The Bulletin of JSS D Vo l . x No.x pp.1-6(20xx) Original papers Received January 12, 2015; Accepted September 15, 2015 Original paper and Value of Hand-touch Products. Journal of National 26. Millman D. Brand thinking and other noble pursuits. United University 2008; 5(1): 159-179. Skyhorse Publishing: New York, 2011. 8. Gobe M. Emotional branding. Allworth Press: New 27. Martin CL. Relationship marketing: A NARRATIVE CONVEYANCE OF STORY THEMES IN York, 2009. high-involvement product attribute approach. Journal 9. Hassenzahl M. The interplay of beauty, goodness, and of Product & Brand Management 1998; 7(1): 6-26. TEMPLES usability in interactive products. Human-Computer 28. Roberts K. Lovemarks: the future beyond brands Interaction 2004; 19(4): 319-349. Argentina. DIRCOM Group: Buenos Aires, 2004; 10. Lin R. Cultural Creativity Added Design Value, Art 35-46. Hsiang-Lien LEE* **, Chi-Hsiung TSENG* and Chun-Hung LIU* *** Appreciation 2005; 1(7): 26-32. 29. Rahinel R, Redden JP. Brands as product coordinators: 11. Chen SJ, Hsu CH, Lin CL. The Transformation of Matching brands make joint consumption experiences *Graduate School of Design, National Yunlin University of Science and Technology, Yunlin, 64002, R. O. C. Song Ci Poetry Image in Qualia Product Design. Art more enjoyable. Journal of Consumer Research 2013; ** Graduate Institute of Animation and Multimedia Design, National University of , Tainan, Taiwan 70005, R. O. C. 39(6): 1290-1299. Papers Journal 2012; 19: 99-117. ***Department of Visual Communication Design, Southern Taiwan University, Tainan, Taiwan 71005, R. O. C. 12. Michalek JJ, Feinberg FM, Papalambros PY. Linking 30. Carroll BA, Ahuvia AC. Some antecedents and marketing and engineering product design decisions outcomes of brand love. Marketing Letters 2006; 17(2): Abstract: This study explored the story themes conveyed in temples built in the late Ming and early Qing via analytical target cascading*. Journal of Product 79-89. Innovation Management 2005; 22(1): 42-62. 31. Albert N, Valette-Florence P. Measuring the love dynasties (1604–1822 AD). In total, 19 temples and 628 story themes were investigated. Content analysis 13. Nowlis SM, Simonson I.The effect of new product feeling for a brand using interpersonal love items. was adopted to compare and contrast the narrative structure of novels and that of the images decorating features on brand choice. Journal of Marketing Journal of Marketing development and the temples; in addition, sample analysis was performed using the narrative structure, story element, main Research 1996; 36-46. Competitiveness 2010; 5(1): 57-63. patron deity, and story theme. The results are as follows: 1) Temple creators primarily selected Romance 14. Taylor C, Wheatley R. Brand-aid. Training & 32. Batra R, Ahuvia A, Bagozzi RP. Brand love. Journal of the Three Kingdoms for the story theme. 2) Temple creators selected chapters from Romance of the Development 1999; 53(11): 48-53. of Marketing 2012; 76(2): 1-16. Three Kingdoms and Apotheosis of Heroes and predominantly adopted the midpoint in Act II that 15. Ballantyne R, Warren A, Nobbs K. The evolution of 33. Ackerman D. A natural history of the senses. Random resembling the three-act structure in Western tradition. 3) The background of the main patron deity and brand choice. The journal of brand management 2006; House: New York, 1990. 13(4): 339-352. 34. Kline RB. Principles and practice of structural the story theme selection for a temple were correlated. 16. Aaker DA. Managing brand equity. Free Press: New equation modeling. Guilford press: New York, 2011. Keywords: Story theme, Narrative structure, Three-act structure York, 1991. 35. Wolman BB. Dictionary of behavioral science . 17. Kamins MA, Marks LJ, Skinner D. Television Academic Press: Waltham, 1989. commercial evaluation in the context of program 36. Hair JF, Tatham RL, Anderson RE, Black W. induced mood: Congruency versus consistency effects. Multivariate data analysis (Vol. 6). Pearson Prentice 1. Introduction and Motivation how temple creators selected scenes and images from the Journal of Advertising 1991; 20(2): 1-14. Hall: Upper Saddle River, 2006. According to 2013 statistical data released by the stories and used such images to interpret the essence of the 18. Horng SC. Taiwan brand competitiveness. Common 37. Anderson JC, Gerbing DW. Structural equation Ministry of Interior, 12,083 Taiwanese temples have been selected chapters. Wealth Magazine: Taipei, 2006. modeling in practice: A review and recommended constructed since the early period of immigration to Taiwan. 