International Journal of History and Research (IJHR) ISSN (P):2249–6963; ISSN (E):2249–8079 Vol. 10, Issue 1, Feb 2019, 27–40 © TJPRC Pvt. Ltd.

STUDY ON THE TIME FEATURES OF CULTURAL AND CREATIVE PRODUCTS - TAKING ’S CULTURAL AND CREATIVE PRODUCTS AS AN EXAMPLE

PEI XUESHENG 1 & SHI YEHUA 2 1Vice President, School of Art and Design, University of Science and Technology, Luoyang, 2Scholar, School of Art and Design, Henan University of Science and Technology, Luoyang, China ABSTRACT OBJECTIVE

To analyze the time features of popular cultural and creative products in the market, study the elements contributing to success of cultural and creative products, explore the market prospects of cultural and creative products, and ultimately develop cultural and creative products which are complying with the times and thriving in the market.

METHODS

Visit and investigate Luoyang Museum, understand the characteristics and connotations of the historical culture Original Article contained in the collected cultural relics, explore the development context, time features and scientificity of the historical culture, analyze the elements and connotations of the historical culture, extract the color elements and cultural elements, and carry out the cultural and creative design via modern design methods, technical means and new materials.

CONCLUSIONS

Hold the current trend of cultural and creative product design, collate and research the systematic context and time features of cultural and creative products of Luoyang Museum, put forward the design scheme of cultural and creative products of Luoyang Museum, which highlights the practicability, epochality, artistry, culture and innovation of cultural and creative products of Luoyang Museum, exploit the value of collected relics, and provide a possibility for cultural and creative product design for Luoyang Museum.

KEYWORDS: Cultural, Creative Products, Museum, Time Features & Innovation

Received: Oct 28 2019; Accepted: Nov 18, 2019; Published: Jan 08, 2020; Paper Id.: IJHRJUN20204

1. INTRODUCTION

In recent years, the market for museum cultural and creative products has gradually expanded. The national policy has guided various museums to open the road of cultural creation, which proves that consumers are pursuing the demand for material culture and promoting the development of cultural consumption. Compared with the museum commemorative products with a single type, the same boring and superficial design, it has been replaced by most of the cultural products with personality characteristics. It seems that our existing cultural and creative products are well combined and inherited historical culture. However, a close examination of the Cultural and creative products launched by major museums will reveal, but many consumers do not find the Cultural and creative products that meet the psychological needs of consumers with the products launched by the merchants. The development of the museum cultural innovations needs more Exploration and innovation. Most of the Cultural www.tjprc.org [email protected] 28 Pei Xuesheng & Shi Yehua and creative products have a single type, which is not much different from most domestic cultural and creative products. The modern design sense of creative products and the sense of the times are not strong, which does not meet the fashion needs of consumers. With the advancement of the times and the gradual improvement of the level of science and technology, the integration of traditional cultural elements into the design of modern technology products has become the mainstream trend of product development under the characteristics of the times[1], and consumers are also expecting some excellent cultural and creative products. Stand out from the crowd. Adapting to the changes in the situation and environment, consumer demand, and constantly improving the quality of cultural and creative products is the basis for the development of cultural communication in modern museums.

1.1 Analysis of the Market and Research Status of Cultural and Creative Products

Since 2014, the development speed of cultural industry in Luoyang has maintained rapid growth, and cultural creativity has become the dominant factor in the cultural industry. Consumers have strong demand for cultural products and cultural services. The development of cultural and creative industries is an important means and means adopted by many countries in the adjustment of economic structure. Due to its high added value and ability to retain sustainable development, more and more countries and regions have begun to pay attention to it. The industry is growing at a much faster rate than the general national economy. Obviously, it has become a new driving force for global economic growth and industrial development, leading the development of the overall economy in the future.

