History narrative construction of product aesthetics: artistic cultural expression from form to emotionAbstract:
This article takes product aesthetics as the research object and uses a combination of theory and case analysis to study the historical narrative construction of that aesthetics. It focuses on exploring the mechanism of product aesthetics from the perspectives of form and emotion to reveal how aesthetic expression conveys emotions through design forms and further explore its impact on modern product design. The core viewpoint of the article is that product aesthetics is not only the result of visual expression, but also forms multidimensional experiences through the construction of form, the realization of function and the transmission of emotions. Under the framework of philosophy and aesthetics, through analyzing classic and modern design examples, the critical significance of integrating emotions and forms in product development is revealed in the rapidly changing market environment. This article can provide valuable references for designers to apply and innovate in design practice, and also help deepen their understanding of product emotional aesthetics.
Keywords:
History Narrative; Artistic Expression; Aesthetics; Product; Formal Aesthetics; Emotional Aesthetics
Resumo:
Este artigo toma a estética do produto, como objeto de pesquisa, e utiliza uma combinação de teoria e análise de caso para estudar a construção narrativa histórica da estética do produto. Ele concentra-se em explorar os mecanismos da estética do produto, a partir das perspectivas da forma e emoção, a fim de revelar como a expressão estética transmite emoções através de formas de design e explorar, ainda mais, seu impacto no design de produto moderno. O ponto de vista central deste texto é que a estética do produto não é apenas o resultado da expressão visual, mas ela também forma experiências multidimensionais, por meio da construção da forma, da realização da função e da transmissão de emoções. No âmbito da filosofia e estética, a análise de exemplos de design clássico e moderno revela a importância significativa de integrar emoções e formas no desenvolvimento de produtos, em um ambiente de mercado em rápida mudança. Este artigo pode fornecer referências úteis para os designers aplicarem e inovarem na prática do design, além de ajudar a aprofundar sua compreensão da estética emocional do produto.
Palavras-chave:
Narrativa histórica; Expressão artística; Estética; Produto; Estética formal; Estética emocional
Introduction
In today’s world, where human material life is constantly improving, product design has shifted from pure functionality to a greater emphasis on user emotional experience and resonance. The narrative construction of product aesthetics is also increasingly prominent in product design. In the face of increasingly fierce market competition, to better meet the consumers’ needs, and enhance the products attractiveness and competitiveness, the narrative construction of product aesthetics needs to be constantly innovated (Wu; Martin; Whan, 2023). It is not only about designing the appearance of the product, but more importantly, conveying the story and emotions contained in the product. Combining the artistic expression of form with the artistic expression of emotion, the form language and emotional symbols of the product are utilized to construct a powerful narrative structure (Ma, 2019). Unifying it from external forms with internal emotions can better understand the consumer’s emotional needs and cultural values, making product design more precise and closer to people’s hearts. This has significant practical significance for promoting the development of product design and marketing.
From this perspective, product aesthetics is an important consideration factor for consumers when making purchasing decisions. Product aesthetics can help consumers infer the performance of a product, thereby driving their purchasing decisions (Sundar; Edita; Karen, 2020). However, in addition, product aesthetics also influence consumers’ inference of functional attributes. In some cases, attractive designs can accurately provide consumers with relevant information about product practicality. From this perspective, aesthetics biases consumers in inferring functionality, sometimes even surpassing other more diagnostic information (Cammy et al., 2019). At present, some achievements have been made in analyzing the aesthetic value of products, but most research still stays at the aspects of aesthetic form, function, and user experience, lacking a deep understanding of product aesthetics and the exploration of emotional connotations.
In order to enhance the attractiveness of products and meet the users’ needs, this article studies the narrative construction of product aesthetics from the perspective of form to emotional artistic expression. The development from formal art expression to emotional one is a dynamic process, and the two complement and unify in the narrative construction of product aesthetics, jointly creating a rich and meaningful product experience. It can take a normative guiding stance, analyze the form and emotional expression in existing design practices, and propose specific design principles and methods to help designers better understand and apply these concepts.
1 Definition and development of Aesthetics
Aesthetics, as a philosophical discipline, can be traced back to ancient Greece, and its research mainly focuses on the essence, standards and values of beauty. Aesthetics is not only a means of understanding and evaluating beauty in product design, but also has a profound impact on design practice. On the basis of introducing the origins of philosophy and aesthetics, this article explores the aesthetic value and composition of products, as well as the characteristics and elements of narrative structures. Through the comprehensive analysis of these theories, a solid theoretical foundation is laid for the specific design guidance of subsequent chapters.
