The Application of Saussure's 'Signifier/Signified' Theory in Jewelry Design: A Case Study of the Four Divine Symbols Tile Patterns of the Han Dynasty

Lin Zhu

doi:10.69598/sbjfa280251

Authors

Lin Zhu Dhurakij Pundit University

DOI:

https://doi.org/10.69598/sbjfa280251

Keywords:

Saussure's semiotics theory, Signifier/Signified, The four divine eave tile, Han dynasty patterns, Jewelry design

Abstract

This study adopts Ferdinand de Saussure’s semiotic theory—specifically the
“signifier/signified”framework—as theanalytical foundationtoexplorethetransformation
and application of the Four Divine Beasts (Azure Dragon, White Tiger, Vermilion Bird, and
Black Tortoise) eave tile patterns from the Han Dynasty in contemporary jewelry design.
By deconstructing the visual symbols of these motifs, the research analyzes their formal
characteristics on the signifier level (including visual language, compositional principles,
and crafting techniques), and their cultural connotations on the signified level (such
as mythological narratives, social systems, and religious beliefs), thereby establishing a
symbolic translation pathway between traditional patterns and modern design. Utilizing
a methodology that combines literature review, image deconstruction, and design
practice, the study proposes a semiotics-based model for innovative cultural element
design, consisting of three key dimensions: formal simplification, material reconstruction,
and semantic regeneration. A series of jewelry design cases serve to validate the guiding
value of semiotic theory in the modernization of traditional motifs and demonstrate
the innovative expression of the Four Divine Symbols in contemporary adornment. This
research not only offers methodological insights for the modern transformation of
traditional patterns but also explores new approaches to the living heritage of cultural
symbols. It contributes both theoretically and practically to the innovative application

of traditional iconography in design and facilitates interdisciplinary dialogue among de-
sign studies, archaeology, and semiotics, offering new avenues for the revitalization of

traditional motifs in the fields of fashion and accessories.

Downloads

Download data is not yet available.

Author Biography

Lin Zhu, Dhurakij Pundit University

I am currently working as a Lecturer in the Department of Fine Arts, Dhurakij Pundit University, Thailand. I received my Ph.D Degree in 2017, I have published two articles in Scopus, one article in TCI. Currently supervising graduate student thesis.

References

高海娟.(2020).基于索绪尔符号学的传统年画在广告设计中的转化路径研究.《包装工程》, 41(12), 129–133.

李晓峰.(2019).汉代瓦当图案的文化寓意与艺术价值研究.《中国艺术研究》,(3), 57–63.

彭宇.(2021).苗族图腾符号在当代时尚服饰设计中的再造研究.《装饰》, (7), 118–121.

孙妍.(2021).传统文化图案在现代设计中的“失语”与重构路径. 《艺术百家》, (5), 112–117.

王琳.(2021).四神图像的文化系统与汉代宇宙观.《美术研究》,(2), 102–109.

赵明.(2022).汉代瓦当图像研究综述.《文物》, (10), 86–92.

刘庆柱.(2007).汉代瓦当研究. 北京：文物出版社.

王建新.(2012).汉代四神图像研究.《考古学报》,(3).

徐龙国.(2015).汉长安城瓦当的考古学研究.北京大学硕士学位论文.

孙机.(2011).汉代物质文化资料图说.上海：上海古籍出版社.

焦南峰.(2014).西汉帝陵考古发现与研究.《考古》,(5).

孙际凤.(2023).符号学理论在文创产品设计中的应用现状研究.《艺术科技》,(11),3-5

王巍.(2022).土家图案形态与色彩的符号学解读.《民族艺术研究》,(2),45–50.

熊薇薇,江城.(2008).设计中符号的能指与所指关系分析. 《浙江万里学院学报》, 21(6), 13–15.

赵毅衡.(2015).符号学与文化意义阐释.《中国人民大学学报》, 29(1), 1.

蔡欣.(2019).造微意匠妙手方圆：从出土宋代丝绸几何纹看宋时丝织品设计观.《丝绸》, (5), 79–88.

李零.(2006).中国方术概观. 北京：北京大学出版社.

刘瑞.(2018). 汉代四神瓦当出土分布与城市规划初探.《考古与文物》,(5).

张全民.(2018). 西安秦砖汉瓦博物馆瓦当藏品研究.《博物馆研究》,(3).

呼林贵.(2009). 汉武帝茂陵建筑构件研究.《文物》,(10).

钱国祥.(2016). 东汉时期瓦当纹饰演变研究.《洛阳考古》,(2).

张道一.(2002). 传统图像与中国符号.北京：中国人民大学出版社.

Barthes, R. (1980). Camera Lucida: Reflections on Photography. Hill and Wang.

Chandler, D. (2017). Semiotics: The Basics (3rd ed.). Routledge.

Chen, L. (2021). User experience and emotional design in pediatric pharmaceutical packaging. Journal of Industrial Design, 36(2), 45–58.

