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The New Linguistic Aesthetic Features of Chinese
Broadcast and Television Hosts in the Convergence
Media Era
Yu Zhi
School of humanities, Communication University of China, Beijing, China
yuzhising@163.com
Abstract. The trend of media convergence development makes an important
breakthrough for breaking the barriers of different media communication, and it
also puts forward higher requirements for participants engaged in different media
content production in the past. Broadcast and television hosts are the part of me-
dia content producers of Chinese broadcast and television arts. As language
workers, they need to share information, express thoughts and disseminate views
through abundant linguistic expressions. By reviewing the historical evolution of
linguistic aesthetics among Chinese broadcast and television hosts, the study
summarizes three new linguistic aesthetic features of Chinese broadcast and tel-
evision hosts in the New Era: the unification of the past and present, the merging
of artistic aesthetics with real-life realities, and the harmony between rationality
and emotion.
Keywords: convergence media, Chinese broadcast and television hosts, lin-
guistic aesthetics, Aesthetic Linguistics, discourse characteristics
1 Introduction
The development of media technology and the alternation between new and old media
are closely linked to information dissemination. [1] Through the transition between new
and old media forms, each older medium becomes part of the organic portion of the
newer medium in some way. This inevitable progression, driven by technological in-
novation and advancement, not only facilitates the replacement of the old media but
also disrupts the existing media ecosystem and order. This phenomenon of continuous
coexistence and substitution of the old media and the new ones is a historically and
logically consistent rule of historical progression which is full of paradox. Thus, Huang
[2] concluded that "digital technology can integrate and reorganize the existing media
and its communication paradigm". He emphasized the new characteristics of conver-
gence media in the integration of digital technology, thus criticizing the mechanical and
superficial view that only limits convergence media to the "transformation" of old me-
dia. In a word, at the very beginning of the development of digital technology, the trend
of media convergence has already been brewing, and in the contemporary world of
great prosperity in information technology, media convergence would be one of the
J. Liu et al. (eds.),
Proceedings of the 2024 4th International Conference on Public Art and Human Development
(ICPAHD 2024)
, Advances in Social Science, Education and Humanities Research 910,
https://doi.org/10.2991/978-2-38476-378-8_9
© The Author(s) 2025
73A Comprehensive Study on the Systematic Design Innovation Ideas
carefully polished to serve the overall design intent. This design thinking closely con-
nects all links of the design process, forming a comprehensive and in-depth design
concept, reflecting strict control over the internal logic of the system. For instance, the
book records in detail the making of wheels: "When examining the way of a cart, one
must start from what is closest to the ground, hence the examination of a cart begins
with the wheel." This indicates that when designing a vehicle, one should start con-
sidering from the wheel, as it is the part that contacts the ground and its design direct-
ly affects the stability and efficiency of the vehicle. This design approach from the
part to the whole reflects the holistic design thinking emphasized in "Kaogong Ji."
Furthermore, "Kaogong Ji" also highlights the importance of closely related design
elements in the whole: "In the work of metal, the builder holds the lower standard, the
regulator holds the upper standard, the duck master is for sound, the chestnut master
is for measurement, the segment master is for the vessel, and the peach master is for
the edge." This illustrates that in the production of metal objects, different craftsmen
are responsible for different process links, from the ratio of raw materials to the shap-
ing of the object, each step requires precision and professionalism to ensure the quali-
ty and functionality of the final product. The design thinking in "Kaogong Ji" not only
focuses on the fine processing of individual parts but also emphasizes the coordina-
tion between parts and the realization of overall functionality, which still holds signif-
icant reference value in today's design field.
2.2 The Close Integration of Materials, Craftsmanship, and Function
In terms of material selection and processing, "Kaogong Ji" also reflects the im-
portance of holistic design thinking. The book meticulously records the performance
characteristics of various materials and their suitable processing techniques, empha-
sizing the compatibility between materials and craftsmanship. This compatibility
ensures not only the excellent quality of individual components but also enhances the
stability and durability of the entire system, reflecting the importance of different
design elements within the system. Craftsmen, by carefully selecting materials and
reasonably applying processing techniques, successfully integrate the beauty of nature
with the skill of human hands, creating countless breathtaking artistic treasures[3].