1.1 Origin of philosophy and aesthetics
Philosophical aesthetics have a profound origin in the scholars’ thoughts, such as Plato and Aristotle, in Greece. Plato regarded beauty as an idea, believing it to be an absolute truth that transcends the world of sensations. Plato proposed the theory of ideas in his book The Republic, which advocates for the existence of an ideal world that transcends matter and possesses absolute truth, goodness and beauty (Fine, 2021). In this world of thought, ‘beauty’ is an eternal concept. In Plato’s view, this world’s beauty is merely a form of conceptual beauty. Especially regarding the understanding of form. He regards ‘form’ as a carrier of ‘beauty’, while ‘beauty’ is a ‘non perfect simulation’ of the ‘beauty of concepts’ (Grethlein, 2020, p. 157). It highlights the idealization and transcendence of aesthetics, and lays the theoretical foundation for the development of aesthetic theory in later generations.
Aristotle gave different interpretations of “aesthetics” from the perspectives of “experience” and “logic” (Sutterlin; Yu, 2021). He proposed the concept of beauty, which is closely linked to harmony and order from observation to analysis. Aristotle advocated the unity of form and function, believing that the unity of the two is the ‘beauty of one thing’. He also closely linked beauty with harmony and order, viewing them as the fundamental attributes of beauty. This idea has deeply influenced later design theories, especially the combination of form beauty and function, which has become an important principle in product design.
In addition to Plato’s and Aristotle’s Western philosophical ideas, Eastern aesthetic thought also has great enlightenment on aesthetics. Among them, Zen aesthetics, Taoist aesthetics and Confucian one are representative. Zen emphasizes simplicity, naturalness and inner harmony. Laozi’s Taoism advocates the principle of “following nature”, advocating conformity to nature and pursuing harmony. Confucius’ aesthetic thought emphasizes ethics and morality, social order, and advocates that beauty should play an educational role. It has had a profound impact on traditional Chinese art and design, and has significant guiding significance for contemporary design practice.
With the evolution of history, philosophy and aesthetics have gradually developed into an independent discipline centered on aesthetic experience and aesthetic education. In product design, designers do not simply pursue visual beauty, but rather construct a narrative and a language for communication with users through aesthetics. This narrative not only conveys the functionality and utility of the product, but also conveys deep emotions and cultural connotations. Philosophical aesthetics is a way for humans to understand and evaluate beauty, and it has also had a profound impact on design practice. It can provide designers with profound theoretical support and inspiration, enabling products to meet people’s material needs while also touching their hearts, achieving emotional and spiritual resonance. Therefore, the emergence and development of philosophical aesthetics are not only a pursuit of beauty, but also an unremitting pursuit of the harmonious unity of human spirit and material world.
1.2 Aesthetic value and composition of products
Aesthetics is a social phenomenon that arises in the process of human labor production, with people’s understanding of production purposes, advances in manufacturing technology and the expansion of human needs (Han; Forbes; Dirk, 2021). It is not only the most authentic expression of human creative activity, but also the most profound reflection on all things (Shusterman, 2019). Aesthetic value refers to the use of object imagery from nature, society and art to meet the subject’s aesthetic needs (Zhou; Jian; Zhang, 2023). As an important factor in accelerating the pace of human scientific and artistic creation, it can effectively stimulate people’s psychology, and the product of closely combining product design and aesthetics is product aesthetics. Product aesthetics refers to the aesthetic feeling exhibited by a product in terms of appearance, design, function, etc. It is a product design concept aimed at design and innovation, with the aim of providing users with a pleasure and enjoyment from visual form to emotional perception (Ceballos; Nancy; Kittichai, 2021). For a product, its aesthetic value refers to the value it exhibits in terms of uniqueness, personalization and aesthetic quality, which is of great significance for brand differentiation competition and the user’s experience.
