reorganization and expression of ritual spatial mechanisms in new contexts. From the perspective of spatial translation, the established framework provides insights for the contemporary interpretation of the spiritual meanings of cultural sites and for the design of spaces for spiritual experience.
A Study on Promoting Fengxian Rolling Lantern Sachet Culture Among Zero-Beginner International Chinese Language Students
Background: Regionally specific and relatively small‑scale intangible cultural heritage (ICH) often faces limited cross‑cultural adaptability, and the field lacks a tailored communication system for zero‑beginner international Chinese language students studying in China. Specifically, while Fengxian rolling lantern performances involve complex techniques and a high threshold of participation, the international promotion value of the rolling lantern sachet culture derived from these performances has not yet been systematically investigated. Purpose: To address these practical tensions of high international promotion thresholds, weak audience adaptability, and fragmented communication chains in small‑scale ICH, we focused on rolling lantern sachet culture to construct a suitable, lightweight promotion system. Methods: To evaluate this system, we conducted a literature review, fieldwork, inheritor interviews, and a standardized questionnaire survey. Utilizing a quasi‑experimental control design, we selected 128 zero‑beginner international language students from four universities in Shanghai for quantitative empirical analysis. Results: Ultimately, the lightweight adapted rolling lantern sachet met the experiential needs of zero‑beginner audiences, while the layered communication strategy and three‑dimensional (3D) collaborative promotion mechanism demonstrated stable implementation effects. Conclusion: The rolling lantern sachet serves as a high‑quality medium for the international communication of small‑scale ICH. The promotion system constructed in this study fits the characteristics of zero‑beginner audiences and provides a reference
Exploring Pathways for the Integration of Ideological and Political Education and Digital Subcultural Art in Higher Education Institutions in the Digital Era
Background: In the digital era, subcultural art has rapidly proliferated across college campuses via digital platforms, influencing college students’ values, development, and behavior. Clarifying its characteristics and related educational challenges is essential for strengthening mainstream cultural guidance and developing effective educational strategies. Purpose: This paper aims to provide theoretical references and practical insights for fostering positive interaction between ideological and political education and subcultures in colleges, ultimately improving the overall educational effectiveness of these programs. Methods: This study employs a literature review and qualitative analysis to summarize the characteristics, challenges, and integration paths of subcultural art within ideological and political education. Results: The study finds that digital‑era subcultural art is characterized by decentralized communication, fluid virtual communities, symbolic identity construction, counter‑mainstream expression, technology dependence, digital nativeness, and participatory equality. These features reshape students’ value systems, challenge educators’ traditional authority, widen the gap between educational content and students’ interests, and complicate the guidance of public discourse. Conclusion: Integration paths such as cognitive empowerment, teacher development, content innovation, and discourse‑system renewal can enable ideological and political education to respond to subcultural art, promote the coexistence of mainstream values and subcultural elements, and guide students toward cultural confidence and sound value orientations.
Collective Emotional Experience and the Formation of Marriage Perceptions in Chinese Costume Television Dramas
Background: The rise of real‑time comments, social media discourse, and short video recirculation has meant that the act of viewing has transformed from an individual activity into a process of collective emotional participation. Given changing marriage values in contemporary China, the way in which media culture is shaping marriage perceptions has become a critical area of inquiry. Purpose: This study examines how Chinese costume dramas influence the formation of marriage perceptions via collective emotional processes and explores the mediatized transformation of Émile Durkheim’s theory of ’collective effervescence’ within contemporary media. Methods: Adopting Durkheim’s (1912/2011) theory of collective effervescence, this study analyzes situational aggregation, emotional arousal, interactive resonance, and value identification during the broadcast of costume dramas. Results: Through character design, ritualized narratives, and emotional resonance, costume dramas shape audiences’ perceptions of marriage. Interactive platforms further strengthen emotional dissemination and value identification, extending collective effervescence into digital media spaces. Conclusion: The influence of Chinese costume dramas on marriage perceptions is not achieved through direct didactic instruction, but through emotional participation, interactive communication, and collective resonance. In contemporary media environments, collective effervescence has become an important mechanism connecting individual emotions with social value identification. By leveraging emotional narratives and digital interaction, costume dramas provide a new cultural pathway for the dissemination of positive marriage values.