19. Biel AL. (1992). How brand image drives brand equity. two-step approach. Psychological bulletin 1988; Temples constructed in the late Ming and early Qing Journal of advertising research 1992; 32(6): 6-12. 103(3): 411. Because of the social, cultural, historical, and dynasties (1604–1822 AD) are historically and artistically 20. Aaker DA. Measuring brand equity across products 38. Bollen KA, Long JS. Testing structural equation spatiotemporal backgrounds during the early days, various significant, featuring various ornamental styles such as and markets. California management review 1996; models. Sage: Thousand Oaks, 1993; 154. story themes were used to ornament the primary colored drawings, Koji ceramics, fragmented ceramics, 38(3): 103. 39. Mardia KV, Foster K. Omnibus tests of multinormality architectures of the temples. The story themes included stone carving, and wood carving, adopted to present the based on skewness and kurtosis. Communications in 21. Hsieh MH. Identifying brand image dimensionality and narrative, symbolic, and thematic meanings that embodied storylines of historical novels. The various styles measuring the degree of brand globalization: a Statistics-theory and methods 1983; 12(2): 207-221. the teachings and sentiments of the ancestors and Chinese ornamenting the temples and the illustrated stories afforded cross-national study. Journal of International 40. Sobel ME. Asymptotic confidence intervals for indirect moral values. The quantity and quality of the narrative Marketing 2002; 10(2): 46-67. effects in structural equation models. Sociological educational attributes and psychological comfort for the 22. Kwon YH. Brand name awareness and image methodology 1982; 13: 290-312. images altered according to factors such as the construction viewers. However, temple creators typically originate from perception of women's daytime apparel. Perceptual 41. Yang CN. Cultural and creative industries Roundtable period of the temple, the construction scale, the amount of diverse backgrounds, and their skills are generally inherited and Motor Skills 1990; 71(3): 743-752. Final Report. Office of the President: Taipei, 2009. capital used for construction, and the artisans’ skills. from teachers or self-developed. Current literature in 23. Bergkvist L, Bech-Larsen T. Two studies of 42. Park S, Myung R. A Conceptual Framework for After the amendment of the Cultural Heritage Taiwan has seldom explored how creators selected the story consequences and actionable antecedents of brand love. Emotional Response of Product with ACT-R Cognitive Preservation Act (1982–2014), historic monuments are themes and novel chapters for temples in which the main Journal of Brand Management 2010; 17(7): 504-518. Architecture, In Proceedings of the Human Factors and divided into 13 categories, among which one is temple. patron deities differed. We focused on Taiwanese temples 24. Park CW, Jaworski BJ, Maclnnis DJ. Strategic brand Ergonomics Society Annual Meeting, SAGE Temple images are narrative, guiding viewers through the concept-image management. The Journal of Marketing Publications, 2012; 56(1): 1020-1024. constructed in the late Ming and early Qing dynasties, 1986; 135-145. 43. D'souza ME, Hancock PA, Hoonhout HC, Krout K, illustrated stories. The story themes in temples exemplified investigating the narrative images. A review of literature, 25. Prayag G. Brand image assessment: international Ohme PJ, Walline EK. Designing Products to Evoke an the histories, cultures, and crafts of the construction period historical novels, and narrative structures was conducted to visitors' perceptions of Cape Town. Marketing Emotional Connection in Users, In Proceedings of the and were primarily selected from historical novels and understand the historical backgrounds and to elucidate the Intelligence & Planning 2010; 28(4): 462-485. Human Factors and Ergonomics Society Annual novels of gods and spirits. This study focused on exploring correlation between the story theme and the narration. Meeting. SAGE Publications, 2010; 54(20): 1747-1751.