Aristotle’s concept of coordinating form and function suggests that product aesthetics should not simply reproduce the beauty of concepts, but also use elements, such as form, line, color and texture to convey the internal characteristics and brand ideas of the product. The organic unity of aesthetics and functionality fully reflects a design concept, which is to pursue both aesthetic appearance and practical functionality. In his works on ethics and metaphysics, Aristotle proposed the concept of practical wisdom, which combines reason with experience to guide people to make choices that are in line with morality and social obligations. This ancient philosophical concept plays an important role in today’s minimalist design. Designers are increasingly inclined to create in a minimal way, as it is both an aesthetic appeal and a way to save resources and reduce environmental pressure. In such a situation, design is not limited to appearance, but focuses more on managing the product lifecycle and optimizing the user’s experience. For example, the spatial layout of a building should be reasonable, green and environmentally friendly materials should be selected, and an effective energy management system should be in place to ensure the beauty and energy efficiency of the building. Designers use elements, such as form, line and color, to express the essential characteristics and brand ideas of architecture, making every design decision centered around the overall concept. At the same time, it also needs to have a certain impact on society, which means that a product should not only meet the current users’ needs, but also bring more value to future users. This requires designers to possess what Aristotle called ‘practical wisdom’, which seeks balance in complex social, economic, technological, and other aspects to achieve a perfect combination of aesthetics and practicality. In this way, it can promote environmental protection, strengthen the emotional bond between users and works, and reflect the continuity and vitality of ancient philosophy in the pursuit and practice of contemporary commodity aesthetics.
In Plato’s theory of ideas, product aesthetics is not simply about simulating the beauty of concepts, but more importantly, about eliciting emotional resonance from users through form. Product aesthetics can touch the users’ hearts, evoke their emotional responses and establish deeper connections beyond functionality. This understanding is particularly important in the current trend of product aesthetics in technology integration. Modern design is not only about meeting functional needs, but also about establishing a deep emotional connection between people and products (Subramanian, 2019). Designers should consider how to stimulate users’ special emotional responses through elements, such as shape, color and materials, in order to build cultural connections based on value recognition. For example, in the design of smart wearable devices, one can consider how to reflect the user’s pursuit of a healthy life or their desire for technological development through its appearance and interaction. This design strategy not only satisfies users, but also cultivates long-term brand loyalty. Plato believed that beautiful things can guide people towards reality, so the designer’s mission is to create a work that can move people and convey positive values. On this basis, applying Plato’s concepts to the aesthetics of technology integrated products provides designers with a new way of expression, allowing products to meet practical usage needs while also evoking deeper emotional connections in the users’ hearts. This emotional connection is not only based on the appreciation of beauty, but also on the recognition of the value and cultural background reflected in the product.
From the perspective of these two aesthetic experiences, product aesthetics can be divided into two aspects: formal aesthetics and emotional one. The beauty of form endows a product with external charm and aesthetic appeal, focusing on how shape, structure and appearance work together to produce visual pleasure or emotional resonance. The beauty of emotions can endow products with inherent emotional value and emotional connections, thus forming a complete aesthetic experience of the product.
Morphological aesthetics is a discipline that studies the relationship between beauty and form, and it is an important component of modern product design. This is not only a visual pursuit, but also a profound philosophical reflection. The formal beauty of a product refers to the attributes of the various materials that make up its appearance and the aesthetic characteristics exhibited in various combinations. In short, the material, form, color and their combination of products create a harmonious aesthetic. Since ancient times, humans have explored and pursued the beauty of form. From ancient Egypt to ancient Rome, humans have already applied the concept of beauty to art, architecture, sculpture and other aspects (Zhang, 2021). And it also has a profound impact on African culture. In Africa, aesthetic form is not just a decorative expression, but also an important carrier of social identity, religious beliefs and cultural heritage. The wooden masks of the Maridogon tribe are both an art form and a symbolic symbol. It conveys our ancestors’ spirit and social order through unique shapes and color combinations, reflecting the harmonious coexistence between humans and nature, and humans and gods. They demonstrate a pursuit of proportion, symmetry, lines and other aspects in their design, reflecting the ancient people’s emphasis on the beauty of form. From the beginning, form is an abstraction that perceives the form of beauty, which can fully express many specific contents of product reality and can also reflect the content of certain concepts on a considerable scale. The material, color, shape and other attributes of a product constitute the basis and prerequisite for the formal elements. People receive the material stimuli brought by the product through visual perception and obtain a complete aesthetic pleasure. Therefore, these attributes all have aesthetic significance, while also possessing characteristics that can convey or acquire certain emotions.