From Fermented Taste to Regional Identity: A Study of Brand Image Design for Sichuan Doubanjiang and Fermented Tofu
Background: The visual expression of Sichuan fermented food brands often relies on regional symbols such as place names, chili peppers, and traditional patterns; however, the representation of fermentation techniques, taste experiences, and everyday memories remains relatively underexamined. Purpose: Consequently, by analyzing brand image redesign materials for Sichuan doubanjiang and fermented tofu as cases, this study examined how fermented taste is transformed into regional identity through visual systems. Methods: To this end, we adopted a qualitative visual case study approach. Specifically, we comparatively analyzed course‑based redesign works for Juancheng Pixian Doubanjiang and Tangchang fermented tofu across five key dimensions: ingredient identification, fermentation vessels, taste colors, everyday life narratives, and regional identity. Results: The analysis revealed that the doubanjiang case constructed a craft‑authority‑based identity through place of origin, fermentation vessels, a red color system, and process narratives. Conversely, the fermented tofu case constructed a domestic‑memory‑based identity through character imagery, earthenware jar vessels, a warm color system, and everyday‑life narratives. Conclusion: In conclusion, our findings suggest that the regional identity of Sichuan fermented foods is not generated by a single local symbol; rather, it is formed through the coordinated visual translation of ingredients, fermentation durations, vessel mediation, taste intensity, and eating contexts.
Exploration of the personalized cultivation concept in watercolor landscape sketching
Background: Now, personalized cultivation has become a hot topic in the education circle. Objective: The purpose of this paper is to explore the teaching concept of personalized cultivation in the teaching of watercolor landscape sketching. Methods: The case study and text study are discussed from three aspects: Firstly, the common elements in the personalization include the experience of field observation, the relationship between the composition and the black and white rhythm, the harmony of color, the richness and contrast of detail, and the composition and meaning; shape can be cultivated from what aspects: the painting language, interest, materials, ideas, and techniques; finally, discusses how to construct the personalized teaching content framework.. Results: Through the exploratory research results of this paper, it is seen that taking landscape sketching as a way of creation, can not only expand the original concept of sketching, but also develop new ideas for personalized training in teaching; it is conducive to forming diversified teaching outlook, innovative teaching ideas and teaching content system; Conclusions: So it is necessary to carry out the teaching concept in the teaching of watercolor landscape sketching and the practice of personalized training.
Copyright (c) 2023 The Author(s). Published by Journal of Global Arts Studies. https://creativecommons.org/licenses/by/4.0/
The form and aesthetic characteristics of Poyang drum's tunes and lyrics
Background: Poyang Drum is a kind of Chinese folk art forms that is popular in Poyang County, Jiangxi Province, including Jingdezhen, Leping, Shangrao areas of Jiangxi Province. During the Tongzhi period of the Qing Dynasty, it was introduced by Zhang Kunshan, a native of Huainan, Anhui Province, with a history of about 160 years. Purpose: The purpose of this article is to summarize the artistic characteristics and language rules of Poyang Drum and explore some commonalities and personalities of Chinese folk art forms in the form of lyrics and tune, so that more musicians can use this as a reference and better inherit and promote Chinese folk art forms culture. Methods: This paper uses literature analysis, music form analysis combined with linguistics research methods to analyze Poyang Drum 's lyrics, tune, and the aesthetic characteristics of the lyrics. Results: Poyang Drum through inheritance and development, dialect, Poyang folk tunes, fishing songs and so on into the integration. The basic sentence patterns of its lyrics can be divided into seven words sentence, four words sentence, ten words sentences, etc., and there are rich interlining words. The basic plate has allegro, Lento, adagio, rubato, etc. which are all performed by the artist's improvisation and flexible use. Poyang Drum 's lyrics are mainly narrated, with Poyang dialect as the keynote. The tune is soft and simple, full of rhythm and musicality. Strong impromptu, singing style is not stylized. The dialect is closely combined with the singing, adding the slang and contrast words rich in Poyang characteristics. Conclusions: This paper holds that it is a mixed art form between the qupai and the plate cavity.