At present, we can see in the market survey that most of China's museum cultural and creative products use simple household items, stationery, etc. as the carrier of cultural and creative product design, such as notebooks, canvas bags, paper tapes, etc., which are inexpensive, low cost, and updated. Fast, easy to carry, practical and other characteristics, is an important development channel for Cultural and creative products. Due to the limitations of creative forms in the design process of traditional cultural creative products, the designed products violate the meaning and demand of creative products and limit the development of products. This makes Cultural and creative products neither able to convey cultural connotations nor can consumers be integrated into their lives.

The cultural and creative products on the market are mainly divided into three categories: museum collection reproduction products, creative souvenirs and publications (Table 1).

Table 1: Current Categories of Museum Cultural and Creative Products in China

Most of the cultural and creative products are directly used to directly copy ancient cultural relics according to the physical ratio and simple. The application of derivatives is mainly designed, and the cultural connotation and innovation in the products are not seen. There are even some simple printed products. After removing these inks, it is the ordinary daily

Impact Factor (JCC): 4.3084 Rating: 2.90 Study on the Time Features of Cultural and Creative Products – Taking Luoyang’s 29 Cultural and Creative Products as an Example necessities in our daily life, or can only be used as a souvenir collection. The products do not involve any innovative elements and cultural connotations. In order to combine the characteristics of cultural relics with the elements of innovation, to produce modern products with cultural heritage, and to meet the needs of consumers, modern technology and consumer demand are needed to truly integrate museum cultural and creative products into people's lives.

Previous studies have shown that understanding the needs of consumers and designing Cultural and creative products according to consumers' consumption concept is the core concept of Cultural and creative products [2]. A good cultural and creative product can not only meet the functional needs of consumers, but also meet their spiritual needs. Such products on the market should be combined with their creative design, processing and production in terms of color, materials, functions, culture, etc., reflecting cultural heritage and innovation to meet the cultural and spiritual needs of consumers. Therefore, the creativity of Cultural and creative products does not mean the reproduction and reproduction of traditional culture, but also the combination of culture and modern technology. It is not just a combination of simple products with commemorative significance.

2. LITERATURE REVIEW

In recent years, China has also begun research on the design of cultural products, using modern technology to integrate culture and products. The main research results are: QIN Xialing proposes the user role characteristic model and analyzes the determinants affecting user usage. User role characteristics, in the process of designing cultural products, according to the size and application of consumers, the characteristics of Cultural and creative products are oriented, and comparative experiments, through data analysis to improve the effectiveness of design[3]; YANG Lei. The launches BellSet of Marquis Yi of Zeng, combining the history of applied technology, traditional processes and new technologies, integrating the use of creative resources and achievements, and conducting comprehensive, effective and groundbreaking work in the introduction and development of technology, equipment and materials[4]. And strengthen the cultivation of talents, as well as the development of classic collection resources to pave the way for modern cultural creation. SuleymanovaDilyara proposes that culture is a form of existence of a country. If culture is not well transmitted, then it is endangered. Although there are many literatures on the research and design of cultural and creative products, the method of directly researching and improving the design of cultural products is very less [5].

In addition, some scholars believe that Cultural and creative product design can promote employment to promote economic growth. For example, Liang Ruo Bing proposed that Taiwan's cultural and creative enterprises will promote economic development, and also have certain favourable conditions in the development of cultural and creative products[6]; Zhang Jirong, Zhang Mengyan explored in Beijing Based on the development of the city's cultural and creative industries, empirical analysis of its contribution to employment growth[7]. According to the research and analysis of Cultural and creative product design at home and abroad, the combination of consumer intentions and products will realize the optimal design of Cultural and creative products, enhance the satisfaction of Cultural and creative products, balance the demand of products, design, and consumers. The relationship between them is a major trend in the design of cultural and creative products. Yu Ji'an, You Miao, Cao Jing, and Zhang Haoyue proposed that technological innovation is one of the core competitive elements of contemporary cultural and creative products, and cultural creativity is also an indispensable component of it [8]. When designing products, the demand for consumer spiritual culture is increasing. Cultural and creative products can meet the spiritual needs and at the same time realize the output of cultural values. The design of the Cultural and creative product optimization design method can be loved by most people.