Emotional beauty is an aesthetic concept created through artistic design or other forms that can evoke strong emotional resonance and experience in the human soul (Sun et al., 2024). In product design, emotional beauty refers to an emotional experience that goes beyond functionality and directly penetrates into a person’s inner world. Emotional beauty is not only an aesthetic pursuit, but also a philosophical thinking. It focuses on how to establish emotional connections with users through the aesthetic beauty of the form of product. In emotional aesthetics, emotions are seen as an important aesthetic experience, which is caused by the emotional content and expression conveyed by the product to resonate and experience the aesthetic subject’s emotions. It emphasizes the expression and feeling of emotions, striving to provide people with sensory experiences and emotional communication in aesthetic activities. The beauty of emotions is reflected by the principles of semiotics, which means that the aesthetic form of a product conveys a certain emotion through its symbolic attributes. A design with strong cultural symbolism, in addition to its own beauty, is more important in that it can resonate with users and trigger certain emotional feelings in the groups’ and individuals’ experiences.
1.3 Characteristics and elements of narrative construction
The aesthetic narrative of a product is to treat it as a narrative text, narrating and expressing the product through form and content, function and aesthetic elements, conveying the values of product, interacting and experiencing with users, and creating meaningful and engaging product experiences (Wang; Wang, 2020). Formal narrative structure refers to a structure in design, art, literature, or other expressive media that forms a story or conveys information through certain formal elements and organizational forms. It not only discusses the content itself, but also the arrangement and presentation of the content to trigger the audience’s emotional feelings and understanding. Unlike the narrative construction of literature, the narrative construction of product aesthetics is based on the user’s visual, usage, or psychological experience of the product, thereby generating communication and arousing the user’s inner feelings, memories, or associations. Once the narrative begins, the product deviates from its single functional value and becomes the center of narrative tools or events (Wang, 2020).
In the narrative structure of a product, form is often seen as an external expression, while its connotation and value are determined by its content. The relationship between functionality and aesthetics involves a balance between “practicality” and “aesthetics”. In Plato’s theory of ideas, “form” is seen as an “ideal realm” beyond the material world, reflecting the inherent nature of things. In this sense, form is an aesthetic value rather than its function. However, once this concept is applied to design, it is inevitably inseparable from the content and function it carries. Form should be carried by content, and content should be expressed through form. So, in design, form and content are not completely separate, but rather permeate and constrain each other.
In Confucius’ aesthetic concept, the combination of form and content is also a form of beauty. Confucianism advocates that aesthetic forms should conform to the function of commodities and the society’s value. According to Confucianism, under the concept of “benevolence”, designers should prioritize the welfare effect of products on people, while “ritual” guides designers to follow the principles of “harmony” and “order” (Liu, 2020). In modern design, this means paying more attention to environmental protection and social responsibility. For example, applying life cycle assessment to product design ensures that products meet environmental protection requirements at all stages, from raw material collection to disposal. Designers should not only consider the aesthetic appeal of product functionality, but also the impact of manufacturing processes on carbon emissions, as well as how to use modular design to improve product lifespan and reduce waste (Tian, 2022). Introducing Confucianism into design can enable designers to fully consider the users’ needs during the design process, while also respecting nature and society, in order to achieve higher moral standards and broader social values.
There is also a similar dialectical relationship in terms of functionality and aesthetics. Aristotle’s theory of the unity of form and function holds that linking form and function together is an inseparable whole (Xiao; Feng, 2022). From the perspective of design aesthetics, it is both the reason for the existence of a product and the basis for aesthetic experience (Gorodeisky; Eric, 2022). A design work that does not meet the user’s needs, no matter how beautiful its appearance is, will not be recognized by people. On the contrary, if one only focuses on functionality and neglects formal beauty, they will lose their own artistic value. So, there is an inherent tension between functionality and aesthetics, and the two are interdependent and mutually restrictive.
However, the contradiction between the two cannot always be perfectly balanced. In practical design activities, there are often contradictions between form and content, function and aesthetics (Geng, Rui, Jiang, 2019). Overemphasizing the beauty of form can easily lead to functional losses, while overemphasizing practicality can cause people to lose their aesthetic sense. This contradiction reflects the pursuit of “ideals” in design, which is to seek the optimal balance among various different values.