Study on the drinking vessel in the stone hall image of Yuhong Tomb in Taiyuan, China
Background: The tomb of Yuhong of Sui Dynasty was excavated in Wangguo Village, Taiyuan City in 1999 by archaeologists from Shanxi Province. The only remaining burial equipment was the marble hall made of white marble. The stone hall was a wood-like three-open intermittent hill-top hall, consisting of a long flat square base, a central wall panel and a mountain top. Both inside and outside the stone hall are carved and painted, composed of 54 single images, rich in pattern content. The figures, costumes, utensils, Musical Instruments, dances, flowers and trees in the images are all related to Persia and Central Asian countries, and are also of great significance to the study of the Silk Road and the ancient East-West cultural exchanges.Objective: This study aims to explore the wine vessels depicted in the stone chamber images of the Yuhong Tomb in Taiyuan, with a focus on analyzing their cultural and artistic value. Through the study of the wine vessel images, the research seeks to reveal the artistic fusion in the cultural exchange along the Silk Road.Methods: The study utilizes image analysis and comparison with historical literature to categorize and analyze the wine vessels depicted in the stone chamber of the Yuhong Tomb in detail, with particular attention to the origins and evolution of wine vessel types such as Rhyton, Poluo, and tall-footed cups. It emphasizes their cultural significance and stylistic features.Results: The findings indicate that these wine vessels integrate artistic elements from Persia, Sogdiana, Rome, and indigenous Chinese culture, reflecting the significant role of the Silk Road in promoting artistic exchange and traditional absorption between different cultures.Conclusion: The study demonstrates that the wine vessels depicted in the stone chamber images of the Yuhong Tomb are not only artistic works but also evidence of cultural exchange. These discoveries are crucial for understanding the cultural interactions along the Silk Road and the contributions to China's rich cultural heritage.
Exploring the Fusion of Children's Cognitive Features in Pop-Up Book Design with Traditional Chinese Medicine Culture: Enhancing Cognitive Abilities, Focus, and Interest
Background: Pop-Up Books play a crucial role in early childhood education, particularly in enhancing overall development through unique interactivity and visual impact. Purpose: To effectively inherit and innovate Traditional Chinese Medicine (TCM) culture, aiding in its integration into national education. Methods: Combining the distinctive presentation of pop-up books with virtual reality technology and the fundamental concepts of TCM, creating engaging and age-appropriate TCM educational materials for young children. Result: Developing pop-up books tailored to children's cognitive abilities, incorporating TCM education into early childhood curriculums, and sparking interest in TCM culture. Conclusion: The integration of pop-up book design, virtual reality, and cultural elements supports national efforts to disseminate and preserve cultural heritage, effectively transmitting excellent national culture in early education.
The Application Research of Light and Shadow Art in Immersive Experiencess
Background: Currently the art of light and shadow is gradually being emphasized in creating immersive spatial experiences and has become an innovative trend in the field of modern spatial design. Objective: This paper aims to deeply analyze the role of light and shadow art in creating immersive experiences. Methods: By defining the concepts of light and shadow art and immersive experience, the study explores the key role of light and shadow art in the design of immersive experience and demonstrates its performance and advantages in practical application by analyzing a number of modern cases. Results: The study finds that light and shadow art can greatly enrich the audience's experience by shaping the environmental atmosphere and enhancing sensory engagement. This art form not only provides visual aesthetics in immersive environments, but also combines functionality, awareness and interactivity. Conclusion: Light and shadow art plays an important role in the design of immersive experiences, and it shows significant potential and development trends in current and future spatial design, playing a key role in promoting innovation and uniqueness in modern spatial design.
Practices and Explorations in the Construction of the Visual Identity of the ‘Lu Liang Vegetables’ Regional Public Brand
background: With the development of the market economy, the branding of the vegetable industry has become a trend. Objective: Through research, analysis, and summarization of the construction of the visual identity of the “Lu Liang Vegetables” regional public brand, this paper provides references and lessons for Lu Liang and related regional public brands in the construction of brand visual identity. Methods: This paper investigates the early development of “Lu Liang Vegetables”, compares the construction of regional public brands in China, the United States, Japan, and South Korea, and explores and summarizes the current industrial base and brand cultivation of “Lu Liang Vegetables”. Results: Four problems were found in the construction of the brand visual identity of “Lu Liang Vegetables”: insufficient participation of the production end, insufficient application and promotion, lack of standardization in the execution of the identification system, and the environmental design expressing the brand visual identity needs to be improved. Conclusion: In view of the current situation of the construction of the brand visual identity of “Lu Liang Vegetables”, three suggestions are put forward: improving the management system among participating subjects, strengthening the management of brand visual identity, and exploring the value co-creation model.