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Li Ping and ZengWeizhong believe that the development of Cultural and creative products should gather all aspects of social forces and jointly promote the integration of culture and modern creative elements. Increase cooperation between various agencies to establish a sound system[9]. Jiang Tingting, Xie Fuji and others believe that the innovation of cultural products can not only stay in the evolution of the concept, but also introduce the innovation of technology and technology, the improvement of all parties, and the in-depth analysis of Cultural and creative product innovation[10]. According to the above literature research, we still need to broaden our horizons in the specific implementation of the development of Cultural and creative products, and should not be cited by the current trends. We should seriously study the successful examples of cultural innovations, continue to practice and explore, and design unique and Practical cultural products that enrich the cultural connotation [11].

3. THE PROBLEMS EXISTING IN CHINA'S CULTURAL AND CREATIVE PRODUCTS IN MODERN TIMES 3.1 Survey of People's Consumption Demands

With the constant changes of the times, consumers are confronted with increasingly diversified social culture. Since the change of life trend is accompanied with the change of consumers' consumption habits and manners, as well as change of consumer sentiment, for consumers no longer dwell in the most basic stage of satisfying food and clothing consumption. Designers should design products to meet the basic needs of customers as well as the emotional and experiential needs of customers. The cultural and creative products will gradually become insipid so long as such indifference in design continues. Instead, the modern design concepts and methods shall be applied, which is the key problem to be solved in the future development trend of cultural and creative product design. According to the survey, the demands of museum consumers for museum cultural and creative products can be divided into the aspects as follows.

Combination of aesthetics and function. Beauty, which is primarily presented by product color and form, is an important precondition to stimulate consumers to buy cultural and creative products, as well as the basic element of product design. The development and design of any kind of product should follow the principle of utility and beauty. Sottsass, an Italian design master, said: “Design is a way to study life”[12]. The design of cultural and creative products stands for not only the carrier of culture, but also the manifestation of beauty. Only when the aesthetics and function of products are unified, can the cultural and creative products be closer to people's daily life.

Combination of times and seriality. More and more consumers begin to turn their attention to cultural and creative products. If consumers trust a certain series of products, the other products in the same series will be trusted. The seriality of products is also a unique presentation of cultural characteristics. The series design evolves into multiple products through the changes of form, color and function on the basic theme of products, which is the process of systematizing products[13]. In addition, to impress consumers, the cultural and creative products should utilize modern science and technology to meet the functional needs of different levels, so that people's basic necessities of life, i.e. food, clothing, housing and transportation, are met completely along with the development of high technology, and imperceptibly influenced in culture.

3.2 Significance of the Time Features

Nowadays, the production and application of all kinds of electronic products, high-tech products, such as computers, mobile phones, WiFi and other electronic devices, are indispensable in people's lives. In the context of the great development of the industrial era, China vigorously promotes the national cultural self-confidence, but the science and

Impact Factor (JCC): 4.3084 Rating: 2.90 Study on the Time Features of Cultural and Creative Products – Taking Luoyang’s 31 Cultural and Creative Products as an Example technology are still in progress, and the cultural creative design, which is full of high emotions and complying with the time features, is still the top priority of product design. The development of the times has impacted intensely on human kind. Several breakthroughs of transportation tools in human society are one of symbols of a great leap in science and technology. From walking to the emergence of rickshaws in 1873, and then to the high-speed railway and aircraft in the 21st century, the science and technology developed in the times conform to the time development features.

People's living needs are progressing constantly along with the development of the times. Product design integrating science and technology can not only meet the psychological needs of consumers, but enliven cultural relics and integrate culture into people's lives in a real sense by means of science and technology [14]. The pace of the times keeps advancing. Only by constantly innovating and developing unlimited design possibilities of cultural products, can we adapt to the development of the times, and provide a possibility for the design of cultural and creative products in museums.