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2. Literature Review and Theoretical Framework (14 temples), and ancestor worship (one temple). According We referred to literature on story themes in temples and to the domains the patron deities preside over and the on narrative structures to determine the narrative structure deities’ backgrounds, the category can be divided into of story themes in Taiwanese temples. protecting on waters and seas (six temples), ensuring safety 2.1 Story Themes in Temples and protection (five temples), practicing (four From the works of skilled artisans who immigrated temples), curing epidemics and providing medical from Tangshan in China to the creations of local artisans, treatments (two temples), and eradicating violence and the historical architecture that they created has historical preserving good, assessing good and evil, and solving preservation value, and thus, has received considerable disputes (two temples) [2]. attention in previous studies. However, further We used the aforementioned data obtained from a field investigations and discussions are required to determine study to analyze the narrative structure of the story themes how the creators selected the stories and designed the and understand the creators’ material selection methods. images for various temples. Four primary factors are involved in determining the themes and the styles for 2.2 Narrative Structures temple architectural ornaments: 1) : themes of gods On the basis of the aforementioned study, we inferred and spirits provided artisans with infinite inspiration for that the temple creators selected various story themes creating ornamentation; 2) Honoring Heaven: every aspect according to the main patron deities, and further determine of nature (from the sun and moon to plants, mountains, and the placement of the story elements and the images to be rivers) can be a theme because the Chinese people believe created. A story creator must possess the skills of story in the concept of an orbicular sky and rectangular earth, writing and storytelling. Because a story generally develops observing and learning from nature; 3) Yin–Yang and the linearly, further information processing is required to five elements: the yin and yang theory evolved from the transform a written story into a visually presented story; Book of Changes, which afforded concepts for ornaments such is the function of a black-box. Storytellers convey a and structures concerning yin–yang, the cardinal directions, story to the audience through story design, an approach and sequential order; and 4) Buddhism: saṃsāra and similar to the process of transmitting information; stories from Buddhist tradition were used for story themes consequently, the story itself is a coding process. During [1]. creation, the temple creators used the storytelling method to We selected the ornament themes in temples transform classical historical long texts (e.g., Romance of constructed in the late Ming and early Qing dynasties; in the Three Kingdoms and Apotheosis of Heroes) into images. total, 19 temples and 628 story themes were obtained. The The creators selected certain chapters and assigned backgrounds and characteristics of the main patron deities meanings to its contexts intuitively, a process called required exploring to determine the correlation between the recontextualization. The complex factors behind the main patron deity and the story theme. Derived from the creators’ perceptions include school of apprentices, research samples, the categories of the main patron deities self-developed skills, and communication between the can be obtained and include Tianshang Shengmu (Heavenly proprietor and the creator. Holy Mother; four temples), (three temples), and The dramatic structure in Western tradition first Sanshan Guowang (the Lords of the Three Mountains; two developed from the three-act play proposed by Aristotle temples). In addition, there was one temple for each of the (384–335 BC). The three acts, setup, confrontation, and following categories: Chenghuang Ye (City God), Wangye resolution, influenced the subsequent development of (Royal Lord), , Shuei Shian Tzuen Wang traditional linear narrative structures (e.g., the Hegelian (Water Deity, the Honorable King), Baosheng Emperor, conflicts and Freytag’s pyramid). The plot structure of (Miracle Immortal Doctor), Xuantian Shangdi (Mysterious contemporary drama and recorded media mostly contain the Heavenly Upper Emperor), Kai Zhang Sheng Wang three-act structure. Wright [3], Field [4], Rabiger [5], and (Sacred King), Ancient Dingguang Buddha , Guan Sheng Block [6] explained that the three-act structure consists of a Di Jun (Lord Guan), and the Jade Emperor. In addition, beginning (Act I), midpoint (Act II), and ending (Act III). according Taiwanese folk tales, the category of the main The beginning (Act I) includes the setup and the exposition patron deity can be divided into deities pertaining to nature of the story; the midpoint (Act II) involves the rising action worship (four temples), worshiping the souls of the dead or conflicts, the stimulation, and the complication; and the

