以诗为媒的本土陶瓷红酒瓶包装创新设计研究

贾璟, 周姿含, 余婕, 徐显超

包装工程(设计栏目) ›› 2026, Vol. 47 ›› Issue (12) : 252-263.

PDF(12298 KB)
PDF(12298 KB)
包装工程(设计栏目) ›› 2026, Vol. 47 ›› Issue (12) : 252-263. DOI: 10.19554/j.cnki.1001-3563.2026.12.020
视觉传达设计

以诗为媒的本土陶瓷红酒瓶包装创新设计研究

  • 贾璟1, 周姿含1,*, 余婕2, 徐显超1
作者信息 +

Innovative Design of Local Ceramic Wine Bottle Packaging with Poetry as a Medium

  • JIA Jing1, ZHOU Zihan1,*, YU Jie2, XU Xianchao1
Author information +
文章历史 +

摘要

目的 在西方长期建立的红酒瓶包装秩序垄断背景下,本研究以中国宁夏葡萄酒品牌“神奇之鸟”的实践合作为案例,深入探讨了能彰显我国本土葡萄酒文化的酒瓶包装设计方法及流程。方法 鉴于无形文化研究匮乏且更具挑战,本文基于诗歌文学二分法,着重强调了其客观面的文本价值属性。提出了一种从本土诗歌文本映射图像中链接无形文化产品的方法,该方法更加注重产品与文化的适配度。结果 研究证实,以诗歌为媒介能凸显宁夏红酒包装设计的本土文化辨识度。结论 转译诗歌文本映射图像的设计方法能有效呈现无形文化,该研究为我国葡萄酒研发人员及相关设计研究者提供具有实际参考价值的洞见。

Abstract

The work aims to take the practical collaboration with the Ningxia wine brand "Magicbird (Shen Qi Zhi Niao)" as a case to delve into wine bottle packaging design methods and processes that effectively showcase China's indigenous wine culture, against the backdrop of the long-established hegemony of Western wine bottle packaging norms. Given the scarcity and greater challenge of researching intangible culture, this paper, based on the poetry-literature dichotomy, placed particular emphasis on the objective textual value dimension of poetry. A method for linking intangible cultural products through the mapping of imagery derived from local poetic texts was proposed, with a stronger focus on cultural congruence. The findings confirmed that using poetry as a medium could significantly enhance the local cultural distinctiveness of Ningxia wine packaging design. The design approach of translating textual mappings from poetry proves effective in presenting intangible culture. This research provides practical insights with tangible reference value for wine developers and design researchers in China.

关键词

葡萄酒瓶 / 诗歌 / 本土文化 / 陶瓷

Key words

wine bottle / poetry / local culture / ceramics

引用本文

导出引用1
贾璟, 周姿含, 余婕, 徐显超. 以诗为媒的本土陶瓷红酒瓶包装创新设计研究[J]. 包装工程. 2026, 47(12): 252-263 https://doi.org/10.19554/j.cnki.1001-3563.2026.12.020
JIA Jing, ZHOU Zihan, YU Jie, XU Xianchao. Innovative Design of Local Ceramic Wine Bottle Packaging with Poetry as a Medium[J]. Packaging Engineering. 2026, 47(12): 252-263 https://doi.org/10.19554/j.cnki.1001-3563.2026.12.020
中图分类号: TB472   