3.3 Time Features of Existing Products Analysis of the Characteristics of Best-Sellers

In the time feature of sticking to cultural self-confidence, it is important for museums, as public open places of collecting relics, displaying and researching objects of human culture and natural heritage, to provide services for the public for the purpose of learning knowledge, cultural education and appreciation. Museum cultural and creative products are the soul of museum collection culture. In thousands of years of history, China has accumulated profound traditional culture. Good cultural and creative products can bring people different psychological feelings and stimulate consumers' interest in history and culture. The “Secret Color Porcelain Lotus Bowl Cookie” and “Mountains and River” stationery seats developed by Suzhou Museum are favored by consumers. The rich historical and cultural elements, such as the Palace Museum's Qinjian card, gilding, dragon pattern, plaque and so on (Figure 1), are applied to create cultural and creative products with cultural characteristics.

Figure 1: Cultural and Creative Product Design of the Palace Museum and the British Museum.

As the Chinese cultural and creative products, the British Museum's popular cultural and creative products have also applied many cultural elements in museums with cultural characteristics. Thus, cultural and creative products are endowed with individual cultural characteristics [15]. These interesting products are more easily recognized by the mass consumers, and closer to people's daily life, which will greatly enhance the competitiveness of commodities in the market.

The best-sellers should have charm in themselves. However, any commodity can rely on modern color matching to improve the desire to buy, and show the charm of the commodity as well [16]. In the market, more and more bright colors, for example: sky blue, blue, violet, yellow, orange, red, white, pink, light yellow and so on, are used in the design of excellent cultural and creative products to restore the intrinsic color of those dusty cultural relics. The combination of www.tjprc.org [email protected] 32 Pei Xuesheng & Shi Yehua red and blue can impress the viewer with brightness and intensity, create a festive and auspicious mind, and inspire spirit; the combination of blue and green can bring people a sense of excitement out of the secular world; while the combination of red and yellow can show vitality, bring people spirit and vitality; the light blue combined with white or lemon yellow can bring vitality to people. These bright colors can arouse joy and strong purchasing desire of consumers. But bright color is not the sole choice, for pure color itself is also one of the important elements. For example, the combination of coffee and beige can bring people peace of mind, for the stable color matching makes people comfortable.

Taking the Palace Museum makeup products as an example, cosmetics are different from food or daily necessities, for they are not absolute necessities. The Palace Museum Taobao launched a batch of the Palace Museum color make-up in October 2018 (Figure 2) with exquisite workmanship, including lipstick, blush, eye shadow, highlight and so on. Many kinds of make-up products are launched online, among which 3,000 “Crane lipstick” were sold in an hour. The best-selling of the cultural and creative makeup products of the Palace Museum is attributed to the impression displayed by the product, that is, the color matching. For another example, the cultural and creative products of the Taipei Palace Museum also have distinct colors. As long as the influence of colors on the products is grasped, we can design excellent cultural and creative products. As long as various colors are matched in a reasonable manner, these distinctive colors can bring unique artistic effects to people. The application of these colors with the time features in the design of modern cultural and creative products can quickly convey the information and cultural connotations that consumers need, and establish a deep impression upon the product soon, so as to obtain consumers' acceptance of the cultural and creative products.

Figure 2: Cultural and Creative Product Design of the Palace Museum and Taipei Palace Museum.

