A Design Guideline for Applying Taiwanese Opera Costume Aesthetics  
to Modern Chair Design 
 
by 
 
I-Ju Chen 
 
 
 
 
A thesis submitted to the Graduate Faculty of 
Auburn University 
in partial fulfillment of the 
requirements for the Degree of 
Master of Industrial Design 
 
Auburn, Alabama 
May 14, 2010 
 
 
 
 
Keywords:  Taiwanese opera, costume aesthetics, culture, 
  design guideline, design elements 
 
Copyright 2010 by I-Ju Chen 
 
 
Approved by 
 
Tin-Man Lau, Chair, Professor of Industrial Design 
Rich Britnell, Professor of Industrial Design 
Thomas S. Tillman, Assistant Professor of Industrial Design 
Shewen Tzeng, Assistant Professor of Industrial Design 
Abstract 
 
 
 The Western society is using an increasing amount of oriental elements to design 
products, especially furniture. One example of this influence is famous Denmark 
designer Hans J. Wagner?s, whose concept the ?Y-Chair? designed in 1949 comes 
from the ?round chair ?? ? of the Ming dynasty. Today, the oriental design guideline 
is rarely published, leading eager Western designers with little knowledge on now to 
apply these designs to their products. As an Industrial Design thesis, this research was 
conducted to study the furniture design from the perspective of Asian culture with a 
focus on the ability of Taiwanese traditional art to transmit thousand year old oriental 
aesthetics to a modern culture. From the heritage of Taiwanese culture, Taiwanese 
Opera?s costume design was chosen as a cultural reference for this study. The 
emphasis of this research was to create guidelines for each role?s costume style and 
apply the guidelines to the furniture design. A design process frame was developed 
and given the name ?The Design Framework of Cultural Element Integrated Chair 
Design (DFCEICD)?. By applying the design process frame and guidelines 
established in this research, designers can incorporate these elements into  
ii
their furniture design. The expectation is that these design guidelines will help 
designers build the Taiwanese Opera or Asian style furniture, and thus continue the 
cultural heritage of the Taiwanese Opera. This research acts as the foundation for 
future research on Taiwanese design culture and will assist others in designing 
Taiwanese cultural products. 
 
 
 
 
 
 
 
 
 
 
 
 
 
iii
Acknowledgments 
 
 
 This work would not have been possible without the support and encouragement 
of my adviser and friend, Tin Man Lau, under whose supervision I chose this topic 
and began the thesis. I would also like to thank Richard Britnell, Shea Tillman, and 
Shuwen Tzeng for all of their support and inspiration. I am indebted to my friends 
Vita Su, JR James, and Mark Walters for helping me get through the difficult times, 
and for all the emotional support, camaraderie, entertainment, and caring they 
provided. I wish to thank all my sisters and brothers at Lake View Baptist Church for 
their spiritual guidance and companionship. Lastly, and most importantly, I wish to 
thank my parents Xue-Li Huang and Huang-Xiang Chen. To them I dedicate this 
thesis. 
 
 
 
 
 
iv
Table of Contents 
 
Abstract ......................................................................................................................... ii 
Acknowledgments......................................................................................................... iv 
List of Tables .............................................................................................................. viii 
List of Figures ............................................................................................................... x 
Chapter One: Introduction 
 1.1 Problem Statement .........................................................................................1 
 1.2 Need for Study ...............................................................................................1 
 1.3 Literature review ............................................................................................3 
 1.4 Objectives of Study ......................................................................................15 
 1.5 Definitions of Terms ....................................................................................16 
 1.6 Assumptions .................................................................................................16 
 1.7 Scope and Limits .........................................................................................17 
 1.8 Procedure of study .......................................................................................18 
Chapter Two: Character of Sheng 
 2.1 The connection between character and costume design for Sheng ..............22 
 2.2 Characteristic of head ornament of Sheng ...................................................22 
    2.2.1 Configuration, pattern and proportion of the head ornament .............24 
 2.3 Characteristic of body ..................................................................................26 
    2.3.1 Configuration, pattern and proportion of the body .............................29 
 
