目的 中国传统纹样凝聚了匠人的审美经验、自然哲思、体验感悟，以及美好期盼，其表露出历朝历代的社会文化和美学意识流变。它作为另类图像而呈现叙事性和装饰性的双重价值导向并被应用在现代设计创新中，但仍存在意象错位、符号堆砌等问题现状。方法 针对此问题，通过现象学理论的梳理，以纹样作为要素，将纹样建构为另类图像与交互媒介。基于胡塞尔现象学的“图像意识”理论，本文通过三种图像客体的分类提出表象、对象、现象三种不同的层级，并提出不同层级设计介入的方法策略，以提高纹样设计的现代性文化意蕴表达。结论 尝试从设计师与观者交互体验的角度挖掘传统纹样的本真性和文化本质，从而为传统纹样转译提供设计方法和思维层面的参考，以及具有现代性意义的纹样设计美学。

Traditional Chinese patterns embody the aesthetic experience, natural philosophy, experiential insights, and beautiful expectations of craftsmen, revealing the changes in social culture and aesthetic consciousness throughout dynasties. Its dual value orientation of narrative and decorative presentation as an "alternative image" has been applied in modern design innovation, but there are still problems such as image misalignment and symbol stacking.To solve these problems, by combing the theory of phenomenology and starting with patterns as elements, patterns were constructed as alternative images and interactive media. Based on the "image consciousness" theory in Husserl's phenomenology, three different levels of representation, object and phenomenon were put forward through the classification of three image objects, and the methods and strategies of different levels of design intervention were proposed to improve the expression of cultural meaning of modernity in pattern design.Attempts are made to explore the authenticity and cultural essence of traditional patterns from the perspective of interactive experience between designers and viewers, in order to provide reference for the translation of traditional patterns in terms of design methods and thinking, as well as aesthetic design with modernity significance.