Either the cultural demand or the color collocation is not the only choice of consumers but one of numerous factors. Reasonable price and function are also the necessary factors for consumers to choose and buy. The design of the series of turquoise bronze products in Luoyang Museum is originated from the “Bronze Plaque Beset with Turquoise” of the , which brings delicacy into life, thus creating a noble atmosphere and evoking the association of consumers for the prosperous life of the Xia Dynasty. It is manufactured by modern production technology, featuring in high quality and low price. Another example is the Stone Amulet, the most precious treasure of Luoyang Museum, which brings people a stable, dignified and righteous image. The designers of the cultural and creative team of Luoyang Museum carried out the cartoon design of the image of the amulet, retained the traditional cultural implication of it for safe- guarding, and added the modern image of the amulet for being lovely, dull and close to life. The design style is harmonious and unified, and achieves outstanding results. The designed products, including combs, trays, sunshade umbrellas, red envelopes, Han costumes, paper bags, and pillows, etc. are not only creative and colorful, but practical and cost-friendly. The cultural and creative products integrating these factors are more easily accepted by the masses of consumers, and more close to people's daily life (Figure 3).

Impact Factor (JCC): 4.3084 Rating: 2.90 Study on the Time Features of Cultural and Creative Products – Taking Luoyang’s 33 Cultural and Creative Products as an Example

Figure 3: Design of Original Cultural and Creative Products of Luoyang Museum.

3.3 Factor Analysis of Unsalable Products

According to the visit and investigation on Luoyang Museum and Luoyang Tourist Souvenir Market, the development of cultural and creative products is not perfect, and most of museum creative industries are faced with the problems of common homogeneity and weak development ability. Cultural and creative products developed are short of the deconstruction of culture and relics collected by museum. Many of them directly copy ancient cultural relics in proportion. Cultural and creative products are highly identical, and no innovative elements are added. As an ancient capital built by thirteen dynasties in history, Luoyang has abundant cultural resources, but the actual souvenir design capacity is quite feeble at present. Take the analysis of the scene of the cultural and creative product shop of Luoyang Museum as an example (Figure 4).

Figure 4: Cultural and Creative Product Shop of Luoyang Museum.

The cultural and creative products of the National Museum of China cover more than 3,000 categories, such as household products, electronic products and children's stationery. However, there are just 15 kinds of souvenirs in the cultural and creative product shops of Luoyang Museum, in which five are cultural and creative products full of design ideas, the remaining are cultural souvenirs developed by tradition. Without the deconstruction of culture and relics collected by the museum, they are directly copied by scaling down the ancient relics. According to the above research results, the cultural souvenirs of Luoyang Museum have certain collection cultural characteristics, but there are no cultural and creative products featuring in the collection culture. Luoyang Museum is a national first-class museum, but the market of cultural and creative products there cannot meet the needs of tourists or consumers. Some souvenirs are the same with other tourist attractions, which cannot stimulate consumers' desire to buy, nor can they attract consumers.

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The following problems exist in the market of cultural and creative products of Luoyang Museum: First, the cultural and creative products of Luoyang Museum are less in types and simple in contents. Second, the cultural and creative products of Luoyang Museum are not prominent in cultural characteristics and most of them are directly imitated and copied. Third, the cultural and creative products of Luoyang Museum are not obvious in the time features, and the practical design of products is not well integrated. Fourth, the market of cultural and creative products of Luoyang Museum is small-scaled. As the cultural and creative souvenir design is still in its infancy, Luoyang Museum should analyze and excavate the collection culture, strengthen the design and development of Luoyang Museum, and combine the time features of cultural and creative products, which is valuable for the development of cultural and creative products of Luoyang Museum.

4. RESEARCH METHODS AND PROCESSES

Located in the hinterland of China, Luoyang is an important birthplace of Chinese civilization. Historically, thirteen dynasties have built their capital here, leaving behind the historical landscape and rich cultural sites along the Luohe River. The establishment of Luoyang Museum marks a new era for the cause of museum here, and the cultural relics collected reflects the rich and prosperous social life of the thirteen dynasties from Xia Dynasty to Late Jin Dynasty. This paper takes the typical cultural relics in “Exhibition of Tri-color Pottery in Tang Dynasty” and “Treasure Exhibition of Luoyang”, two of the nine permanent exhibition halls of Luoyang Museum, as examples, to explore their history and culture, carry out the in-depth excavation, and explore the impact of Tang Dynasty cultural relics as sculpture art reflecting the phenomenon of prosperous Tang Dynasty on current people, and the enlightenment of modern people on cultural exchanges. Therefore, the featured cultural relics are taken as the typical collection culture of Luoyang Museum for research and design.