v 
 2.4 Characteristic of Shoes ................................................................................32 
    2.4.1 Configuration, pattern and proportion of the shoes ............................33 
Chapter Three: Character of Dan 
 3.1 The connection between character and costume design for Dan ................35 
 3.2 Characteristic of head ornament of Dan ......................................................35 
    3.2.1 Configuration, pattern and proportion of the head ornament .............37 
 3.3 Characteristic of body ..................................................................................38 
    3.3.1 Configuration, pattern and proportion of the body .............................40 
 3.4 Characteristic of Shoes ................................................................................42 
    3.4.1 Configuration, pattern and proportion of the shoes ............................43 
Chapter Four: Character of Jing 
 4.1 The connection between character and costume design for Jing ................45 
 4.2 Characteristic of head ornament of Jing ......................................................45 
    4.2.1 Configuration, pattern and proportion of the head ornament .............48 
 4.3 Characteristic of body ..................................................................................50 
    4.3.1 Configuration, pattern and proportion of the body .............................55 
 4.4 Characteristic of Shoes ................................................................................56 
    4.4.1 Configuration, pattern and proportion of the shoes ............................57 
Chapter Five: Character of Chou 
 5.1 The connection between character and costume design for Chou ...............58 
 5.2 Characteristic of head ornament of Chou ....................................................59 
   5.2.1 Configuration, pattern and proportion of the head ornament ...............60 
 5.3 Characteristic of body ..................................................................................63 
   5.3.1 Configuration, pattern and proportion of the body ...............................63 
vi
     5.4 Characteristic of Shoes ................................................................................65 
    5.4.1 Configuration, pattern and proportion of the shoes ............................65 
 5.5 Design guideline and elements application 
A. Sheng .......................................................................................................66 
B. Dan ..........................................................................................................73 
C. Jing ..........................................................................................................79 
D. Chou ........................................................................................................85 
Chapter Six: The Design Framework of Cultural Element Integrated Chair Design 
(DFCEICD) 
 6.1 DFCEICD design framework ......................................................................92 
Chapter Seven: Application Results 
 7.1 Choose topic ..............................................................................................108 
 7.2 Analyze topic .............................................................................................108 
 7.3 Design integration of Sheng, Dan, Jing, and Chou ...................................109 
    7.3.1 Function development ......................................................................109 
    7.3.2 Style development ............................................................................112 
        A. Sheng Style ...................................................................................112 
        B. Dan Style ......................................................................................116 
        C. Jing Style ......................................................................................119 
        D. Chou Style ....................................................................................121 
    7.3.3 Manufacturing of Dan style chair & Final model ............................125 
 7.4 Conclusion .................................................................................................137 
Chapter Eight: Discussion and Conclusions ..............................................................138 
 References .......................................................................................................140 
vii
List of Tables 
 
Table 1: Sheng?s head ornaments style S1-S6 ..............................................................24 
Table 2: Sheng?s body style S1-S6 ...............................................................................29 
Table 3: Sheng?s shoes style S1-S6 ..............................................................................33 
Table 4: Dan?s head ornaments style S1-S6 ................................................................37 
Table 5: Dan?s body style S1-S6 ..................................................................................40 
Table 6: Dan?s shoes style S1-S4 .................................................................................43 
Table 7: Jing?s head ornament style S1-S6 ..................................................................48 
Table 8: Jing?s body style S1-S6 ..................................................................................55 
Table 9: Jing?s boots ....................................................................................................57 
Table 10: Chou?s head ornament style S1-S6 ..............................................................60 
Table 11: Chou?s body style S1-S6 ..............................................................................63 
Table 12: Chou?s boots .................................................................................................65 
Table 13: Summary of Sheng?s head ornament design elements .................................67 
Table 14: Summary of Sheng?s body design elements .................................................69 
Table 15: Summary of Sheng?s shoe design elements .................................................71 
Table 16: Summary of Dan?s head ornament design elements ....................................74 
Table 17: Summary of Dan?s body design elements ...................................................76 
Table 18: Summary of Dan?s shoe design elements ....................................................78 
Table 19: Summary of Jing?s head ornament design elements ....................................80 
Table 20: Summary of Jing?s body design elements ...................................................82 
viii 
Table 21: Summary of Jing?s shoe design elements ....................................................84 
Table 22: Summary of Chou?s head ornament design elements ..................................86 
Table 23: Summary of Chou?s body design elements ..................................................88 
Table 24: Summary of Chou?s shoe design elements ..................................................90 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
ix 
List of Figures 
 
