目的 为推进传统纹样的创新设计研究，以连珠纹为对象、文创产品为载体，借助符号学理论与形状文法的结合，实现传统元素的创新性设计转换，增强符号学的跨领域设计实践与理论研究。方法 通过对传统元素连珠纹的历史文献考察研究，利用设计符号学的语境、语构、语义、语用四个维度对其进行分析阐述，再借助形状文法将典型纹样符号进行衍化与二次设计重组，实现连珠纹在文创产品上运用的创新性发展。结果 提炼、重组出适宜性与应用性较强的视觉符号，按照其内在结构的逻辑表达进行创新设计应用，实现传统纹样的创新设计应用及符号学跨领域的研究。结论 连珠纹在文创产品上的创新设计不仅丰富了传统纹样的附加值，促进其创新发展、转译，同时在符号学与形状文法的跨领域基础上构建出全面、系统的连珠纹视觉符号，为传统纹样的创新设计研究及符号学的跨领域发展提供了丰富的理论与实践依据。

The work aims to promote innovative design research of traditional patterns, with bead patterns as the object and cultural and creative products as the carrier through cross domain combination of semiotics theory and shape grammar, to achieve innovative design transformation of traditional elements and enhance the cross domain design practice and theoretical research of semiotics. The historical literature of traditional elements such as bead patterns were analyzed and elaborated from four dimensions of design semiotics:context, language structure, semantics, and pragmatics. Then, using shape grammar, typical pattern symbols were evolved and re-designed, achieving innovative development in the application of bead patterns in cultural and creative products. Visual symbols with strong suitability and applicability were analyzed and elaborated, and innovative design applications were carried out according to the logical expression of their internal structure, achieving innovative design applications of traditional patterns and interdisciplinary research in semiotics. In conclusion, the innovative design of bead patterns in cultural and creative products not only enriches the added value of traditional patterns, promotes their innovative development and translation, but also constructs a comprehensive and systematic visual symbol of bead patterns based on the cross disciplinary foundation of semiotics and shape grammar, providing a rich theoretical and practical basis for the innovative design research of traditional patterns and the cross disciplinary development of semiotics.