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2. Literature Review and Theoretical Framework (14 temples), and ancestor worship (one temple). According ending (Act III) provides the solutions to the problems. and story themes were observed, and story themes with We referred to literature on story themes in temples and to the domains the patron deities preside over and the Field (2005) indicated that two turning points in the plot long narrative characteristics were selected for analysis and on narrative structures to determine the narrative structure deities’ backgrounds, the category can be divided into occur between the acts. Rabiger [5] further explained that discussions. of story themes in Taiwanese temples. protecting on waters and seas (six temples), ensuring safety the three acts are used for diverse purposes and can Among the ornament themes observed in the sample 2.1 Story Themes in Temples and protection (five temples), practicing Buddhism (four determine the duration of the story: Acts I, II, and III temples, Buddhist and Taoist ornament themes adorned 19 From the works of skilled artisans who immigrated temples), curing epidemics and providing medical accounts for 25%, 50%, and 25% of the story. Therefore, temples [2]. The collection scope included the antetemple, from Tangshan in China to the creations of local artisans, treatments (two temples), and eradicating violence and the basic structure of the three acts is constant and can be the san-chuan-dian (the central area of the antetemple), the the historical architecture that they created has historical preserving good, assessing good and evil, and solving extensively applied to narrative text designs. bai-dian (the worship hall), and bai-dian (the main hall of preservation value, and thus, has received considerable disputes (two temples) [2]. the temple); among them, only those that possessed classical attention in previous studies. However, further We used the aforementioned data obtained from a field 2.3 Element Designs allusions and inscriptions were used, excluding the ones that investigations and discussions are required to determine study to analyze the narrative structure of the story themes Chatman [7] divided the traditional narrative structure were difficult to film and research or indistinguishable how the creators selected the stories and designed the and understand the creators’ material selection methods. into story and discourse. The story indicates the content of because of damage. In total, 628 story themes were observed images for various temples. Four primary factors are the narration and the discourse is the expression of (Table 1). involved in determining the themes and the styles for 2.2 Narrative Structures narration; specifically, a story contains content (the author’s temple architectural ornaments: 1) Taoism: themes of gods On the basis of the aforementioned study, we inferred narration of the cultural codes) and form (core events, Table 1. Categories of story themes in temples and spirits provided artisans with infinite inspiration for that the temple creators selected various story themes characters, and scenes). Similarly, story themes should Main patron Theme Temple name creating ornamentation; 2) Honoring Heaven: every aspect according to the main patron deities, and further determine simultaneously contain a content and form. In addition, deity quantity of nature (from the sun and moon to plants, mountains, and the placement of the story elements and the images to be Mckee [8], Rabiger [5], Readman [9], and Rumelhart [10] Tainan Grand Matsu Temple 46 rivers) can be a theme because the Chinese people believe created. A story creator must possess the skills of story have indicated that a story element should contain a few Chaotian Temple 45 in the concept of an orbicular sky and rectangular earth, writing and storytelling. Because a story generally develops basic elements. Although the scholars differ in their Tianhou Temple 30 opinions of the elements, they are consistent regarding the observing and learning from nature; 3) Yin–Yang and the linearly, further information processing is required to Kaiji Matsu Temple 12 two primary elements: background (characters, places, and five elements: the yin and yang theory evolved from the transform a written story into a visually presented story; Shuei Shian Ben Gang Monastery Temple 23 Book of Changes, which afforded concepts for ornaments such is the function of a black-box. Storytellers convey a times) and plot (conflicts, attempts, and results). Tzuen Wang Consequently, an interesting story can be enhanced with Xuantian and structures concerning yin–yang, the cardinal directions, story to the audience through story design, an approach Tainan North Pole Temple 21 and sequential order; and 4) Buddhism: saṃsāra and similar to the process of transmitting information; effective element designs. The following four elements Shangdi Baosheng stories from Buddhist tradition were used for story themes consequently, the story itself is a coding process. During were generalized from the story elements proposed by the Dalongdong Baoan Temple 88 Emperor [1]. creation, the temple creators used the storytelling method to scholars: 1) character: the main character, supporting Wangye Nankushen Temple 142 We selected the ornament themes in temples transform classical historical long texts (e.g., Romance of characters, and characteristics of the characters; 2) constructed in the late Ming and early Qing dynasties; in the Three Kingdoms and Apotheosis of Heroes) into images. background: the time, place, and situation; 3) initial event: Chenghuang Ye Cheng-Huan Temple of Taiwan 36 an event or objective that begins the story; 4) development: Guan Sheng total, 19 temples and 628 story themes were obtained. The The creators selected certain chapters and assigned Sacrificial Rites Martial Temple 9 backgrounds and characteristics of the main patron deities meanings to its contexts intuitively, a process called the planning, attempted resolution, and outcome; 5) ending: Di Jun required exploring to determine the correlation between the recontextualization. The complex factors behind the responses to whether the main character solved the problem. Taipei Kong Hock Keng Temple 0 Sanshan On the basis of the aforementioned discussion, the narrative main patron deity and the story theme. Derived from the creators’ perceptions include school of apprentices, Guowang Tainan Three-Mountain-Kings 16 research samples, the categories of the main patron deities self-developed skills, and communication between the structure and story elements can be applied as the standard Temple can be obtained and include Tianshang Shengmu (Heavenly proprietor and the creator. with which to explore story themes and element designs in Jade Emperor Changhua Yuan Ching Kuan 4 Holy Mother; four temples), Guanyin (three temples), and The dramatic structure in Western tradition first temples. Ancient Sanshan Guowang (the Lords of the Three Mountains; two developed from the three-act play proposed by Aristotle Dingguang Tamsui Yinshan Temple 32 temples). In addition, there was one temple for each of the (384–335 BC). The three acts, setup, confrontation, and 3. Research Methodology Buddha Kai Zhang following categories: Chenghuang Ye (City God), Wangye resolution, influenced the subsequent development of We adopted the story themes in temples constructed Changhua Shenwang Temple 14 Sheng Wang (Royal Lord), Gautama Buddha, Shuei Shian Tzuen Wang traditional linear narrative structures (e.g., the Hegelian during the late Ming and early Qing dynasties as the Mengjia Longshan Temple 40 (Water Deity, the Honorable King), Baosheng Emperor, conflicts and Freytag’s pyramid). The plot structure of research samples. Narrative structure and element design (Miracle Immortal Doctor), Xuantian Shangdi (Mysterious contemporary drama and recorded media mostly contain the were used to analyze story themes, and the correlation Guanyin Lukang Longshan Temple 14 Heavenly Upper Emperor), Kai Zhang Sheng Wang three-act structure. Wright [3], Field [4], Rabiger [5], and between various main patron deities and temple themes was Fengshan Longshan Temple 26 determined. In addition to skills inherited from teachers or (Sacred King), Ancient Dingguang Buddha , Guan Sheng Block [6] explained that the three-act structure consists of a Gautama Tainan Kaiyuan Temple 30 Di Jun (Lord Guan), and the Jade Emperor. In addition, beginning (Act I), midpoint (Act II), and ending (Act III). self-developed, whether temple creators selected themes by Buddha according Taiwanese folk tales, the category of the main The beginning (Act I) includes the setup and the exposition rule required investigation through in-depth interviews. 628 themes in total patron deity can be divided into deities pertaining to nature of the story; the midpoint (Act II) involves the rising action Based on the story themes obtained from field studies, the worship (four temples), worshiping the souls of the dead or conflicts, the stimulation, and the complication; and the interrelations among various temples, main patron deities,