Tri-color glazed pottery of the Tang Dynasty is a kind of multi-color low-temperature glazed pottery prevailing at Chang’an and Luoyang in the Tang Dynasty. It was first discovered in the Tang Tomb of Mongshan Mountain in Luoyang in the early 20th century. The tri-color glazed pottery of the Tang Dynasty is of multiple glaze and colors, and “Tri” actually means “multiple”. Its glaze color consists primarily of yellow, white and green, as well as blue, black, brown and so on. The production of the tri-color glazed pottery began in Tang Dynasty and developed to the end of Song Dynasty and the beginning of Yuan Dynasty. In Tang Dynasty, the tri-color glazed potteries were not only used as works of art and usage, but also as decorations of palace gardens, religious temple buildings and burial utensils. They were also carriers of cultural exchanges with foreign countries. However, its most important role was to be appreciated by the royal nobles. The tri-color glazed pottery of Tang Dynasty is a new series of multi-color glazed pottery innovatively fired by potters of Tang Dynasty on the basis of single-color low-temperature glazed pottery of Han and Wei Dynasties. The tri-color glazed pottery of the Tang Dynasty is mainly presented in the form of characters, horses, camels, utensils and so on, with abundant types, beautiful shape, and brilliant gaze. It presents the colorful and prosperous life portraits of Luoyang, the eastern capital of the Tang Dynasty, as well as the open and enterprising atmosphere of the prosperous Tang Dynasty.

4.1 Material

Consumers of products are also receivers, so we need to think from the consumer's point of view in terms of the packaging design or the material design of products. With the changes of the times, the 21st century witnesses the rapid development of high-tech field, which is marked by the application of electronic computers, 3D printing technology, sensing technology, automation technology and new material technology in product design, manufacturing and

Impact Factor (JCC): 4.3084 Rating: 2.90 Study on the Time Features of Cultural and Creative Products – Taking Luoyang’s 35 Cultural and Creative Products as an Example production[16].The times also change the values of consumers from the pursuit of basic food and clothing to the demand for high-quality life today, so the design of product form and appearance materials should not be stereotyped by conforming to the pace of predecessors.

4.2 Function

The changes of the times have also changed the values of consumers, from the pursuit of basic food and clothing to the demand for high-quality life today, which has, to a certain extent, promoted people's dependence on emotional needs for products. High-tech is widely used in people's lives, and our daily life today is closely linked to communication equipment, computers and wireless network, etc. Nowadays, the cultural and creative products should also be explored and developed by science and technology[17]. In terms of functions, the design of high emotional, intelligent and practical function of products is still the core of cultural and creative products design. For example, for a pot of plant, you probably don't know how long it takes to water them and you may kill it by random watering. Suppose there is a small instrument that can actively tell you when to water and how much water is needed. The instrument can display the soil moisture through intelligent induction, tell the user the specific humidity number through the LED lights on the instrument, and tell the user how much water is needed in the form of cartoon pattern. When the humidity for plants is appropriate, the LED indicator is green; when the humidity is higher, it is blue, and when the humidity is lower, the LED indicator is red. Users only need to water the plants with the help of the instrument. Such a design takes care of not just plants but users as well. Therefore, high-emotional and high-tech product design is inseparable with life.

People's life calls for the development of high-tech, because high-tech can achieve a variety of possibilities and meet the various needs of consumers. The integration of the museum culture with high-tech creative products can make creative design more impressive[18]. In the end, it involves not only the existence of products in life, but also the immersion of culture. Furthermore, such design enables the cultural relics to “speak out”. The pace of the times keeps advancing. Only through constant innovation can we conform to the development of intelligent technology and provide the basis for the development of cultural and creative product design of museum in the next stage.

