干支文化是中国古典时空观念的产物，源自古人对天象的观测，是一套表达时空现象的符号，有其内在的自洽逻辑，天干地支是十天干与十二地支的合称，两者经一定的组合方式搭配成一个周期，每个周期六十对循环往复，被称为六十甲子或六十花甲年。天干地支是中华文明的底层代码，且有着浓厚中华古老文明的印记。干支文化背后的思维是中华文明的核心——象思维。它是指用具有直观，形象，感性认识的形象，符号，经过比类，改造，体悟等心理处理程序，以达到认识世界，寄托感情，抒发意境之目的的思维活动，是中华文明的发展和传承的重要组成部分。在这个人工智能日益介入绘画与制图的时代，思维与思想变得比技术更加重要。本文所涉及的象思维，基于具象又超越具象，从而建立起图形和意义的关联，也正契合了现代视觉传达的目的，有利于文化的沿用和灵感的汲取。本课题建立在有着千年历史的干支学说基础上，详细阐述了天干地支的由来及其本义，通过图形的关系处理作为视觉交流的媒介，提升传达过程中有效性和完整性，让观者感受到丰富的“象”世界，作为构建宇宙模型的干支符号与构建视觉语言的平面要素其实是有一些内在相通性的，需要通过分析其趋势状态，转译成图像设计相应的构图形式、内容、符号、色彩、风格。本文基于东方精神的万物分类法，寻求用视觉来干预人与自然关系之间的协调统一，展现了天人合一的思想，并在视觉方面进行了一些尝试与突破。在本次毕业设计实践中，我应用几何化的图形语言传达六十组干支符号的内涵，从理性到感性，从具象到抽象，进行图形提炼以达到形式与内容的同频共振。看似简单的点线面基本平面元素可以解构万物，应用在概念图形化的方法论之中。几何语言具有多变性、空间感、秩序感，会因为载体的不同，呈现出不一样的美感，有利于从文创产品的文化背景和使用场景中发掘新的产品形态、功能媒介、科技材料，从而进行衍生品设计。本次实践意在传统文化的基础上，建立新的视觉表达。
Ganzhi culture is a product of the classical chinese concept of space-time, derived from ancient observation of celestial phenomena. It is a set of symbols that express space-time phenomena and has its own internal self-consistent logic. Tianganzhi is the basic code of Chinese civilization, and has strong imprint of ancient Chinese civilization. The thinking behind Ganzhi culture is the important spiritual source of Chinese civilization, namely, "thinking like an elephant". It is an important part of the development and inheritance of chinese civilization to use mental processing programs such as visualization, image, perceptual awareness, image, symbol and so on to realize the world, attach feelings and express artistic conception.At a time when artificial intelligence is increasingly involved in painting and cartography, thought and thought are more important than technology. The thought of images involved in this paper is based on and transcends images, thus establishing the relationship between graphics and meaning. It also accords with the purpose of modern visual communication and is conducive to the use of culture and the drawing of inspiration. Based on the thousand-year old theory of trunk support, this thesis elaborates the origin and meaning of trunk support, improves the validity and integrity of the communication process through the relationship of graphics as the medium of visual communication, and makes the viewer feel rich in "picturesque" world. Based on the classification of all things in oriental spirit, this paper seeks to use vision to interfere with the harmony and unity of the relationship between man and nature, shows the idea of the unity of nature and man, and makes some attempts and breakthroughs in vision.In this graduation design practice, I use geometric graphic language and systematic design thinking to convey the meaning of 60 sets of dry branch symbols, and according to the offline and online media, the audience in the exhibition site through interaction to find their own dry branch graphics, through the book design complete documentation and presentation of the production process, peripheral derivatives, and finally from offline graphic design to online dynamic graphics, dynamic communication from the network multimedia media. From the rational to the perceptual, from the figurative to the abstract, figure extraction to achieve the same frequency resonance of form and content. Deceptively simple point plane elements can deconstruct everything and be applied to conceptual graphical methodologies. Geometric language has variable, spatial sense, sense of order, will be different because of the carrier, different aesthetic sense, from the cultural background and use of creative products to explore new product form, functional media, technology materials, so as to carry out derivative design.