2 THE SCIENCE OF DESIGN BULLETIN OF JSSD Vol. xx No. x 20xx THE SCIENCE OF DESIGN B U L L E T I N O F JSSD Vol. 62 No. 3 2015 79 THE SCIENCE OF DESIGN BULLETIN OF JSSD Vol. xx No. x 20xx 3 3.1 The Step of Research Process In the third stage, we examined story themes most The theme content can be divided into narrative images frequently used in temples. Story themes were determined. (e.g., stories from the Romance of the Three Kingdoms) and The fourth stage involved discussing the correlation between nonnarrative images (e.g., auspicious patterns and the main patron deity and the story theme. In addition, other apotropaic objects). This study was conducted in four stages. story themes derived from novels with no chapters, ba ai In the first stage, as the research sample, 22 story themes (the eight types of love), szu ping (the four stories of hiring derived from seven Chinese classic novels were selected talented people), szu pu tsou (the four deficiencies to be (Table 2). avoided), or auspicious patterns were not analyzed in the narrative structure. Table 2. Statistics of story themes derived from long novels Table 3. The study sample (Code A.)

Code A B C Story Themes Content

Romance of the Records of the Apotheosis of A1 Three Grand paid 3-visit to Zhu Ge Liang Source Heroes Three humble visits to Kingdoms Historian and asked for his support. (封神演義) a thatched cottage (三國演義) (史記)

quantity 9 5 3 A2 The loyalty of to his throne. The Chang Ban slope Story Chapters Chapters None plot A3 The collaboration among Liu Bei, Code D E F Three heroes and Zhang Fe forced Lu Bu combating Lu Bu to quit. Heroes in Sui Romance of The Story of Yue and Tang the Western Source Fei Dynasties Han (說岳全傳) A4 A clever idea from Kong Ming helped (隋唐演義) (西漢演義) Sweet dew temple Liu Bei take his wife back.

quantity 2 1 1 A5 Story Liu Bei, Guan Yu and Zhang Fe were Chapters Chapters Chapters Brotherhood forged in plot sworn brothers and worked together. the peach garden

Code G - - Kong Ming submitted the A6 remonstrance to his throne to present Collected Wuhou petition his loyalty and advice. Biographies of Source - - Immortals Guan Yu gave instructions to weir the (列仙傳) A7 outfall so that the water would fall and Guan Yu floods seven the enemies be drowned and victory quantity 1 - - armies acquired. Story None - - plot A8 was touched by the loyalty Zhang Fei gorge Yan of , the enemy, and released 22 themes in total Yanbiao him.

A9 The great battle The second stage involved narrative structure analysis. The fights of the chief commanders. The novels with chapters and the quantity of the story between and Hsu Tu themes selected from such novels were used as the selection 9 themes in total standard and were coded as A(A1~A9) and B(B1~B5); in

total, 14 story themes were derived (Table 3,4.).

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Table 4. The study sample (Code B.) 4. Results and Discussion 3.1 The Step of Research Process In the third stage, we examined story themes most 4.1. Stage 1: Sample Analysis of Story Themes in The theme content can be divided into narrative images frequently used in temples. Story themes were determined. Story Themes Content Temples B1 (e.g., stories from the Romance of the Three Kingdoms) and The fourth stage involved discussing the correlation between King Wen of Zhou paid a visit to Jiang Zi Wei appointed According to Table 7, the story themes in temples nonnarrative images (e.g., auspicious patterns and the main patron deity and the story theme. In addition, other Ya and asked him to be his chancellor. virtuous originated from seven Chinese classic novels(A-G) and 22 apotropaic objects). This study was conducted in four stages. story themes derived from novels with no chapters, ba ai story themes(A1-A9.B1-B5.C1-C3.D1-D2.E1.F1G1.) were In the first stage, as the research sample, 22 story themes (the eight types of love), szu ping (the four stories of hiring B2 King Wen of Zhou spat meat and which King Wen got a son transformed to a magic substance. derived from the Romance of the Three Kingdoms (nine), derived from seven Chinese classic novels were selected talented people), szu pu tsou (the four deficiencies to be Apotheosis of Heroes (five), Records of the Grand Historian A magic weapon decorated with (Table 2). avoided), or auspicious patterns were not analyzed in the B3 nine-dragon used by Tai Yi Zhen Ren (three), Heroes in Sui and Tang Dynasties (two), The Story narrative structure. Collect the rocky burnt Shi Niang Niang to a stone. of Yue Fei (one), Romance of the Western Han (one), and Table 2. Statistics of story themes derived from long B4 Collected Biographies of Immortals (one). The story themes novels Table 3. The study sample (Code A.) Kong Suan had super strong power and Kong Suan blocked no one could take him down in Jin Ji developed from the Romance of the Three Kingdoms, Jin Ji Ling with Code A B C Story Themes Content Ling. Apotheosis of Heroes, Records of the Grand Historian, army Heroes in Sui and Tang Dynasties, and other novels Romance of the Records of the Apotheosis of A1 B5 The villains were subdued into the Tai Ji Three Grand Liu Bei paid 3-visit to Zhu Ge Liang accounted for 41%, 23%, 14%, 9%, and 4% of the themes. Source Heroes Three humble visits to Tai Ji Diagram Diagram. Kingdoms Historian and asked for his support. According to statistics regarding the same story themes (封神演義) a thatched cottage (三國演義) (史記) 5 themes in total applied in different temples, six temples featured B1 and E1, five temples featured A1 and A2, four temples featured A3, quantity 9 5 3 A2 The loyalty of Zhao Yun to his throne. Table 5. The study sample (Code C.) A4, and C1, three temples featured B2–B4, D1, D2, F1, and The Chang Ban slope Story Chapters Chapters None Story Themes Content G1, and two temples featured A5–A9, B5, C2, and C3. Thus, plot C1 the story themes in temples were primarily selected from the A3 The collaboration among Liu Bei, Code D E F Confucius consulted The Confucius inquired for Lao Tze. Romance of the Three Kingdoms, followed by Apotheosis of Three heroes Guan Yu and Zhang Fe forced Lu Bu Lao Tze Heroes. In addition, although only one story theme from The combating Lu Bu to quit. Heroes in Sui Romance of C2 The Cin Emperor planned to grab the He The Story of Yue Story of Yue Fei was obtained, six temples featured such and Tang the Western Return the borrowed Shi Bi from Zhao Hui Wang but Lin Source Fei theme; therefore, we inferred that this story theme may be Dynasties Han thing to the rightful Xiang Ru brought it back to the Cin (說岳全傳) A4 A clever idea from Kong Ming helped owner safely. (隋唐演義) (西漢演義) familiar to the public. Sweet dew temple Liu Bei take his wife back.