In Zen philosophy, this contradiction is reflected in the conflict between people’s pursuit of ideal forms and the real life’s limitations. The concept of “nothingness”, advocated by Zen beauty, has a certain guiding role in alleviating this contradiction. Zen emphasizes simplifying complexity and seeking truth, which is reflected in forms, lines, colors and other aspects, in order to achieve higher functionality and user experience. However, this is not just a formal choice, it contains profound implications (Wang, 2024). Taking minimalism, deeply influenced by Zen philosophy, as an example, it advocates that designers should deeply understand the users’ needs and avoid wasting resources caused by excessive design. In product design, the use of renewable materials and traditional craftsmanship enhances cultural identity and emotional value, while ensuring the practicality of natural materials and handicrafts.
Based on the philosophical concepts of East and West, the relationship between form and content, function and aesthetics in design, aesthetics reflects people’s understanding of the gap between “ideal” and “reality” (Guo; Ding; Lu, 2022). Designers need to reconcile this contradiction in their designs, seeking the best integration of form and function, content and aesthetics, in order to create works that combine aesthetics and practicality.
2 Transformation from formal to emotional artistic expression
On the basis of establishing a preliminary understanding of the importance of aesthetics in product design, the focus will shift to the process of transforming from formal artistic expression to emotional artistic one. The paper analyzed from three dimensions: first, we can trace the development process of form to emotional artistic expression and explore the historical and cultural motivations behind this transformation; second, we can deeply study the complex relationship between artistic expression and emotion and reveal how to stimulate users’ emotional resonance through specific design elements; finally, we can combine the actual cases of contemporary product design and extract specific inspiration for designers from this transformation process. Through the comprehensive exploration of these three dimensions, we hope to provide readers with a comprehensive and profound perspective to understand and apply the transformation of artistic expression from form to emotion, thereby achieving higher aesthetic value and deeper cultural significance in design practice.
2.1 Development of form to emotional artistic expression
The construction of product aesthetic narrative, from form to emotional artistic expression, is a dynamic process driven by various factors. It is mainly reflected in the connection between ideas and forms, the interaction between functions and purposes, and the experience and expression of emotions.
In Plato’s philosophical system, ideas are the foundation of things. In Plato’s view, the object of perception is only the appearance of the “ideal”, while the essence of “reality” exists in a conceptual world that transcends matter (Dietrich; Thomas, 2022). In product design, form is the first element that constitutes its narrative construction, as it is not just a visual expression, but a pursuit of ideal beauty. The beauty conveyed by form can arouse users’ interest and cognition of the product, and generate a longing and expectation for beautiful things.
Therefore, how to use elements, such as lines, proportions and colors to construct a beautiful form, is a problem that designers must consider at the beginning of their creativity. These forms are not only reflected in the material aspect, but also in the emotional identification with the user. In product aesthetic narration, form plays a role in connecting the human beings’ inner and outer reality, which is both a visual attraction and an emotional resonance (Jin, 2024). In product design, designers use form aesthetics to convey the ideas and values of product design (Hu, 2020). For example, a minimalist product design is not only for aesthetics, but also for the pursuit of simplicity and purity. The appearance, lines, color and other elements of the product can reflect this concept, conveying a meaning beyond the material level.
Aristotle emphasized in his theory of form and matter that “thing” includes both form and matter. Form is the fundamental attribute of “things”, and material is the material basis of “things”. Aristotle emphasized the dialectical relationship between form and function in this thought. In product design, aesthetic form is not only a visual pursuit, but also a functional satisfaction. For example, a carefully designed handle should not only have aesthetic appeal, but also follow ergonomic principles to ensure comfortable grip for the user. This aesthetic form not only enhances the practical value of the product, but also achieves a perfect balance between its shape and function, thereby improving the overall beauty of the product.
Aristotle linked “beauty” and “goodness” together, advocating that the existence of “beauty” must serve the “people’s” needs, and therefore “beauty” cannot be separated from “practicality”. In the process of product design, considering functionality can not only enhance its practicality, but also strengthen its emotional identification (Xiao, 2019). By deeply considering the purpose and functionality of the product, designers can integrate emotions and values into the product, allowing them to resonate with it during use and form a user’s more positive experience.
Emotion is the core content of aesthetic narrative, and Eastern and Western aesthetic concepts provide effective perspectives for aesthetic narrative. Plato believed that art should be moved by the soul and emotional. Aristotle pointed out in his Poetics that the most important task of art is to evoke emotional resonance in the audience, especially through the release of emotions to achieve this effect. Applying this concept to product design reveals that emotional design is not simply about injecting emotions into the appearance of the product, but rather establishing an emotional connection in the user’s experience.