"Oranges become trifoliate when they cross the Huai River to the north, the magpie
does not cross the Ji River, the sable crosses the Wen River and dies, this is due to the
energy of the earth; Zheng's knives, Song's axes, Lu's scrapers, Wu Yue's swords,
when moved to their places, cannot be good, this is due to the energy of the earth. The
horns of Yan, the stems of Jing, the sticks of Pohu, the gold and tin of Wu Yue, these
are the beautiful materials." This illustrates the impact of different geographical envi-
ronments and material characteristics on handicrafts, emphasizing the importance of
choosing suitable materials.
Simultaneously, in terms of functional implementation, "Kaogong Ji" is user-
centered, fully considering the needs and habits of users, as well as the safety and
comfort of the objects in use, making the designed objects not only of high practical
value but also full of human care. "The craftsman establishes the country, the water
land is hung, the stake is set, and the shadow is observed, as a rule, to recognize the
74 D. Ye et al.
shadow of the sunrise and sunset, to participate in the shadow of the sun at noon dur-
ing the day, and to examine the polar star at night, to correct the morning and even-
ing." This reflects the meticulous consideration of the environment and user needs in
the design of "Kaogong Ji," also reflecting its holistic design thinking.
3 "Heaven has its seasons": Environmental Factors and
Systematic Design Innovation
3.1 Respect for the Characteristics of Natural Materials
The design concept of "Heaven has its seasons" deeply reflects the unique insights of
"Kaogong Ji" on the relationship between design and the natural environment. "The
horns of Yan, the stems of Jing, the sticks of Pohu, the gold and tin of Wu Yue, these
are the beautiful materials," so in material selection, "Kaogong Ji" emphasizes respect
for and reasonable use of natural materials. Craftsmen need to choose the most suita-
ble uses based on the natural characteristics of materials, such as texture, hardness,
and corrosion resistance. At the same time, they also need to consider the changes of
materials in the natural environment, such as the swelling and shrinking of wood and
the oxidation and corrosion of metals, to ensure that the objects made can be durable.
This deep understanding and precise grasp of material characteristics not only show
the exquisite skills of ancient craftsmen but also highlight their reverence and respect
for nature.
3.2 Following Natural Laws in Processing
In processing technology, "Kaogong Ji" also advocates following natural laws.
Whether it is the felling of wood, the smelting of metals, the firing of ceramics, or the
lacquering of lacquerware, craftsmen must strictly follow certain process flows and
operational specifications[4]. At the same time, "Kaogong Ji" emphasizes: "Beautiful
materials and skillful workmanship, but not good, then it is not the right time, not
getting the energy of the earth." This indicates that the selection and processing of
materials must be coordinated with the natural environment to ensure the excellent
quality of the objects. Therefore, the emphasis on design processes and specifications
is often summarized from long-term practical experience and natural laws, aiming to
ensure that every step in the processing process can conform to the natural character-
istics of the materials, so as to achieve the best production effect. This pursuit of ex-
cellence in processing technology and adherence to natural laws makes the handi-
crafts in "Kaogong Ji" not only of high practical value but also possess a unique artis-
tic charm.
3.3 Design in Harmony with the Natural Environment
In terms of shape design, "Kaogong Ji" pursues a sense of beauty that is in harmony
with the natural environment. Craftsmen, in the creative process, will fully consider
75A Comprehensive Study on the Systematic Design Innovation Ideas
the use environment and scene of the product, as well as people's aesthetic habits and
psychological needs. They integrate natural elements into product design through
ingenious conception and exquisite skills, making the product not only meet practical
functions but also blend harmoniously with the natural environment, becoming an
indispensable part of people's lives and a beautiful enjoyment. As "Kaogong Ji"
states: "When examining the way of a cart, one desires it to be simple and subtle. Not
simple, there is no way to be complete and long-lasting; not subtle, there is no way to
be close and fast." This reflects that ancient designers not only considered the product
factors of the cart when making transportation tools but also included the draft ani-
mals in the design considerations. This not only reflects the correlation of related
elements within the system but also shows a deep understanding of the natural envi-
ronment and people's needs. It demonstrates that the records of craftsmanship in
"Kaogong Ji" not only have high historical value but also have a profound impact on
later generations of arts and crafts and design arts[5].