4.3 Color

Color is an indispensable part of the tri-color pottery of Tang Dynasty. Color collocation of cultural and creative products is also an important factor to stimulate desire for consumption. Based on the color analysis of the tri-color potteries and terra-cotta warriors, the main representative color elements in the pictures are extracted by CMYK model which is the color evaluation standard of modern printing. According to the method of creating element gene bank, the gene bank of color elements is established so as to provide color basis and reference for the design of cultural and creative products of Luoyang Museum.

The colorful low-temperature glazed pottery in Tang Dynasty, featuring in white and delicate texture, elegant shape and bright glaze color, represents the highest peak in the history of colorful glaze in China. The tri-color figurines of Tang Dynasty in Luoyang are precise in proportion, vivid and delicate in image, wide in subject matter, and diverse in style, demonstrating the role characteristics of the figures at all classes of the Tang Dynasty. Presenting vividly the society and humanity of the Tang Dynasty, they are masterpieces of art. Through these tri-color arts and figures, the local customs of different nationalities, classes and genders in the Tang Dynasty are displayed (Figure 5).

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Figure 5: Cultural Relics in Luoyang Museum.

For example, the “Tri-color Terracotta Female Rider” shows the image of a noble female rider of the Tang Dynasty, fully demonstrating the graceful, lively, free, graceful and brave heroic posture of women in the Tang Dynasty. The terracotta figurine, with high hair and narrow sleeves and green skirts, show a leisure and comfort of enjoying a horse walk. It is quite delicate, pretty and charming in appearance and spirit. Another example is “Tri-color Hu Terracotta Leading a Camel”. The tri-color glazed pottery of Hu man leads a tri-color glazed camel terracotta pottery. Both the figure and expression are vivid. The garment decoration is dominantly yellow glazed; the camel is fat and strong with varying postures. The hanging decoration is mainly yellow and green spot glaze. It shows the activities of Hu people in Chang'an City under the background of the Silk Road, and reveals the active role of foreign cultural exchanges and integration of ethnic groups in the Tang Dynasty in promoting the historical development of the Chinese nation's civilization. The main color systems of Tang tri-color glazed pottery include yellow, green, black, grey, brown and blue etc. (Figure 6).

Figure 6: Extraction of Color Elements.

Impact Factor (JCC): 4.3084 Rating: 2.90 Study on the Time Features of Cultural and Creative Products – Taking Luoyang’s 37 Cultural and Creative Products as an Example 4.4 Culture

The tri-color potteries of Tang Dynasty have gorgeous glaze and wide variety. Both characters, animals and living utensils can be reflected in tri-color glazed artifacts (Table 2). The Tang Dynasty tri-color potteries collected in Luoyang Museum include camel, horse, character and mythical creatures, which are vivid and vital in shape and spirit. After Benign Administration of the Zhenguan Reign Period, Tang Dynasty achieved great national strength, which led to the luxurious life of some high-ranking officials and the avocation of heavy burial. The tri-color glazed potteries were highly appreciated by the feudal rulers who’d like to choose it as a funeral companion.

Table 2: Extraction of Elements from Tri-color Glazed Potteries in Tang Dynasty

5. CREATIVE PRODUCT DESIGN BASED ON RECONSTRUCTION CONCEPT 5.1 Refactoring

Reconstruction is a method of structuring art, but its core principle is to subdivide the structure of the product [19], and generate a number of new units. The original form of the product is decomposed and elementized by subdivision and understanding of the original structure. The summary is summarized and refined, and the new unit of the split is made up of modern design methods, technical means and new materials, and the creative design reorganization constitutes a new innovative product. Under the characteristics of the rapid development of science and technology, cultural and creative products have been introduced into the reorganization of cultural structure, and the inevitable demand under the trend of the integration of science and technology.