In short, the aesthetic concepts of both the East and the West manifest as the pursuit of the intrinsic value of a product through the perception and expression of its aesthetic emotions. Plato’s theory of meaning leads designers to move beyond material forms and pursue a form that transcends form. Aristotle’s theory of the unity of “form” and “effect” advocates for a balance between practicality and aesthetics in design works. Eastern aesthetics emphasizes the role of emotions in aesthetic storytelling. These concepts will all affect the perception and expression of aesthetic emotions in modern design, which requires designers to not only focus on the appearance and function of the product, but also explore the meaning and value it contains, striving to convey an inner emotion and thought in the design (Ouyang; Yang, 2023).
2.2 Relationship between formal and emotional artistic expressions
The relationship between formal and emotional artistic expressions is complementary and unified as a whole. These two core elements together constitute the product aesthetic narrative, giving it unique value and beauty, thereby improving the user experience level and quality.
Product aesthetics not only have traditional formal aesthetic experiences, but also possess emotional attitudes. The two complement each other and promote each other. In the aesthetic narrative of products, formal artistic expression drives the differentiation, accumulation and expression of designers’ emotional experiences. The designer summarizes this part of the emotional experience in the narrative construction of product aesthetics and, based on this, seeks emotional artistic expression methods that are suitable for this part of the emotional experience. This exploration process is more like an emotional projection, where designers project the emotions of product creativity into specific exterior forms, promoting the expression of emotional experiences. At the same time, due to the relatively stable expression of formal art, the creative emotions conveyed by the form are often similar. At this point, it can be said that emotions are conveyed through form, and they are derived from the expression of formal art.
The artistic expression of emotions, on the other hand, is greatly influenced by the storyline, emotional connections and the user’s experience, which greatly influence the effectiveness of formal artistic expression (Scott, 1992). When consumers form an emotional connection with the brand, they would more fully and deeply feel the aesthetic value of the form of brand. Taking Apple’s product design as an example, it has successfully completed the transition from formal art expression to emotional art one, which reflects the evolution of “aesthetics” in the contemporary design field. In product design, in addition to pursuing a simple and elegant appearance, we also strive to resonate with users aesthetically. The iPhone series of Apple is renowned for its streamlined appearance, exquisite craftsmanship, and intuitive user interface, all aimed at creating a user experience that goes beyond the physical level (Kaymak; Cubukcu, 2020). Apple uses carefully polished materials, soft edges and highly personalized user interface, making users feel its unique appeal (Giovandhi; Adlina, 2023). This is not just a technological innovation, but also includes the life philosophy and technological concept conveyed by this brand. When using an iPhone, users not only feel the convenience brought by the phone, but also a profound cultural identity from the brand. Apple uses beautiful design to establish a strong emotional connection with users, thereby increasing brand loyalty.
This emotional experience further affects the user’s understanding of the aesthetic form and artistic expression of the product, making them more willing to understand and appreciate the appearance of the product from a sensory perspective. This organic integration of external forms and internal emotions enables products to deeply attract and move users, both visually and emotionally (Li, 2010). It not only makes the product more personalized and attractive, but also allows users to have more and deeper experiences during use, thereby enhancing consumer identification with the product.
Emotions cannot exist without their corresponding forms, and forms cannot exist independently of emotions. The two belong to a unified whole. Form expresses emotions, and subjectively projecting emotions onto form is a natural process. On this basis, the combination of formal artistic expression and emotional artistic one forms the entire aesthetic narrative space of the product. The artistic expression of form mainly creates a unique aesthetic style through the appearance design and visual expression of the product, allowing users to visually feel the beauty it conveys. The artistic expression of emotions utilizes the storyline of product, emotional connections and the user’s experience to integrate rich emotional connotations and storytelling into the product, allowing users to resonate and emotionally connect with it when using the product. Combining form and emotion to form a complete product aesthetic atmosphere, these two factors are intertwined and integrated into the narrative construction of product aesthetics, creating a rich and meaningful product experience.