Figure 1: Furniture expert Tai-Qin Ye ............................................................................5 
Figure 2: Hakka blue shirt..............................................................................................5 
Figure 3: Hakka blue shirt concept chair design ............................................................6 
Figure 4: Local Taiwanese Opera without permanent stage era ....................................9 
Figure 5: Inside stage opera performed status .............................................................10 
Figure 6: Japanese kimono, 1938 .................................................................................11 
Figure 7: Outdoor stage opera era costume .................................................................12 
Figure 8: Televised Taiwanese Opera ..........................................................................13 
Figure 9: Theater performance .....................................................................................14 
Figure 10: Analyzing Sheng?s body .............................................................................19 
Figure 11: Red sandalwood Ruyi .................................................................................26 
Figure 12: Tuck (?? ) .................................................................................................27 
Figure 13: Refined costume .........................................................................................28 
Figure 14: Right collar ??  .........................................................................................30 
Figure 15: Lotus gesture ..............................................................................................35 
Figure 16: One and two chignons? style ......................................................................36 
Figure 17: Tassel ..........................................................................................................36 
Figure 18: Tiao xin topknot ??? ..............................................................................36 
x
Figure 19: A women in Ming dynasty (? ???? ?Ming dynasty ancient book) ... 39 
Figure 20: Qi shoes ?? ............................................................................................. 42 
Figure 21: Chinese wine cups in Qing dynasty ...........................................................42 
Figure 22: Embroidered shoes ??  or ??  .............................................................43 
Figure 23: Xiang Sha ??  ...........................................................................................46 
Figure 24: General helmet ??  ...................................................................................47 
Figure 25: Antelope horn .............................................................................................49 
Figure 26: Civil official in Ming dynasty ....................................................................51 
Figure 27: Bu-Zi ?? ..................................................................................................52 
Figure 28: Civil official?s Bu Zi ??  .........................................................................53 
Figure 29: Military officer?s Bu Zi ??  .....................................................................54 
Figure 30: Round wing gauze hat ????  ................................................................59 
Figure 31: Hui pattern ??  ..........................................................................................61 
Figure 32: Lei pattern ??  ..........................................................................................62 
Figure 33: Bronze ware ................................................................................................62 
Figure 34: Sheng?s chair armrest style .........................................................................70 
Figure 35: Combination styles one to four ..................................................................72 
Figure 36: Dan?s chair armrest style ............................................................................77 
Figure 37: Jing?s chair armrest style ............................................................................83 
Figure 38: Chou?s chair armrests style .........................................................................89 
xi
Figure 39: The Design Framework of Cultural Element Integrated Chair Design ......92 
Figure 40: I. Function development .............................................................................95 
Figure 41: II. Style development .................................................................................96 
Figure 42: III. Manufacturing development .................................................................97 
Figure 43: Blind tenon .................................................................................................98 
Figure 44: Straight tenon joint .....................................................................................99 
Figure 45: Corner bridle joint ......................................................................................99 