C3 quantity 2 1 1 The assassination of the Cin Emperor The emperor and the Table 7. Statistics of story themes in temples

A5 assassin failed and Jing Ke was named a brave. Story Liu Bei, Guan Yu and Zhang Fe were Story Story Chapters Chapters Chapters Brotherhood forged in Code quantity quantity plot sworn brothers and worked together. 3 themes in total the peach garden Themes Themes

A1 Code G - - 5 A6 2 Kong Ming submitted the Table6. The study sample (Code D.E.F.G.) A6 A2 5 A7 2 remonstrance to his throne to present Collected Wuhou petition Story Themes Content his loyalty and advice. A A3 4 A8 2 Biographies of Source - - D1 Emperor Xuanzong of Tang is Immortals A4 4 A9 2 Guan Yu gave instructions to weir the Tang Minghuang superstitious about the celestial and (列仙傳) A7 outfall so that the water would fall and tour month temple wanted to travel to the Moon. A5 2 - - Guan Yu floods seven the enemies be drowned and victory quantity 1 - - armies D2 B1 6 B4 3 acquired. Hua Mulan dressed as a man and went to Hua Mulan joins the Story the army for her father. B B2 3 B5 2 None - - army plot A8 Zhang Fei was touched by the loyalty Zhang Fei gorge Yan of Yan Yan, the enemy, and released The mother of Yue Fei tattooed Jing B3 3 - - 22 themes in total Yanbiao him. E1 Zhong Bao Guo on his back and C1 4 C3 2 The patriots anticipated that he could contribute his C C2 2 - - A9 life to the country. The second stage involved narrative structure analysis. The great battle D D1 3 D2 3 The fights of the chief commanders. Four wise scholars isolated themselves between Ma Chao and F1 The novels with chapters and the quantity of the story from the society and stayed in Shang E E1 6 - - Hsu Tu The four scholars themes selected from such novels were used as the selection Shan. 9 themes in total F F1 3 - - standard and were coded as A(A1~A9) and B(B1~B5); in G1 A fortunate sign. G G1 3 - - total, 14 story themes were derived (Table 3,4.). East auspicious signs

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4.2. Stage 2: Narrative Structure of Story Themes in Temples Table 7 indicates that the story themes E1and B1were According to Table 8, the 14 story themes in temples selected and used by the most temples (each story theme were selected from the Romance of the Three Kingdoms featured in six temples), followed by the A1 and A2 (each (nine) and Apotheosis of Heroes (five). The proportion of featured in five temples), and A3 A4 and C1 (each featured the same story theme applied in different temples is shown in four temples). Table 9 shows the story themes with the in Figure 1. The structure of the graph is similar to the story highest selection rate and suggests that the temple creators structure theory proposed by Block [6] and Rabiger [5], primarily selected story chapters from Act II; however, this displaying a triangular-shaped plot line; in other words, the inference was obtained from the sample analysis. Further crisis climax appears in Act II. Six stories from the interviews are required to determine the creators’ Romance of the Three Kingdoms appeared in the middle of motivations. Act II, accounting for 66.6% of the nine story themes. Four stories from the Apotheosis of Heroes appeared in the Table 9. Paragraph analysis of the story themes beginning of Act II, accounting for 80% of the five themes. Code E1 B1 A1 A2 Consequently, we confirmed that the temple creators selected story themes is similar with the Western drama structure. TC / CS 80/22 100/24 120/27–28 120/41–42

Three-act Table 8. Correspondence of the story themes and the Act II Act II Act II Act II three-act structure structure

Code Act I Act II Act III Code A3 A4 C1 -

A1, A2, A4, A7, A A3, A5 A6 TC / CS 120/5 120/54 N/N - A8, A9

Three-act B B3 B1, B2, B4, B5 - Act I Act II N/N - structure

TC=Total chapters ; CS=Chapters selected

4.3. Stage 3: Discussions of Story Elements in Temples According to the literature review, story elements can be divided into the main character, initial event, development, and ending. Table 10 depicts an image of “Wei appointed virtuous” as an example. Among the six pieces of illustrated images, two main characters appear in each image, whereas the numbers of supporting characters differ. In addition, the images primarily conveyed the content of the story theme. Further research is required to determine the correlation among the story elements and the visual designs, the selection of the main and supporting characters, paragraph divisions, style designs, colors and modeling, and Figure 1. Usage rate of stories in temples compositions.