2.3 Inspiration from modern product design
Plato’s “rational” thought is the central content of his entire philosophical system. In Plato’s view, every concrete thing has an ideal form behind it, which is pure, perfect and not bound by time and space. The aesthetic ideas of Eastern philosophy emphasize the unity of nature, harmony, symmetry, dynamics and the interior, advocating for the nature’s laws, the relationships among people and the inheritance of culture. So, the pursuit of “form” is not only about valuing external forms, but also about understanding and expressing their inherent essence (Shusterman, 2000). It not only has visual effects, but also inherent abstraction. Modern designers’ understanding of “form” is deeply influenced by both Chinese and Western philosophical ideas, manifested in their efforts to break through the surface appearances of things and grasp their eternal basic characteristics. It is not simply an imitation of natural forms, but more of a concept of design, that is, the pursuit of the beauty of form. The beauty of a product’s form is not only about its external harmony and beauty, but also about the order and logic it contains.
Philosophically speaking, it is actually the exploration of the issues of “perfection” and “ideal” by designers in the process of creation. This thinking prompts designers to no longer be satisfied with producing products with practical value, but to create works of art that reflect human spiritual pursuit. In this process, designers need to complete the transformation from concepts to reality, and strive to turn these invisible concepts into reality and integrate them into people’s daily lives.
By drawing on philosophical ideas from both the East and the West, a theoretical framework for integrating form and emotion in design can be constructed, integrating Plato’s ideal form, Aristotle’s functionalism and the spiritual pursuit of Eastern philosophy to create a multidimensional design thinking model. In this mode, designers first determine the core concept of Plato’s “ideal form” and, then, transform it into specific design elements, such as color, shape and material. Aristotle’s principles can be further applied to analyze the impact of design elements on users’ emotional responses and behaviors. In product development, the overall perspective and emotional focus of Eastern philosophy are incorporated into the design architecture. Through user surveys and emotional analysis, a profound understanding of users’ emotional needs is gained to create products with more cultural heritage and emotional resonance, promoting cross-cultural integration and innovation of products. Taking the design of smart home products as an example, designers can deeply understand users’ emotional needs, grasp their aesthetic preferences for product appearance, and ensure that the operating interface of product is simple and the functions are easy to use during the user’s research. In this way, designers can not only create products that meet the users’ aesthetic requirements, but also strengthen the emotional connection among users, thereby improving the overall value of the product and the user’s satisfaction.
In practical applications, diverse aesthetic expressions can be used to surpass traditional narrative structures, patterns, lines, or designs, creating richer and more profound product experiences. In early Christianity, the fish body was a symbol of fellowship, and believers secretly shared their faith through this simple symbol. This symbol is not only a religious identity, but also a strong emotional connection. Contemporary designers can draw inspiration from these symbols and apply them to images, logos, or patterns to give them deeper cultural connotations. For example, on an environmentally friendly product, leaf or earth patterns can be used to express respect and care for nature. Secondly, singing and dancing highlight the artistic expression of an Eastern perspective. In traditional Chinese culture, drama is not only a performing art, but also a tool for conveying stories and values. Designers can refer to this tradition and incorporate elements, such as music and dance, into product design, such as using smart speakers to play traditional music or using lighting to express the beauty of dance, in order to enhance the users’ emotional experience. We can also learn from the successful experience of Türkiye’s Mother Movement, and convey the concept of this brand by telling stories and sharing experiences. This approach can not only help users better understand the products, but also cultivate more brand loyalty.
Guided by this, designers should not only prioritize the practicality of the product, but also consider its aesthetic value when designing it. They should have a profound understanding of the usage scenarios of product and the users’ needs. Only through careful design, the form and function can complement each other. This requires designers to view form and function as a whole when designing, ensuring the best balance between the two, so that the design work can have both practicality and aesthetics, and truly achieve the combination of form and function (Yang, 2019).
Conclusions
In today’s increasingly fierce market competition, consumers have higher requirements for personalized and emotional products. The design of a product should not only meet the functional requirements of product, but also pay attention to the aesthetic expression of the product and the emotional connection with consumers. To enrich the aesthetic expression of products and promote the sustainable development and innovation of product design, this article studies the narrative construction of product aesthetics from the perspective of formal to emotional artistic expression. By emphasizing the development and relationship of product aesthetic narrative construction from formal to emotional artistic expression, new ideas and methods are provided for contemporary product design. In the process of narrative construction, balancing and utilizing the artistic expression of form and emotion can not only make the product meet the users’ aesthetic needs, but also evoke emotional resonance and identification among users, improving the aesthetic value and the user’s experience of the product. In modern product design, designers need to combine contemporary aesthetic trends, flexibly use formal artistic expression, focus on user experience and establish sincere brand-emotional connections, so as to promote the development and innovation of product design.
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