Figure 46: Through dovetail joint ..............................................................................100 
Figure 47: Half-blind dovetail joint ...........................................................................101 
Figure 48: Half-blind dovetail joint ...........................................................................101 
Figure 49: Doweled joint ...........................................................................................102 
Figure 50: Tapered finger joint ..................................................................................102 
Figure 51: Cross half lap joint ...................................................................................103 
Figure 52: Tongue and groove joint...........................................................................103 
Figure 53: Professional craftsman crafting status ......................................................104 
Figure 54: Crafting detail ...........................................................................................104 
Figure 55: Appropriate S-shaped curve of the spine ..................................................110 
Figure 56: Measurements from BIFMA guidelines used for ergonomic chairs ........110 
Figure 57: Specific BIFMA chair design guideline measurements ...........................111 
Figure 58: Common chair measurements ..................................................................111 
Figure 59: Sheng?s chair style sketches .....................................................................113 
Figure 60: Sheng?s chair 3D model ...........................................................................114 
Figure 61: Design guideline applied to a model of Sheng?s chair .............................115 
Figure 62: Dan?s chair style sketches ........................................................................116 
xii 
Figure 63: Dan?s chair 3D model ..............................................................................117 
Figure 64: Design guideline applied to a model of Dan?s chair ................................118 
Figure 65: Jing?s chair style sketches ........................................................................119 
Figure 66: Jing?s chair 3D model ..............................................................................120 
Figure 67: Design guideline applied to a model of Jing?s chair ................................121 
Figure 68: Chou?s chair style sketches ......................................................................122 
Figure 69: Chou?s chair 3D model .............................................................................123 
Figure 70: Design guideline applied to a model of Chou?s chair ..............................124 
Figure 71: The scale models of Sheng, Dan, Jing, and Chou ....................................125 
Figure 72: Three point view technical sketch of each piece ......................................126 
Figure 73: Print out the parts of template ..................................................................126 
Figure 74: Template attached to the wood .................................................................127 
Figure 75: Band saw ..................................................................................................127 
Figure 76: Before cutting this wood, the dowel joint must be drilled .......................128 
Figure 77: Put the dowel into the hole .......................................................................128 
Figure 78: Cut the hole for the tenon joint .................................................................129 
Figure 79: Finish cutting the holes .............................................................................129 
Figure 80: Insert a piece of wood into the hole to form the tenon joint ....................130 
Figure 81: Cut the rest of the piece ............................................................................130 
Figure 82: Finished tenon joint ..................................................................................131 
Figure 83: Backrest tenon joints ................................................................................131 
Figure 84: Securing the tenon joint using a hammer .................................................132 
Figure 85: Final sanding ............................................................................................133 
Figure 86: Tung oil finishing used on the chair .........................................................133 
xiii 
Figure 87: The final chair model of Dan- front view ................................................134 
Figure 88: The final chair model of Dan ...................................................................135 
Figure 89: The final chair model of Dan- with cushion ............................................136 
Figure 90: 3D models of Sheng, Dan, Jing, and Chou ..............................................137 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
xiv 
CHAPTER ONE: INTRODUCTION 
 
