Scientific novelty lies in the fact that the work is the first comprehensive multidimensional study of the design of Chinese hieroglyphics and trends of its use in the modern visual space through the prism of graphic design, multimedia design and design of object-spatial environment. The purpose of this research is to establish and scientifically substantiate the trends in the use of hieroglyphs, which are the main symbol of Chinese culture and are used not only as a means of communication, but also as elements of abstract art that are embodied in various areas of the artistic and design process.
The first chapter presents the results of a comprehensive analysis of professional literature that reveals the study of Chinese hieroglyphics in various aspects, namely: the history of the development of Chinese hieroglyphics, the peculiarities of writing and the issue of hieroglyphics, the properties of Chinese calligraphy as one of the oldest forms of traditional art, the visual culture of the font, etc. The main professional groups of the source base are identified, including: resource Daily Zen of Chinese Type Design (汉子境，一字禅); international project “Fusion & Participation China Belgium International Poster Exhibition від China Europe International Design Culture Association” (CEIDA, 中欧国际设计文化协会); The Hiii Typography International Typography Design Competition; experimental works by students of artistic institutions of higher education in China. The second group is represented by animated works that are covered both on the global Internet and in the Chinese sector. The design objects of the third group are art installations, advertising installations, information signs, etc.) that demonstrate the use of Chinese writing in public space in China.
The author substantiates the research methods, the choice of which is determined by the specifics of our intelligence and its objectives.
The second chapter reveals the main historical periods of the formation and development of Chinese hieroglyphics, which is based on the peculiarities of worldview and traditions of Chinese culture in general. The main forms of hieroglyphics, which include the philosophy of calligraphy, the principles of Buddhism and the system of semantic connotations, are indicated. These aspects are relevant for understanding the current state of the use of the Chinese writing system and the development of type design, elements of visual communication and design objects in the visual space of China.
The third chapter analyses the changes in the development of the Chinese writing in relation to the times when the abrupt transition from the traditional Chinese writing to the universal computer set has caused scholars to be concerned about the risk of the disappearance of an entire layer of Chinese visual culture. In this case, the attention was focused on various animation solutions. The systematization of the visual material made it possible to determine the prospects of this area of using Chinese writing, where the necessary positive results in the formation of communication with the viewer are achieved by means of the three-dimensional organization of the visual series and the means of expressing the artistic image.
The research identifies various approaches to the art of Chinese national writing, which goes far beyond the borders of one country and corresponds to the transnational nature of its demonstration in various design forms of presentation.
It is proved that using the variety of demonstration of Chinese hieroglyphics elements in the creation of advertising design, art objects or visual information signs and installations based on national cultural or intercultural approaches, designers solve several important tasks: a significant improvement in the aesthetics of the urban environment; establishing a relationship between a visual art object and the audience. In the course of the analysis of the visual material, the basic principles of designing art installations, advertising signs and visual communication systems created in the conditions of indoor and outdoor spaces were identified, including the principle of dominance, unity and harmony.
Keywords: design, image, hieroglyphics, calligraphy, national traditions, trends, poster, animation, motion type, digital technology, art installation, visual communication, object-spatial environment, visual space.