The Fusion of Traditional and Modern Symbols in Contemporary Chinese Landscape Painting
background: The fusion of traditional and modern symbols in contemporary Chinese landscape painting is a complex and diversified phenomenon, which not only reflects the progress of society and the development of The Times, but also reflects the artists' exploration and innovation of art. Objective: To explore the integration of traditional and modern symbols in contemporary Chinese landscape painting, and analyze its impact on artistic works and the value of the times. Methods: The application of traditional and modern symbols in contemporary Chinese landscape painting was studied by means of semiotics analysis and Chinese landscape painting works analysis. Results: The use of traditional symbols and the introduction of modern symbols also bring new visual impact and thinking to the audience. The integration of traditional and modern symbols enriches the artistic language of landscape painting, forms a unique artistic style, and provides artists with a broader creative space and possibilities. Conclusion: This integration makes landscape painting more sense of the times and vitality, and provides us with more opportunities and perspectives to appreciate and understand contemporary landscape painting, and can better reflect the reality of contemporary society and people's spiritual outlook.
Analysis of the Current Situation and Hot Spots of Music Education Research in Elementary Schools in China
Background: Music education, as one of the crucial artistic courses in school education, constitutes an integral part of students' comprehensive development. The relevant studies on perception, along with the promulgation and implementation of the 2022 edition of China's "Compulsory Education Art Curriculum Standards," have laid a new foundation for the upcoming round of transformative restructuring in music education classrooms. Objective: The objective of this study is to analyze relevant academic journal literature on elementary school music education during the first two rounds of curriculum reforms in China (2002-2012-2022). This analysis aims to reveal the research status and hotspots in this field over the past two decades, providing cognitive support for the upcoming round of curriculum reforms. Methods: Literature retrieval was conducted on the China National Knowledge Infrastructure (CNKI) database, and CiteSpace visualization analysis software was utilized. Employing quantitative and visual methods, an exploration and analysis of high-frequency terms, high-centrality terms, and salient terms in 2363 articles were conducted, presenting the structure and evolutionary trends in the research field. Results: It was found that over the past 20 years, research themes in Chinese elementary school music education have gradually evolved. Early studies primarily focused on pedagogical methods in primary school music classrooms, music education, and music teachers. In recent years, emerging research topics encompass core competencies, presentation activities, and music literacy. Conclusion: The findings indicate that the hotspots in research on Chinese elementary school music education align closely with the directions of contemporary curriculum reforms. Achievements predominantly converge on specific classroom teaching objectives, but the research focus on classroom teaching content varies across different stages of curriculum reform. This panoramic view provides essential reference for future practitioners and researchers in elementary music education, while offering crucial data support for decision-makers. Clarifying the trajectory of existing research achievements during the forthcoming curriculum reform process will facilitate the sustainable development of both elementary music education and the quality of classroom teaching in China.
Research on the Construction of Agricultural and Forestry Product Channels for Rural Revitalization
Background: The purpose of rural revitalization is to promote the prosperity of rural industries and the prosperity of villagers. Building a digital supply chain in rural areas is one of the important paths to achieve the grand goal. Objective: To propose suggestions for the digital supply chain of rural agricultural and forestry products, build a stable and sustainable digital supply chain, cultivate rural industries and optimize industrial structure, enrich rural areas, and achieve rural revitalization. Methods: Through on-site interviews with village and town officials, farmers, and rural enterprises, had grasped the current situation and problems of the development and construction of rural industrial chains, the demand of agricultural and forestry products, with the demand sort out the digital supply chain of rural agricultural and forestry and element,, calculate the weights by Analytic Hierarchy Process model, form a digital supply chain network structure with clear primary and secondary analysis and hierarchy. Results: We have built a digital supply chain network system with leading enterprises as the core, multi subject collaborative education, and suitable for the actual development of rural economy. We have elaborated on the key points of rural digital supply chain construction, from construction planning and digital supply chain design, to demand visualization, digitalization of planting and processing, modernization of cooperative operation, digitalization of logistics, and digitalization of risk management. Conclusion: Practice has proven that digital technology has significant application value in promoting rural revitalization, improving the living standards of villagers, and building beautiful rural areas, achieving overall rural prosperity and achieving comprehensive revitalization of industries, organizations, talents, culture, and ecology.