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4.2. Stage 2: Narrative Structure of Story Themes in Table 10. Element analysis of the story “Wei appointed of the main patron deities. Similarly, temples in which the Temples Table 7 indicates that the story themes E1and B1were virtuous” main patron deities, including local deities and the highest According to Table 8, the 14 story themes in temples selected and used by the most temples (each story theme divinities, were responsible for ensuring safety and Story Elements Content were selected from the Romance of the Three Kingdoms featured in six temples), followed by the A1 and A2 (each protection (e.g., Sanshan Guowang, Jade Emperor, and Kai (nine) and Apotheosis of Heroes (five). The proportion of featured in five temples), and A3 A4 and C1 (each featured Code B1 Zhang Sheng Wang) primarily used auspicious patterns to the same story theme applied in different temples is shown in four temples). Table 9 shows the story themes with the invoke safety and fortune. Temples in which the main in Figure 1. The structure of the graph is similar to the story highest selection rate and suggests that the temple creators Main characters 2 patron deities that presided over practicing Buddhism structure theory proposed by Block [6] and Rabiger [5], primarily selected story chapters from Act II; however, this featured Buddhist stories to convey the Buddhist ideal of displaying a triangular-shaped plot line; in other words, the inference was obtained from the sample analysis. Further To appoint the virtuous, King Wen of Zhou spiritual enlightenment. Story went to Wei Shui to invite Jiang Ziya to crisis climax appears in Act II. Six stories from the interviews are required to determine the creators’ background return to Zhou with him. Romance of the Three Kingdoms appeared in the middle of motivations. 5. Conclusion Act II, accounting for 66.6% of the nine story themes. Four We focused on story themes in Taiwanese temples to King Wen of Zhou state wished to appoint Initial incident stories from the Apotheosis of Heroes appeared in the Table 9. Paragraph analysis of the story themes the virtuous Jiang Ziya. explore the temple creators’ selection of story themes by beginning of Act II, accounting for 80% of the five themes. using narrative structure analysis. Through the research Code E1 B1 A1 A2 samples obtained from results of our previous field study, Consequently, we confirmed that the temple creators appointing→failed→appointing Development selected story themes is similar with the Western drama →attempting→successful we compared and analyzed the story themes, narrative structure. TC / CS 80/22 100/24 120/27–28 120/41–42 structures, and main patron deities. The results are as Ending Successfully appointed Jiang Ziya. follows. Table 8. Correspondence of the story themes and the Three-act The temple story themes were derived from various Act II Act II Act II Act II three-act structure structure classic historical records and auspicious patterns. By 4.4. Stage 4: Correlation between the Main Patron excluding nonnarrative image research samples, we Code Act I Act II Act III Code A3 A4 C1 - Deities and the Story Themes in Temples identified seven classic Chinese novels and 22 stories in the We expanded upon our previous field study results and first stage; most of the story themes were from the Romance A1, A2, A4, A7, determined that when temple creators began creating a story, A A3, A5 A6 TC / CS 120/5 120/54 N/N - of the Three Kingdoms. We inferred that Taiwanese temples A8, A9 various story themes were developed for different main are mostly Taoist temples and that the main patron deities patron deities. Table 1 shows the findings obtained from the and the story images ornamenting the main architectures are Three-act B B3 B1, B2, B4, B5 - Act I Act II N/N - research samples: 1) In the temples that adopted the structure correlated. The Romance of the Three Kingdoms focuses on Romance of the Three Kingdoms for story themes, the main military stories, and the study results indicated that the TC=Total chapters ; CS=Chapters selected patron deities were categorized as deities pertaining to backgrounds and origins of the main patron deities were worshipping souls of the dead, including Mazu, Shuei Shian related to military topics, eradicating violence, and Tzuen Wang, Xuantian Shangdi, Baosheng Emperor, and safeguarding(e.g.,Mazu). Wangye. Among these, Mazu, Shuei Shian Tzuen Wang, 4.3. Stage 3: Discussions of Story Elements in Temples We analyzed the novels with chapters by adopting the Xuantian Shangdi are in charge of protection on water and According to the literature review, story elements can be three-act structure theory, determining that when creators the sea, and Baosheng Emperor and Wangye are responsible divided into the main character, initial event, development, selected paragraphs from the Romance of the Three for curing epidemics and providing medical treatments. 2) and ending. Table 10 depicts an image of “Wei appointed Kingdoms and Apotheosis of Heroes, the paragraphs were Through distribution of the domains the main patron deitie virtuous” as an example. Among the six pieces of illustrated mostly from the middle of Act II, resembling with the presided over, the evident cluster properties were curing images, two main characters appear in each image, whereas three-act structure in the Western tradition. However, the epidemics and providing medical treatments (story themes the numbers of supporting characters differ. In addition, the creators of these temple stories in Taiwan learned no from Romance of the Three Kingdoms), ensuring safety and images primarily conveyed the content of the story theme. western narrative theory and their viewpoints of protection (auspicious patterns), and practicing Buddhism Further research is required to determine the correlation examination might not be objective; hence, the conclusion (Buddhist stories). among the story elements and the visual designs, the of this study aims to prove that popular stories possessing selection of the main and supporting characters, paragraph According to the aforementioned discussions, we “similarity” of narrative structure. It is hoped that more divisions, style designs, colors and modeling, and inferred that when temple creators designed temples, the oriental narrative theories can be constructed.In this study, Figure 1. Usage rate of stories in temples compositions. main patron deity and the theme selection were evidently our conclusions were based on the results obtained from the correlated. For example, the Romance of the Three collected samples. The next research stage requires in-depth Kingdoms focuses on the wars in the East and interviews with temple creators to further confirm the pertains to the theme of chastity and righteousness, a results, and story elements, style designs, and story Chinese moral concept that correlates with the backgrounds compositions could be analyzed in future studies.