4 "Earth has its energies": Regional Cultural Elements and
Systematic Design Innovation
4.1 Regional Culture and Material Selection
"Kaogong Ji" deeply reveals the close connection between regional characteristics and
material selection, proposing the concept of "Earth has its energies": "Oranges be-
come trifoliate when they cross the Huai River to the north, the magpie does not cross
the Ji River, the sable crosses the Wen River and dies, this is due to the energy of the
earth." This concept requires craftsmen to fully consider the natural environment,
climate conditions, and resource distribution of the product's location during the de-
sign and manufacturing process. These factors have a crucial impact on the perfor-
mance, service life, and aesthetic effect of the product. For example, choosing mois-
ture-resistant and anti-corrosive materials is particularly important in humid and rainy
areas; in cold and dry areas, materials that are cold-resistant and not easy to crack are
needed. This regional design principle not only helps to improve the practical perfor-
mance and service life of the product but also endows the product with a unique re-
gional cultural charm.
4.2 Regional Culture and Technical Feature Selection
Due to the influence of regional culture, craftsmen in different regions have gradually
formed their own unique technical systems and craft styles in long-term practice.
"Kaogong Ji" encourages the integration of these regional technical features into
product design to enhance the practical performance and regional cultural charm of
the product. "Yue has no tun, Yan has no han, Qin has no lu, Hu has no bow cart.
Yue's lack of tun is not because there is no lu, but everyone can make lu; Yan's lack
of han is not because there is no han, but everyone can make han; Qin's lack of lu is
not because there is no lu, but everyone can make lu; Hu's lack of bow cart is not
76 D. Ye et al.
because there is no bow cart, but everyone can make a bow cart." By skillfully com-
bining these technical features with product design, craftsmen can not only enhance
the market competitiveness of the product but also meet consumers' pursuit of region-
al culture and the need for product personalization. This design concept not only re-
flects respect and inheritance of regional culture but also demonstrates the systematic
design thinking advocated in "Kaogong Ji."
5 "Materials Have Beauty": Material Elements and Systematic
Design
5.1 The Importance of Material Aesthetics
The concept of "Materials Have Beauty" in "Kaogong Ji" profoundly reveals the in-
trinsic connection between material aesthetics and performance. High-quality materi-
als should not only possess excellent physical and chemical properties to ensure the
practicality and durability of products but also have unique aesthetic characteristics to
endow products with artistic charm and aesthetic value. Craftsmen, by carefully se-
lecting materials and skillfully utilizing their natural textures, colors, and textures,
create exquisite handicrafts. In "Kaogong Ji," there is a profound understanding of
material selection and utilization, stating: "The horns of Yan, the stems of Jing, the
sticks of Pohu, the gold and tin of Wu Yue, these are the beautiful materials." This
illustrates the regional characteristics of materials and their inherent aesthetic value.
When crafting objects, craftsmen choose the most suitable uses based on the natural
characteristics of materials and enhance the aesthetic value of objects by utilizing the
natural beauty of materials. In this way, ancient craftsmen successfully integrated the
beauty of nature with human ingenuity, creating countless exquisite handicrafts.
5.2 Systemic Balance of Aesthetics and Performance
In the process of material selection, "Kaogong Ji" emphasizes the balance between
aesthetics and performance. As described in the "General Preface" of "Kaogong Ji":
"Examine the curved surface potential," which means that the utilization of nature
should start from a thorough understanding of materials, observing and judging their
shape and characteristics. This pursuit of material aesthetics not only increases the
added value of products but also enriches people's aesthetic experiences[6]. Therefore,
craftsmen need to consider all aspects of material performance, including physical,
chemical, aesthetic, and environmental performance, to achieve comprehensive opti-
mization and upgrading of products. They continuously explore the application possi-
bilities of new materials and new processes through the accumulation of practical
experience and technological innovation, striving to enhance the aesthetic value of
products while maintaining their practicality.