The two stages of Jinghao's "Truth" -- "Taking truth from things" （度物取真）and "Searching wonderful and creating Truth"（搜妙创真）
Background: Jing Hao was a famous theorist and painter in the Central Plains during the late Tang and Five Dynasties. He put forward "truth" in "Bi Fa Ji", and his art works also proved the practice of "truth" everywhere. So what is the "truth" proposed by Jing Hao? Objective: This paper mainly analyzes Jinghao's "truth" from the metaphysical level, because Jinghao's "truth" is established in the scope of life reflection, heart source experience and heaven and earth concept, which is a combination of physical and metaphysical. Only by thoroughly analyzing the metaphysical formation path of "truth" can we better understand that Jinghao's "truth" not only needs physical tools, but also needs metaphysical ways. Only by combining the instrument and Tao can we create the true scenery, mountains and rivers, and finally reach the ideal "truth" of Jinghao's art. Methods: Therefore, this paper mainly focuses on the text of "Bi Fa Ji" and discusses Jing Hao's "truth" from the two aspects of "taking truth from things" and "searching for beauty and creating truth" through literature research and other methods. Results: trying to analyze how the metaphysical level of "truth" is constructed in Jing Hao's art world. Conclusion: Through the study of the metaphysical "truth", it lays a solid foundation for the later forms.
The Cultural Significance and Order of Typical Courtyard Spaces in Shandong
Background: The residential courtyards in Shandong, characterized by their plain appearance and minimal decoration, are deeply rooted in the region's diverse natural conditions and profound local culture. The varied climate and topography of Shandong, along with its distinctive Qi-Lu culture, have shaped the unique characteristics of these courtyards. Objective: This study aims to uncover the distinctive features beneath the unassuming appearance of typical courtyards in urban and rural Shandong, and to interpret the deeper meanings behind their undecorated facades. Methods: Through an in-depth examination of the intrinsic connection between typical residential courtyards in Shandong and their spatial culture, this research combines literature review, field mapping, and image analysis. Extensive investigations were conducted across numerous towns and villages in Shandong Province, exploring the relationship between the form, distribution, and types of typical courtyards and regional culture. Results: The study reveals that the structural classification of courtyards aligns significantly with the regional divisions of the Northern Song Dynasty. Additionally, geographical features such as rivers, coasts, and mountains have a significant impact on the distribution of these courtyards. Conclusion: Typical residential courtyards in Shandong downplay external decoration, emphasizing an introspective and communal character. Their spatial layout underscores order, regulating family life and reflecting social relationships. The sustainable techniques employed in these courtyards subtly suggest a cultural ethos of "frugality nurtures virtue(Jian yi yang de)."
An Analysis of "Inheritance and Innovation" in Visual Communication Design——Take Jin Taiqiang and An Shangxiu, Chinese and Korean Designers, as Examples
Background: Visual communication design is a comprehensive discipline that integrates art, culture and technology. Its development process has been profoundly affected by social, cultural and technological changes, and carries the inheritance and innovation of culture. Objective: This study aims to explore the concept of "inheritance and innovation" in visual communication design in China and South Korea, taking designers Jin Daiqiang and An Sangxiu as examples for analysis. Methods: Through literature research, this paper makes a comparative analysis of the concrete embodiment and common points of inheritance and innovation of designers in China and South Korea. Firstly, it summarizes the connotation and value of inheritance and innovation. Then, it focuses on the concrete expression of "inheritance and innovation" in the design works of Kan Tai-Keung and Ahn Chang-su, highlighting Kan Tai-keung's deep understanding of traditional culture and the integration of innovation, and Ahn Chang-su's innovative methods to make traditional elements in font design full of modern fashion charm. Results: Through the comparative analysis of Kan Tai-Keung's and Ahn's visual communication design works, the author highlighted their views on modernity style, inheritance of traditional cultural ideas, and the relationship between inheritance and innovation. Conclusion: Finally, it emphasizes the complementarity of inheritance and innovation in the works of the two designers, which injects profound connotation and rich value into the field of visual communication design.