1.1 Problem Statement 
 
 An issue of Business Week magazine featured an article entitled ?Asian  
Design comes of Age? that attested to the rise in Asian influence among general  
product design (Balfour, 2007). One example of this influence is famous Denmark  
designer Hans J. Wagner?s, whose concept the ?Y-Chair? designed in 1949 comes  
from the ?round chair ?? ? of the Ming dynasty. Although many western designers  
use Oriental style design elements, not many Oriental design guidelines have been  
studied. 
 
1.2 Need for Study 
 
 In Western culture, people apply a lot of Asian patterns and Chinese characters in 
the form of tattoo art, such as pattern of Eastern dragons, Asian clouds, and figures of 
Japanese samurai, etc. The use of these patterns is not limited to tattoo art, but Asian 
design elements are also found in fashion design including: cloth, jeans, bags, 
accessory, etc. Asian images in furniture design have drawn huge attention, not only 
in Europe but also in the USA. The famous magazine, Jurgita.com, mentioned that 
furniture trends for 2008-2009 would see, ?Ethnic (and ethnic looking) decorations 
step into spotlight again. If you want to be stylish you probably will not resist Asian 
furniture? (2008). Also, the HGTV newsletter editor Anne Krueger discussed the 
 1
?Nine Hot Trends for Today?s Kitchens? and highlighted that Asian fusion is one of 
the major trends. Moreover, Asian influence is still going strong in the kitchen just 
like Zen comforts are still popular in urban settings to help consumers unwind during 
daily business. 
 The arts, fashion, and product design trends of the 21st century exhibit a 
substantial amount of traditional Asian elements being used among Western designers. 
The Making Tea Interior Design Company described how to design oriental style 
furniture, and how ornate furniture is a very important part of Chinese interior design 
(MakingTeaDesign.com, 2008). Chinese or oriental furniture is usually made from 
high quality wood, and will typically have a decorative carving, intricate inlays or 
ornate and beautiful painting with fancy handles. Chinoiserie is an art form in which 
furniture and accessories are patterned after the detailed embellishments and complex 
decoration of Chinese designs. According to the article in ?Making Tea,? there are 
only basic descriptions of Asian design characteristic, not complete Asian design 
elements guideline for designers to use. 
 Thailand design master Suwan Kongkhunthien said, ?Go back to see the origins 
of our culture, it will give you the most of understanding? (2007). As a designer 
coming from Taiwan, I see the ability of Taiwan?s traditional art to transmit thousand 
year old oriental aesthetics. Hence, I decided to study Taiwanese traditional aesthetics 
by this thesis and discover Eastern aesthetic elements. In turn, I will generalize some 
rules and aesthetics factors of styling guidelines to apply to product design and 
contribute to modern furniture design. These design guidelines will equip the Western 
designer to deal with oriental style in furniture design. 
 
 
 2
1.3 Literature Review 
 
 Today, Western society is increasingly interested in Asian image elements. For 
instance, Japanese Manga books, which can be found in American bookstores, have 
sparked the manufacturing of such Manga-related products as t-shirts, mugs, key 
chains, shopping bags, etc. Japanese Enka has even been formatted into the film 
Memoirs of a Geisha. Manga books and Enka all belong to a part of Asian 
entertainment, with entertainment as the most effective part these images have spread 
rapidly all over the world. 
The culture of every nation possesses the elements of language, art, music, paint, 
dancing, performing, architecture, commodity, etc. Past theses have explored this 
issue. For example, a case study in Nantou County; design research of the Meinung 
Hakka culture; a case study of Sandimen township in Pingtung county, and a case 
study of aboriginal Paiwan artist ?Sakuliu.? There are many minority races in Taiwan, 
each with their own cultures. Because they represent minorities, their culture does 
represent, as a whole, Taiwan?s culture. 
 There are some studies that use a commodity to understand Taiwanese culture, 
for instance, a traditional Chinese bed, an altar, traditional kitchen stoves, tableware 
design, contemporary ceramic teapots, incense, furniture or bamboo stationery. These 
products have an important common thread - they are the products most closely 
related to Taiwanese people in their daily lives. ?In order to survive, humans created 
many kinds of products, and these products follow cultural meanings to reflect 
people?s need, social status, technique, and manufacturing? ( Translated from: ???
??????????????????????????????????????
 3
????????????????????????? ) (Quan, ??? , 1991). In this 
commodity category, furniture is the most necessary product in everyday life. 
?Furniture is used everywhere, for dining, for hanging clothes, for sleeping, and for 
sitting? (Chou, ??? , 2007, p8). A thesis entitled The study of the shape of Taiwan 
traditional wooden furniture during the Japanese governance of Taiwan discussed 
Taiwanese furniture as a combination of styles from China, Japan, and the West to 
create unique and popular amalgamated styles. This research is extremely useful as it 
provides a history of Taiwanese furniture and reveals which cultures have had the 
strongest influence on Taiwan - assets which both aid in the development of special 
characteristics for the local furniture industry. Regardless of whether this style is 
widely popular or not, it is worth consideration. In summer 2008, I had an interview 
with the furniture expert Tai-Qin Ye (Figure 1). Ye is the director of Taiwan 
Furniture-Properties Association (TFPA), a director in Furniture Manufacturing 
ECO Museum in Taiwan, and is also a chairman in Yung-Shing Furniture Company. 
He said: ?Imitation products, even if they are perfect imitations, fail. Only innovative, 
meticulous design can give furniture a life and add deep cultural meaning to the value 
of the age.? Moreover, he introduced one of the chair designs from their company, 
using the concept ?Hakka blue shirt?, (Figure 2) which is from the Taiwanese 
minority group of Hakka. This chair applies the shirt style to the backrest and the 
shoes style to the bottom of the chair leg (Figure 3). 
 4
 
