A Graphic Reveals Something, Its Meaning Must Be Auspicious

The traditional Spring Festival is the largest festival of the Chinese nation:It has an important position in the history of Chinese civilization; It synthetically performance people’s material and cultural life through the ages, andean comprehensively revealcultures in different times and different region;It is the days that condense the Chinese style, reflect the most suitable feeling of life and emotional language for Chinese people;it is thecommonresult from the effects of the view of the worldlife and values. For this result, the traditional Spring Festival graphic symbols express it naturally and externally.In this paper, we use one research framework based on Saussure’s theory,choose the"refers to the" of Spring Festival graphics and "within the meaning of of Spring Festival culture as the main research object.From the point of view of design and semiotics, seven chapters are discussed:Chapter one is introduction:introduced the origin, purpose, significance of the study, analyzed the domestic and abroadresearch status, and key and difficult point.This part also introduced related concept, and elaborated the research content and framework of the thesis.The second chaptertalked aboutthe origin and evolution ofgraphic symbolsfor contemporary New Year.Along the time clues,for the spring festival patterns, this paper explored itsancient representation and evolution course, by the search of the decoration and traditional patterns of ancient artifacts.And we also observedthe using status of Chinese New Year graphical symbols from the multi-faceted,by the corporationof the Spring Festival cultural differences between cities and rural areas in different areas.The third chapter discussed the classification and characteristics of the traditional Spring Festival graphical symbols.The graphical symbolswere divided into four parts: to avoid fierce and pray for good luck graphics; gradually decline the new costumes graphics; the homonym symbol of wishing graphics; endless rotary Zodiac graphics.We also combed and summarizedthe main features of different types of graphic symbols, which made foundation preparation for the later chapters.The fourth chapter is about the performance techniqueof the traditional Chinese New Year graphics.On the basis of Chapter three, we classified the Chinese New Year graphics according to functional theme for four categories:disaster prevention in evil, pray Fonagy, reproduction of life, for the fiscal imperative officer.Then, we studied the formal language of the traditional Spring Festival from the point of view of design:such as the Spring Festival symmetrical and full graphics composition, traditional unique color, rich and vivid shape and so on.At last, we did a simple exposition for the artcarrier of traditional Chinese New Year Graphics, focused on exploring the relationship between the graphics and their carrier.The fifth chapter discusses the nature and symbolism of the traditional Spring Festival graphical symbols.This chapter gave an essential analysis for the traditional Spring Festival graphics,under the situation that put it intothe cultural system of Spring Festival, and used the removing the old theme and welcoming new theme as main clues.Based onthe theme classification in thefourth chapter ofgraphics, we deeply explored the culture nature and symbolism of the of the traditional Chinese New Year graphics.Chapter six is about the characteristics of the traditional Spring Festival graphical symbols:based on theories of Cassirer’s cultural semiotics and Susan Lange’s art semiotics,this chapter expandedthe research about visual symbols and artistic symbol features of the traditional Spring Festival; from the view of functional structure, semantic structure of the Spring Festivalgraphics, discussed the characteristics of symbols for both "symbology system"and the Chinese nation "public contract" symbol; focus onthe folk beliefs and social values of the Chinese New Year cultural, it also displayed the characteristics of the end sacrifice of the year, the worship of multiple God, and"the letter code" whichas a ceremonial symbol of traditional Chinese culture.For further study, we talked about theartisticcharacteristics of graphic symbolsfrom suchaspect:emotional expression, artistic expression, aesthetic implication, and so on.Chapter7is Conclusion. This chapter gave a comprehensive summary of the research, and did a simple statement about the application of traditional Chinese New Year graphics on the contemporary graphic design. The traditional Spring Festival remains the most expressive facet of the culture of the Chinese Nation;it is a special way of life that gradually formed in the communication between man and nature.Emotionally, we are destined to need this kind of successive spiritual strength; we need to commemorate, sustenance, and need happiness.