On the performance techniques and emotional expression of the flute music “Prokofyev's flute sonata in D major”
Background: Sergei Sergeyevich Prokofiev created a large number of musical works throughout his life. His musical career can be divided into three periods: the Russian period, the foreign period, and the Soviet period, each with a different style of work. Purpose: This article takes Prokofiev's only sonata for the flute, "D Major Flute Sonata," as the research object, aiming to analyze the fragments of the work from the aspects of melody, musical form, and performance precautions. Methods: The first part analyzes the creative background of "Flute Sonata in D Major" using music score as a case study; The second part analyzes the structure of the work "Flute Sonata in D Major" and provides examples to explore the playing details and techniques; The third part focuses on the creative background and personal artistic style of the collaborator, and explores the emotional expression that runs through the entire D major Flute Sonata. Results: Through comparative analysis of the performance versions of "Flute Sonata in D Major", this study explores the control of music style, summarizes the experience and skills of excellent performers, and improves their performance level. Conclusion: The melody of the Flute Sonata in D major is not just a bunch of lines, but also follows the rules of harmony and counterpoint. Although this work is a late achievement of Prokofiev, it encompasses all the characteristics of his style, namely a fusion of classical and modern emotional expression, with a more striking rhythm and more intense emotions.
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On the Aesthetic Paradigm and Perception of Music
Background: Music is a sensory art based on sound, and its aesthetic paradigm is established on the reasonable combination and arrangement of sounds. Purpose: This article analyzes human perception of sound from an aesthetic perspective, attempting to explain the factors that influence whether music is perceived as "pleasant" or "unpleasant." Methods: The essential attribute of music is the effect of perceived sound on the object, which means that subjects with different perceptual abilities will have varying aesthetic experiences based on different aesthetic paradigms. Simultaneously, different aesthetic paradigms will also affect one's feelings towards music. This explains why different ages, regions, and ethnicities have various aesthetic differences in music. Results: This paper aims to analyze the connection between paradigms and perception through the internal mechanisms of aesthetic paradigms and attempts to explain the causes leading to different aesthetic tastes, contributing to the spread and creation of music by exploring human consciousness level understanding of sound. Conclusion: The results show that music aesthetics and human perception are strongly linked and explain to some extent the elements that influence humans' subjective judgments of music.
The Study of the Influence of Lao Zi's Philosophy on Chinese Calligraphy Art
Background: With the increasing spread and influence of Chinese traditional culture in the world, Lao Tzu's philosophy, as one of its core ideas, has an increasingly profound influence on the art of calligraphy. Objective: This study aims to explore the influence of Laozi's philosophy on Chinese calligraphy art, and to analyze its enlightenment and guidance in calligraphy creation and artistic expression. Medhoes: The study used literature research, cultural and historical investigation, case study and expert interviews. Results: The results show that Laozi philosophy is embodied in the aesthetic concept of Chinese calligraphy art as pursuing the common beauty of natural and natural flow, emphasizing the combination of virtual and real, vivid artistic expression, as well as the unity of artistic conception and ink. In the aspect of calligraphy creation, Laozi's philosophy encourages artists to explore themselves, emphasizes the adjustment and purification of mood and creative realm, and advocates the artistic pursuit of reducing the road and simplifying the complex. The analysis of classical calligraphy works and the calligraphers 'quotation and integration of Laozi's philosophy show that Laozi's philosophy has a profound influence on the art of calligraphy. Conclusion: The conclusion is that Lao Tzu's philosophy provides the theoretical basis and aesthetic guidance for Chinese calligraphy art, and has an important enlightenment and guiding role for the creative practice of calligraphy artists. Future research can deepen the understanding of the influence of Lao Tzu's philosophy on calligraphy art and other art fields in the context of globalization.
Research and Application of Emotional Design-based Visual Image Design for Catering Brands- Taking Hunan Cuisine Brand Furongge as an Example
Background: The arrival of the post-epidemic era, the domestic economy gradually recovered and developed, people's living standards of consumption recovered and improved. At the same time, the restaurant industry also continues to develop and recover and expand. For designers, it is undoubtedly a challenge to effectively communicate the entire restaurant brand image. Objective: In the history of art, some artists are in a state of being ignored, which is both normal and abnormal. The normal refers to that an art history is a history with both masking and exposure, while the abnormal means that some important artists are excluded from the vision of art history. Methods: Based on literature research methods, we organized articles and literature materials related to Gao Qipei, explored the origin of Gao Qipei's "Wonder-advocating" Thought in his painting from the perspectives of his career and personal experience and analyzed the "Wonder-advocating" Thought from multiple angles. Result: There was an expression form of "Wonder-advocating" art in the Ming and Qing Dynasties, and Gao Qipei reflected the pursuit of "curiosity" taste from artists in the Qing Dynasty. Starting from Gao Qipei, the finger and pen have a distinction in painting. In his concept, the finger had many advantages over the pen, which prompted him to use the finger for painting and formed his own unique painting style. Conclusion: It is revealed that Gao Qipei had a "brand new" understanding of painting art under the condition of "Wonder-advocating" Thought, which brought new vitality to Chinese painting art.