参考文献

[1] 吕庆峰, 张波. 先秦时期中国本土葡萄与葡萄酒历史积淀[J]. 西北农林科技大学学报(社会科学版), 2013, 13(3): 157-162.
LYU Q F, ZHANG B.Historical Accumulation of Indigenous Grapes and Wine in Pre-Qin China[J]. Journal of Northwest A&F University (Social Science Edition), 2013, 13(3): 157-162.
[2] 单铭磊, 王培永, 赵萱, 等. “非遗”视角下葡萄酒文化研究图谱分析和启示[J]. 中外葡萄与葡萄酒, 2023(2): 89-94. DOI:10.13414/j.cnki.zwpp.2023.02.014.
SHAN M L, WANG P Y, ZHAO X, et al.Research Mapping Analysis and Enlightenment of Wine Culture from the Perspective of "Intangible Cultural Heritage"[J]. Sino-Overseas Grapevine and Wine, 2023(2): 89-94. DOI:10.13414/j.cnki.zwpp.2023.02.014.
[3] Hwang K K.The Development of Local Consultation in Contemporary Confucian Communities[J]. The Counseling Psychologist, 2009, 37(7): 930-943.
[4] Veres L.Adalékok a tokaji bor palackozásának történetéhez [Data on the History of the Bottling of Tokaj Wines][J]. Borsodi Múzeum Évkönyve - Borsod Museum Yearbook, 2003: 112.
[5] Tóth P H.The New 'Clothing' of Wine Bottles - A Visual Anthropological Analysis of Wine Bottle Labels[J]. Hungarian Journal of Ethnography, 2013: 397-407.
[6] Kelley K, Hyde J, Bruwer J.US wine consumer preferences for bottle characteristics, back label extrinsic cues and wine composition: A conjoint analysis[J]. Asia Pacific Journal of Marketing and Logistics, 2015, 27(3): 516-534.
[7] Price R.Notes on the Evolution of the Wine Bottle[J]. Transactions of the Glasgow Archaeological Society, 1910, 6(2): 116-124.
[8] Sáenz-Navajas M P, Ballester J, Peyron D, et al. Extrinsic attributes responsible for red wine quality perception: A cross-cultural study between France and Spain[J]. Food Quality and Preference, 2014, 35: 70-85.
[9] Chamorro A, García-Gallego J M, Trindade-Carlos H C. Study on the importance of wine bottle design on consumer choices[J]. British Food Journal, 2021, 123(2): 577-593.
[10] MacDonald E, Lubensky A, Sohns B, et al. Product semantics and wine portfolio optimisation[J]. International Journal of Product Development, 2009, 7(1/2): 73-98.
[11] Hsu, Chi-Hsien, Chih-Long Lin, and Rungtai Lin.A study of framework and process development for cultural product design[J]. In Internationalization, Design and Global Development: 4th International Conference, IDGD 2011, Held as part of HCI International 2011, Orlando, FL, USA, July 9-14, 2011. Proceedings, 2011, 4: 55-64.
[12] Leong B D, Clark H.Dialogue between cultural knowledge and new design thinking and practice[J]. Design Issues, 2003, 19(2): 48-58.
[13] Lin R T.Transforming Taiwan aboriginal cultural features into modern product design: A case study of a cross-cultural product design model[J]. International Journal of Design, 2007, 1(2): 55-64.
[14] Chandler M.Chinese Aesthetic Tradition[J]. Philosophy East and West, 2012, 62(1): 147-150.
[15] Chai C, Shen D, Bao D, et al.Cultural Product Design with the Doctrine of the Mean in Confucian Philosophy[J]. The Design Journal, 2018, 21(3): 371-393.
[16] Paay J, Engeler B, Taylor M, et al.Wine and user experience design[J].Proceedings of the 31st Australian Conference on Human-Computer-Interaction, 2019: 4-7.
[17] Liu L Y, Chen T W, Nan L J.Research on the space design of wine cellar based on the function of cultural experience[J]. AIP Conference Proceedings. 2020, 2284(1): 19001.
[18] Ozturk, Emel, et al.Message in a bottle: An exploratory study on the role of wine-bottle design in capturing consumer Attention[J]. Beverages 2023, 9(2): 36.
[19] Yariktas A.Wine Design as an Artistic Intermediary in Discovery of Cultural Identities[D]. Tarragona: Universitat Rovira i Virgili, 2019.
[20] Boyd C.Research poetry and the non-representational[J]. ACME: An International Journal for Critical Geographies, 2017, 16(2): 210-223.
[21] Hawkins H, Madge C.Poetic world-writing in a pluriversal world: a provocation to the creative (re)turn in geography[J]. Social & Cultural Geography, 2016, 17(6): 778-785.
[22] Springer S.Earth writing[J]. GeoHumanities, 2017, 3(1): 1-19.
[23] Palmgren A C.Standing still: Walking interviews and poetic spatial inquiry[J]. Area, 2018, 50(3): 372-383.
[24] Last A.We are the world? Anthropocene cultural production between geopoetics and geopolitics[J]. Theory, Culture & Society, 2017, 34(2-3): 147-168.
[25] Paiva D.Sonic geographies: Themes, concepts, and deaf spots[J]. Geography Compass, 2018, 12(8): e12375.