5.2 Formal Interpretation of Reconstruction under the Characteristics of the Times

The formal interpretation of reconstruction is divided into two forms, one is split and the other is reorganization. The first step is to focus on the cultural elements of the design prototype, the refinement and acquisition of technological elements, and disassemble the design prototype according to the proposed color elements, shape structure, materials, technology, and functions. The second part is the reorganization, reorganizing the split units of each prototype according to the new reconstruction principle to form a new innovative product design. The process of reconstruction can be transformed according to the recombination elements of the prototype itself [20], making the design more Reasonable role in the reconstruction of the combination of cultural content and scientific content.

In the process of reconstruction, collected are the cultural elements of cultural prototypes and the material analysis of the prototypes of scientific and technological products. From the process of generating the reconstruction of Cultural and creative products, the formal cultural prototype (F) was re-disassembled into units (Fa1, Fa2, Fa3 ...), the prototype of the

www.tjprc.org [email protected] 38 Pei Xuesheng & Shi Yehua technology product (X) is disassembled into units (Xb1, Xb2, Xb3 ...), and these element forms and feature reconstruction elements (Fa) (Xb) are basically The clips were designed to get new cultural and creative products (Figure 7).

Figure 7: Schematic Diagram of Product Reconstruction.

6. CONCLUSIONS

Through the above analysis, we can summarize the four characteristics of the development of Cultural and creative products: 1 material characteristics: the use of existing technology to understand and product technology; 2 functional characteristics: that Cultural and creative products use functional methods to show this culture To get rid of the singular viewing function of the existing culture, including high-emotional, intelligent, functional and other aspects of design is still the focus of Cultural and creative product design; 3 color characteristics: the material carrier packaging and color of Cultural and creative products Collocation, also said that Cultural and creative products should pay attention to the aesthetic and quality of the products; 4 cultural characteristics: that is, by demonstrating the creativity and cultural heritage contained in the products, to stimulate the recognition and resonance of users. The characteristics of these four aspects are mutually integrated and mutually reinforcing. The museum can develop the most suitable cultural and creative products according to the actual situation and its own characteristics. It should pay attention to the combination of culture, art, time and practicality, use scientific and effective design methods, and develop different series of products with multi-theme and multi-dimensionality[21]. Designed a museum cultural and creative product that meet the needs of the time. Not only creative cultural expressions, but also excellent product quality. However, due to the differences in economic culture between different regions and the differences in audiences, the further improvement of cultural and creative products needs further research. In addition, it is necessary to pay attention to various cultural and creative industries, creative designers[22], local media Internet, social forces and The close communication and cooperation of consumers promotes the continuous development, improvement and promotion of museum cultural and creative products.

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Impact Factor (JCC): 4.3084 Rating: 2.90 Study on the Time Features of Cultural and Creative Products – Taking Luoyang’s 39 Cultural and Creative Products as an Example

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AUTHORS PROFILE

Pei Xuesheng , studied at Chongqing University, Peking University and Shanghai University, and visiting scholar at Yokohama National University in . At present, he is the vice president of the school of art and design of Henan University of science and technology, the tutor of master's degree, the director of Henan industrial design center, the academic leader of industrial design discipline of Henan Education Department, the vice president of Henan Industrial Design Association, the Deputy Secretary General of Silk Road innovative design industry alliance, and the leader of the second excellent scientific and technological innovation team of Luoyang.

He has been engaged in academic research and design practice in the field of industrial design for a long time. Presided over and completed 1 National 863 sub project and 2 provincial projects. Participated in and presided over the Sino Japanese cooperation project of the Ministry of science and technology and a number of major scientific and technological projects in Luoyang. It has provided product modeling and structural design services for more than 30 enterprises, and has 10 invention patents. He has published more than 30 academic papers, edited and participated in the publishing of 3 academic works.

Shi Yehua , entered the school of art and design of Henan University of science and technology in 2017 to pursue a master's degree, mainly engaged in the design of industrial products and cultural and creative products. and has published one academic paper.

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