Comparative Analysis and Considerations on the Current Development and Future Trends of Children's Museums in Korea and China
Background: Children's museums play a crucial role in childhood education, with an inherent connection to the future development of a nation. Objective: Children's museums in South Korea and China differ in culture, display, education, etc., each with its own strengths. Reciprocal learning can enhance the development of these museums, acting as a conduit for international cultural exchange and cooperation, fostering global cultural interaction. Methods: Through extensive literature analysis, this paper compares and analyzes the development, quantity, exhibition, educational status, and future trends of children's museums in Korea and China. It discusses the similarities and differences, as well as the challenges faced by children's museums in both countries. Results: The study reveals the following: 1) Cultural differences have shaped the unique historical features of children's museums' development in Korea and China. 2) There is a noticeable disparity in the number of children's museums between the two countries. 3) Korean and Chinese children's museums share similarities in exhibition and education, yet there are notable differences. 4) The future development trajectories for the two countries vary. Conclusion: Korea and China are geographically and culturally proximate. This research, by comparing the historical development, current state, exhibition, and educational aspects, as well as the future trends of children's museums in these countries, aims to provide beneficial insights for the development of children's museums and cultural exchanges.
Research on the "Wonder-advocating" Thought in Gao Qipei's Finger Painting
Background: During the early and middle Qing Dynasty when Gao Qipei was living in, he largely inherited the old system of the Ming Dynasty. In the late Ming Dynasty, influenced by Wang Yangming’s Philosophy, individual willpower and subject spirit began to awaken, and he pursued novel ideas in his artistic creations. Objective: In the history of art, some artists are in a state of being ignored, which is both normal and abnormal. The normal refers to that an art history is a history with both masking and exposure, while the abnormal means that some important artists are excluded from the vision of art history. Methods: Based on literature research methods, we organized articles and literature materials related to Gao Qipei, explored the origin of Gao Qipei's "Wonder-advocating" Thought in his painting from the perspectives of his career and personal experience and analyzed the "Wonder-advocating" Thought from multiple angles. Result: There was an expression form of "Wonder-advocating" art in the Ming and Qing Dynasties, and Gao Qipei reflected the pursuit of "curiosity" taste from artists in the Qing Dynasty. Starting from Gao Qipei, the finger and pen have a distinction in painting. In his concept, the finger had many advantages over the pen, which prompted him to use the finger for painting and formed his own unique painting style. Conclusion: It is revealed that Gao Qipei had a "brand new" understanding of painting art under the condition of "Wonder-advocating" Thought, which brought new vitality to Chinese painting art.
A Study on the Development of Dance Movements of ‘Yuan heng li zhen’ Circular Thought in <Zhouyi>
Background: has an important influence on both Chinese and Eastern philosophy, and is the source of Chinese philosophical thoughts. As one of the most important thoughts in , ‘Yuan heng ly zhen's circular thought has been guiding our life and revealing the essential law of the development of things for us. Objective: By understanding and reanalyzing the circular thought of ‘Yuan heng li zhen’, researcher try to develop dance movements that conform to its connotation. Methods: Firstly, this study explored and sorted out the background of and the circular thought of ‘Yuan heng li zhen’ in by review. In addition, the researchers looked for artistic videos and pictures associated with the creation of circular dance. Second, the researcher makes a personal analysis and understanding of the circular thought of ‘Yuan heng li zhen’ in , and develops corresponding dance movements. Results: Through the exploration of body language, the researchers realized the communication of the metaphysical circular idea ‘Yuan heng li zhen’ and the dance movement , and analyzed it. Through the choreography of dance movements, it presents the four stages of the original, development, contradiction and circulation of things. Conclusion: This study reveals the related process of Oriental thought theory and dance movement development, and expands the application of dance art. The integration of art and humanity is realized by visualizing and concretizing Oriental thoughts in dance movements. It also puts forward the prospect of the figurative display of the dance art on the ideological and philosophical level in future.