[26] de Leeuw S. Novel poetic protest: What Your Heart is a Muscle the Size of a Fist offers geographers writing to evoke rather than convey[J]. Emotion, Space and Society, 2019, 30: 58-61.
[27] Freeman M H.The poem as icon: A study in aesthetic cognition[M]. Oxford: Oxford University Press, 2020.
[28] Abdul-Rahman A, Lein J, Coles K, et al.Rule-based visual maps: A case study on poetry visualization[J]. Computer Graphics Forum, 2013, 32(3): 381-390.
[29] Meyer, Marcy.Methods: Designing Iconographic Research Poetry.Iconographic Research Poetry[M]. Singapore: Springer Nature Singapore. 2024.
[30] Liddicoat S.The role of poetry in teaching architectural design[J]. Creative Explorations, 2017, 7(2): 23.
[31] Zhu S, Yu Z.Design of cultural products based on artistic conception of poetry[J]. 1st International Conference on Arts, Design and Contemporary Education (ICADCE 2015). Moscow, Russia, 2015: 347-351.
[32] Yeh, Moli, Chiu Wei Chien, and Rungtai Lin. Employing poetry culture for creative design with six standpoints[J]. Design Research Society, 2014: 135-143.
[33] Maioli F, Picchi M, Guerrini L, et al.Monitoring of Sangiovese red wine chemical and sensory parameters along one-year aging in different tank materials and glass bottle[J]. ACS Food Science & Technology, 2022, 2(1): 221-239.
[34] Leong B D, Clark H.Culture-based knowledge towards new design thinking and practice: A dialogue[J]. Design Issues, 2003, 19(2): 48-58.
[35] Paiva D.Poetry as a resonant method for multi-sensory research[J]. Emotion, Space and Society, 2020, 34: 100655.
[36] Ulrich K T, Eppinger S D.Product Design and Development[M]. 6th ed. New York: McGraw-Hill Education, 2016.
[37] Sassoon R Y, La Riviere C.The retention of nouns, adjectives, and verbs of sentences[J]. Acta Psychologica, 1978, 42(3): 187-204.
[38] Maass A, Karasawa M, Politi F, et al.Do verbs and adjectives play different roles in different cultures? A cross-linguistic analysis of person representation[J]. Journal of Personality and Social Psychology, 2006, 90(5): 734-750.
[39] 宋学达. 再论苏轼词的词史定位——兼及如何打破“婉约”“豪放”二分法[J].乐山师范学院学报, 2024, 39(3): 21-26. DOI:10.16069/j.cnki.51-1610/g4.2024.03.004.
SONG X D.Revisiting the Historical Positioning of Su Shi's Ci Poetry: With a Discussion on How to Break the "Wan Yue" and "Hao Fang" Dichotomy[J]. Journal of Leshan Normal University, 2024, 39(3): 21-26. DOI:10.16069/j.cnki.51-1610/g4.2024.03.004.
[40] Bull M.Sounding out the city: Personal stereos and the management of everyday life[M]. Oxford: Berg, 2000.
[41] Caines R, Heble A.The improvisation studies reader: Spontaneous acts[M]. London: Routledge, 2014: 17-26.
[42] Cross N.Designerly Ways of Knowing: Design Discipline versus Design Science[J]. Design Issues, 2001, 17(3): 49-55.
[43] Ferdinand de Saussure. Course in General Linguistics [M]. New York: Columbia University Press.2011.
[44] 于海娣. 唐诗鉴赏大全集[M]. 北京: 中国华侨出版社, 2010: 61-62.
YU H D.The Complete Collection of Appreciation of Tang Poetry[M]. Beijing: China Overseas Chinese Press, 2010: 61-62.
[45] 周生亚. 汉语词类史稿[M]. 北京: 中国人民大学出版社, 2018: 79-82.
ZHOU S Y.A Draft History of Chinese Word Classes [M]. Beijing: China Renmin University Press, 2018: 79-82.
[46] Kozary B, Baxter S.The influence of product placement prominence on consumer attitudes and intentions: A theoretical framework[J]. University of Newcastle Working Paper Series, 2010.
[47] Van Straten R.An Introduction to Iconography: Symbols, Allusions, and Meaning in the Visual Arts[M]. Abingdon: Routledge, 1994: 161.
[48] Langer S K.Feeling and Form[M]. London: Routledge and Kegan Paul, 1953.
[49] Warell A.Design syntactics: A functional approach to visual product form theory, models, and methods[D]. Gothenburg: Chalmers University of Technology, 2003.
[50] Karana E, Pedgley O, Rognoli V.On Materials Experience[J]. Design Issues, 2015, 31(3): 16-27.
[51] 吴天鸽. 重思造型艺术的文化结构与学科体系——专访潘公凯[J]. 美术观察, 2025(1): 9-14.
WU T G.Rethinking the Cultural Structure and Disciplinary System of Plastic Arts: An Exclusive Interview with Pan Gongkai[J]. Art Observation, 2025(1): 9-14.
[52] Frenchdesignawards. Winners[EB/OL]. (2024-01-26) [2025-02-25]. https://frenchdesignawards.com/winner-info.php?id=481

基金

教育部人文社科青年基金项目(25YJC760065); 江西省社会科学基金青年项目(24YS26)

PDF(12298 KB)

Accesses

Citation

Detail

段落导航
相关文章

/