Cai, X. (2019). Intricate Craftsmanship and Subtle Forms: Understanding Song Dynasty Silk Design Through Excavated Geometric Patterns. Silk, (5), 79–88. [in Chinese]

Dormer, P. (1994). The Art of the Maker: Skill and Its Meaning in Art, Craft and Design. Thames & Hudson.

Eco, U. (1979). A Theory of Semiotics. Indiana University Press.

Gao, H. (2020). A Study on the Transformation Path of Traditional New Year Paintings in Advertising Design Based on Saussure's Semiotics. Packaging Engineering, 41(12), 129–133. [in Chinese]

Hall, S. (1980). Encoding/Decoding. In S. Hall, D. Hobson, A. Lowe & P. Willis (Eds.), Culture, Media, Language: Working Papers in Cultural Studies, 1972–79 (pp. 128–138). Routledge.

Hu, L. (2009). Research on the Architectural Components of Emperor Wu’s Maoling Mausoleum. Cultural Relics, (10). [in Chinese]

Jiao, N. (2014). Archaeological Discoveries and Studies of Western Han Imperial Tombs. Archaeology, (5). [in Chinese]

Koskinen, I., Zimmerman, J., Binder, T., Redström, J., & Wensveen, S. (2011). Design Research Through Practice: From the Lab, Field, and Showroom. Morgan Kaufmann.

Li, L. (2006). An Overview of Chinese Divination and Magical Arts. Beijing: Peking University Press. [in Chinese]

Liu, Q. (2007). Research on Han Dynasty Eaves Tiles. Beijing: Cultural Relics Publishing House. [in Chinese]

Liu, R. (2018). A Preliminary Study on the Distribution of Han Dynasty Four Divine Beasts Eaves Tiles and Urban Planning. Archaeology and Cultural Relics, (5). [in Chinese]

Li, X. (2019). Cultural Implications and Artistic Value of Han Dynasty Eaves Tile Patterns. China Art Research, (3), 57–63. [in Chinese]

Liu, Y., & Shen, W. (2020). Cultural heritage in contemporary design: Semiotics-based methods for design innovation. Design Issues, 36(3), 28–42.

McLuhan, M. (1964). Understanding Media: The Extensions of Man. McGraw-Hill.

Peng, Y. (2021). Reconstructing Miao Totemic Symbols in Contemporary Fashion Design. Decoration, (7), 118–121. [in Chinese]

Qian, G. (2016). A Study on the Evolution of Eaves-Tile Patterns During the Eastern Han Period. Luoyang Archaeology, (2). [in Chinese]

Saussure, F. de. (1983). Course in General Linguistics (C. Bally & A. Sechehaye, Eds., R. Harris, Trans.). Duckworth. (Original work published 1916)

Sun, J. (2011). Illustrated Materials of Han Dynasty Material Culture. Shanghai: Shanghai Ancient Books Publishing House. [in Chinese]

Sun, J. (2023). Research on the Current Application of Semiotic Theory in Cultural and Creative Product Design. Art & Technology, (11), 3–5. [in Chinese]

Sun, Y. (2021). The “Silencing” and Reconstruction Path of Traditional Cultural Patterns in Modern Design. Hundred Schools in Arts, (5), 112–117. [in Chinese]

Throsby, D. (2017). Culturally Sustainable Development: Theoretical Concept or Practical Policy Instrument. International Journal of Cultural Policy, 23(2), 133–147.

Wang, J. (2012). Study on the Images of the Four Divine Beasts in the Han Dynasty. Acta Archaeologica Sinica, (3). [in Chinese]

Wang, L. (2021). The Cultural System of the Four Divine Beasts and the Han Dynasty Cosmology. Art Research, (2), 102–109. [in Chinese]

Wang, W., Liu, Y., & Zhang, S. (2022). Semiotic Interpretation of Tujia Pattern Forms and Colors. Ethnic Art Studies, (2), 45–50. [in Chinese]

Xu, L. (2015). Archaeological Study on Eaves Tiles of Han Chang’An City (master’s thesis). Peking University. [in Chinese]

Xiong, W., & Jiang, C. (2008). Analysis of the Relationship Between Signifier and Signified in Design. Journal of Zhejiang Wanli University, 21(6), 13–15. [in Chinese]

Zhang, D. (2002). Traditional Imagery and Chinese Symbols. Beijing: Renmin University Press. [in Chinese]

Zhao, M. (2022). A Review of the Image Studies on Han Dynasty Eaves Tiles. Cultural Relics, (10), 86–92. [in Chinese]

Zhang, Q. (2018). Research on the Eaves-Tile Collection of the Xi’An Qin Brick and Han Tile Museum. Museum Studies, (3). [in Chinese]

Zhao, Y. (2015). Semiotics and the Interpretation of Cultural Meaning. Journal of Renmin University of China, 29(1), 1. [in Chinese]