##plugins.themes.bootstrap3.article.main##

Leng Jiaqian, Pastraporn Thipayasothorn, Thanate Piromkan

Abstract

Nixing Pottery is one of the "Four Famous Potteries" in China, and its firing technique is considered a Chinese intangible cultural heritage. Its design primarily mimics the Yixing Pottery among these "Four Famous Potteries". Due to its low popularity, it is difficult to achieve sustainable development of its firing technique and culture through sales. This study aims to explore visual design strategies for today's daily-used Nixing Pottery products, starting from the aesthetic preferences of target consumers, in order to find design approaches that align with the sustainable development of Nixing Pottery. The research was conducted using survey questionnaires, quantitative analysis, and design practices. Firstly, based on the aesthetic preferences of target consumers aged 20-39, designs for daily-used Nixing Pottery products were created. Secondly, a product satisfaction survey was conducted using a Likert scale to verify the established model and the feasibility of the design strategies for daily-used Nixing Pottery. Our research findings indicate that, despite competitive positioning and market objectives in brand management, the aesthetic perception of simple form has no influence on product design. However, overall, brand management and aesthetic perception have a significant positive impact on the final product design. Products based on the design strategy of Daily-used Nixing Pottery, using this model, are accepted and purchased by consumers. The research on the design strategy of Daily-used Nixing Pottery products discussed in this paper not only serves Nixing Pottery, but also provides a reference for the design of other traditional handicraft products.

Metrics

Metrics Loading ...

##plugins.themes.bootstrap3.article.details##

Section
Articles

How to Cite

The Impact Of Brand Management On The Design Strategy Of Daily-Used Nixing Pottery. (2023). Journal of Namibian Studies : History Politics Culture, 38, 138-155. https://doi.org/10.59670/5zdp7207