Figure 1: Furniture expert Tai-Qin Ye (Source: Yung-Shing Furniture Company) 
 
 
Figure 2: Hakka blue shirt (Source: http://www.flickr.com/photos/lu_s/3172974239/) 
 5
 
Figure 3: Hakka blue shirt concept chair design (Source: This picture was taken from 
Yung-Shing Furniture Company) 
 
 The furniture expert Tai-Qin Ye also mentioned that every nation has their own 
furniture style, and that by looking at furniture, one can observe the effect of cultural 
values on the people. He also encouraged designers to go back to see their own local 
culture, merge with ergonomic design, and then create comfortable, useable cultural 
style furniture that not only satisfies the body, but satisfies the spirit as well. 
 The cultural aesthetics he mentioned are Taiwan Hakka and aborigine culture. 
?According to cultural differences, designers should understand the culture and apply 
the design elements to create the style that people want and enhance popular 
aesthetics taste? (Translated from: ??????????????????????
??????????????????????????????????????
 6
???? ) (Liang, ???, 1996). Furniture expert Tai-Qin Ye?s recommendation to use 
Taiwanese traditional costume design elements as an inspiration for furniture design is 
still a rarely studied type of design. 
Taiwanese traditional costume, as we can see from Taiwanese performing art, 
denotes entertainment as the most crucial element and has spread the world over. 
Taiwanese performing art, includes Taiwanese Opera, Cloud Gate Dance Theatre of 
Taiwan, Taiwanese puppet show, etc. Are not only popular in Taiwan but also in other 
countries in the world of these performances, the Taiwanese Opera is the longest 
running performance in Taiwan. It has run since 1920 and is the only opera native to 
Taiwan. ?Taiwanese Opera is the opera native to Taiwan and it represents 
popularization and geniality in localized opera. It is also the most effective 
performance in showcasing Taiwanese culture? (Translated from: ????????
??????????????????????????????????????
?????????????????????? ) (Chang, ???, 2006, p.2). 
?Traditional opera hinges on the visual effect of the costume, as it is the most notably 
recognized among other nations? (Translated from: ??????????????
???????????????????????????????????? )(Yu, 
??? , 2004, p.4). Additionally, ?Chinese philosophical thinking costumes and the 
overall aesthetics concept?(Translated from: ?????????????????
???????? ) (Hua, ?? , 2001). Analyzing the costume of Taiwanese Opera 
must therefore begin with studying its history. 
 Taiwanese Opera is the only one opera native to Taiwan. Additionally, it was a  
 7
very important activity in uniting Taiwanese within their agricultural society. The  
opening act in the Taiwanese Opera is a folk song that developed from gezai and  
combines chegu show?s figure in ZhangZhou of Fujian, China. Originally, it was an  
art of entertainment performing for evocation. It gradually became a professional  
performance art. Six phases transpired during 1920 to 2009 in the opera. There was 
the local gezai era that performed without permanent stage in 1920, an indoor stage 
era in 1923, the era of Japanese occupation from 1937 to 1945, an outdoor stage era in 
1945, an era of televised opera in 1962, and finally the era of theatre performance that 
began in 1990 and continues today. The costumes of each era were analyzed as 
follows: 
 