77A Comprehensive Study on the Systematic Design Innovation Ideas
5.3 Application of Material Aesthetics in Modern Design
In modern design, the concept of "Materials Have Beauty" still has significant guiding
significance. With the continuous advancement of technology and the emergence of
new types of materials, designers are faced with a richer space of material choices.
However, while pursuing the aesthetic appeal of products, one should not neglect
their practicality and sustainability. By drawing on the material aesthetics of
"Kaogong Ji," designers can gain a deeper understanding of the relationship between
materials and design, thus making wiser and more creative choices in design. They
can reduce the environmental impact of products by using eco-friendly materials and
sustainable processing techniques, achieving dual goals of aesthetics and environmen-
tal protection[7].
6 "Craftsmen Have Skills": Technological Elements and
Systematic Design
6.1 Inheritance and Innovation of Technological Crafts
The concept of "Craftsmen Have Skills" in "Kaogong Ji" highlights the core position
of technological crafts in ancient design and manufacturing. The book not only rec-
ords in detail the operational processes and skills of various crafts but also shows the
pursuit and practice of technological innovation by craftsmen. By continuously sum-
marizing and inheriting excellent craft technology experience, craftsmen gradually
formed their unique technical styles and craft characteristics. As stated in "Kaogong
Ji · Wheel Maker": "The wheel maker makes wheels, cutting three materials must be
in its time," which explains that the selection and processing of materials for making
wheels should follow natural laws, and also reflects the exquisite skills and control of
details by craftsmen in the craft process. At the same time, craftsmen also constantly
try new technologies and methods to achieve continuous innovation and break-
throughs in craft technology. This pursuit of excellence in craft technology and con-
tinuous innovation makes the handicrafts in "Kaogong Ji" not only of high practical
value but also possess unique artistic charm and cultural value.
6.2 Inheritance and Promotion of the Spirit of Craftsmanship
This pursuit of excellence in craft technology and continuous innovation makes the
handicrafts in "Kaogong Ji" not only of high practical value but also possess unique
artistic charm and cultural value. "Kaogong Ji" mentions: "The wise create things, the
skillful describe and guard them, and the world calls them craftsmen. All the affairs of
the hundred craftsmen are the works of the sages." This indicates that when making
objects, craftsmen must not only have innovative thinking but also exquisite skills to
inherit and promote these innovations. Through innovative design thinking, ancient
craftsmen successfully integrated the beauty of nature with human ingenuity to create
products. "Kaogong Ji" also emphasizes the flexibility and creativity of craftsmen in
actual operations, as stated in "Kaogong Ji · Wheel Maker": "The wheel maker makes
78 D. Ye et al.
wheels, cutting three materials must be in its time," which explains that the selection
and processing of materials for making wheels should follow natural laws, and also
reflects the exquisite skills and control of details by craftsmen in the craft process.
These ancient craft technologies and design thinking not only reflect a deep under-
standing of materials and crafts but also show an unremitting pursuit of innovation
and aesthetics, reflecting the spirit of craftsmanship that has been passed down from
ancient times, which is worth inheriting and promoting.
7 Conclusion
"Kaogong Ji," as a precious legacy of ancient Chinese technology, contains systemat-
ic design innovation ideas that have important enlightening and guiding value for
modern design practice. By deeply analyzing the core points such as holistic design
thinking, the harmonious design concept of "Heaven has its seasons," the regional
design principle of "Earth has its energies," the material aesthetics of "Materials Have
Beauty," and the spirit of technological innovation of "Craftsmen Have Skills," we
can more comprehensively understand the design philosophy and wisdom contained
in "Kaogong Ji" and apply it to modern design practice to promote innovation and
development in the field of design.
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