6 THE SCIENCE OF DESIGN BULLETIN OF JSSD Vol. xx No. x 20xx THE SCIENCE OF DESIGN B U L L E T I N O F JSSD Vol. 62 No. 3 2015 83 THE SCIENCE OF DESIGN BULLETIN OF JSSD Vol. xx No. x 20xx 7 6. References 1. Qian-Lang Lee, The Temple of Taiwan, Taiwan Provincial DISSIMILARITIES OF DESIGNER IDEATION BY Government Information Services: Taiwan,1986;76. IDENTIFIED SEARCHING-RETRIEVAL BEHAVIOR IN 2. Hsiang-Lien Lee, Research of Relations between Portrait st nd REFERENCING ONLINE-OFFLINE MATERIAL and Meanings Example taken through 1 and 2 Class Ancient Temple Relics in Taiwan, YunTech: Taiwan, MA, 1999; 33-81. Pei-Jung CHENG 3. Wright,J. A. Animation Writing and Development:From Script Development to Pitch, Focal Press:Burlington, MA, 2005; 50-56. Department of Media Design, Tatung University 4. Field,S. Screenplay[electronic book]:the foundations of No.40, Sec.3, Zhongshan N. Rd., Taipei City 104, Taiwan screenwriting. Delta Trade Paperbacks: New York, 2005;

239. Abstract: The study mainly examined the characteristics of the referencing behavior in designers’ 5. Rabiger, M. Developing story ideas. 2nd ed, Focal ideation. Especially, designers’ searching behavior and retrieving behavior, and the interactive and Press:Burlington, MA, 2006; 11-13. connective relationship between the two referencing methods and other behaviors were described. Ten 6. Block, B. The Visual Story: Creating the Visual Structure practicing graphic designers were observed while they completed assigned tasks. The study identified of Film, TV and Digital Media. 2nd, Focal Press:MA, specific features of ideation in the designers stimulated by printed and online materials. Two distinct 2007; 227. methods were used by the designers in developing ideas based on the process they used to transform 7. Chatman, Story and discourse:narrative structure in f their ideas. Based on considering the keyword-based information retrieving behavior, a “thinking- iction and film, Ithaca,N.Y.: Cornell University seeing-moving” structure was proposed in the study to describe designers’ ideation pattern in the Press,1978 ;19. digital environment. The study also highlights the importance of a mechanism supporting designers’ 8. Mckee, R. Story: substance, structure, style and the ideation that includes words and images. principles of screenwriting. 1 edition, Harper-Collins Keywords: Ideation, Retrieving behavior (RI), Searching behavior (SI), Referencing behavior Publishers: New York, 1997; 20-41. 9. Readman, M, Teaching Scriptwriting, Screenplys and Storyboards for Film and TV Production. British Film 1. Introduction association mechanisms that transform references into Insitute: London, 2008; 334-53. In design domains, visual data create mental images in mental imagery. Thus, association is a creative cognitive 10.Rumelhart,D.E, Note on a schema for stories. In designers and help them develop appropriate solutions process [13] and a key mechanism for acquiring new ideas （ ） D.G.Bobrow & A. Collins Eds , Academic press :New during the design process [1-7]. Thus, visual stimuli are [14] and managing the relationships among various designs. York, 1975; 211-236. considered to strongly influence designers’ performance To find inspirational material for developing ideas, when they face various design problems [8, 9]. Designers most designers today gather information by searching often refer to relevant information during their ideation, and online sources rather than reference books. This form of most designers spend over one-third of their ideation time referencing should be examined further because it may searching for references that can enable them to address a engender distinct associative methods or approaches for design problem [10]. designers to use during ideation. Moreover, the referencing As Petre et al. [11] have observed and suggested, method raises a question in the design field as to whether selecting and adapting a given source of visual stimuli or the behavior of collecting computerized references changes incorporating this interaction with a repertoire of images designers’ normal associative mechanisms and ideation. can produce something unexpected. Therefore, designers Based on the aforementioned consideration, the can generate ideas by drawing on the interplay between the question addressed in the study was whether designers’ visual stimuli that they are seeing and the imagery that the regular ideation patterns change or are influenced by stimuli are associated with. Moreover, Schön [12] argued computerized data retrieving behavior (RI) when they that all actions of designers are affected by their reflections design in a digital environment. The main purpose was to on what they are seeing, and, therefore, each new evaluate how information obtained from printed references experience enriches their repertoire for composing new and information obtained from online sources influence variations and enables them to face the next design problem. designers’ ideation process differently, as well as to identify For generating new insights and strategies to solve the the characteristics and designing patterns during graphic design problems, designers require powerful mental designers’ ideation in the digital environment.

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