 1. Local Taiwanese Opera without permanent stage era ????  
 
  In 1920, the costume style in this era was simple and crude. Performers 
 wore their everyday robes but refined them to match the particular role (see 
 Figure 4). The costume material was coarse and used any cheap jewelry or a low 
 quality silk scarf as an embellishment. The head ornament was a wig boasting a 
 chignon at the back of the head with three incense sticks used as hair pins. The 
 simplicity of the costume was representative of the reduced living conditions of 
 the era. 
 8
 
Figure 4: Local Taiwanese Opera without permanent stage era (Source:????
????  ??????  [Old pictures of Taiwanese Opera], p15) 
 
 2. Indoor stage opera era ?????  
 
  In 1923, an indoor stage became popular due to the influence of the Chinese 
Opera. This era of Taiwanese Opera?s costume style was also similar to the 
Chinese Opera (Figure 5). The costume emphasizes delicate and ornate 
embroider. Traditional costumes for men and women, old or young are all very 
serious in design, and embody the proverb, better to wear a broken costume 
than to wear the wrong costume 
 9
   
 Figure 5: Inside stage opera performed status (Source:????????  ???
???  [Old pictures of Taiwanese Opera], p18) 
 
 3. Era of Japanese occupation ???????  
 
  From 1937 to 1945, Taiwanese Opera experienced a huge change and 
became a truly refined opera. During this era, the Japanese military occupied 
Taiwan and forced the Taiwanese people to pledge loyalty to Japan, even 
forcing them to become Japanese citizens. Women?s costumes changed to a 
Japanese kimono (Figure 6). The actor playing the emperor wore a formal dress, 
the actor of civil official wore the uniform of a Japanese official, and the actor 
playing a military officer wore a Japanese military uniform. The script of  
the opera was also modified to extol the Japanese president and renamed 
Huang Min Hua Ju ???? . 
 10
  
 Figure 6: Japanese kimono, 1938  
(Source: http://www.bookmice.net/darkchilde/japan/khist10.html) 
 
 4. Outdoor stage opera era ?????  
 
  In 1945, when Taiwan was free from the Japanese occupation, Taiwanese 
Opera began to resuscitate its native cultural elements at a stunning speed, and 
became a fad in Taiwan. During that time, there were five hundred performing 
groups of Taiwanese Opera. People were quick to imbibe fashion elements 
from outside Taiwan to include in the opera. Designers gradually 
 developed their own style of Taiwanese Opera (Huang, ??? , 1994). In order 
to create a luxurious stage effect, they used sequined costumes and fluorescent 
fabrics and accessories (Figure 7). Costume emphasis shifted from the elegance 
of embroidery to the wildly fashionable glitz of sequins. 
 11
 
 Figure 7: Outdoor stage opera era costume (Source:????????  ????
??  [Old pictures of Taiwanese Opera], p162) 
 
 5. Era of Televised Opera ?????  
 
  In 1962, Taiwanese Opera began airing on television. To suit the camera 
and the new and broader audience, costume design reverted back to that of the 
Ming and Qing dynasty. The performers? make-up was lighter, not heavy as 
was necessary on stage. The costume style sought to draw in its new audience 
by incorporating sequins, already twenty year old trend by then. Viewers  
 
rejected the switch, and so designers returned to the use of more classical 
embroidery (Figure 8). 
 12
 
 Figure 8: Televised Taiwanese Opera  
 (Source: http://140.124.25.14/.../part_5/item_1_3.htm) 
 
 6. Era of theatre performed opera ????  
 
  The first Taiwanese Opera performed in the theater was by the Li-Hua Yang 
performing group. The drama was called ?Yu Niang ?? ?, and was performed 
in National Dr. Sun Yat-sen Memorial Hall. This is the latest performing style 
of Taiwanese Opera, and is the style still performed. For costume design, 
theater designers refer to several ancient costumes such as the Ming and Qing 
dynasty styles while simultaneously incorporating modern fashion elements 
that will be easily distinguishable to a contemporary audience (Figure 9).  
?Taiwanese Opera theater performance tends to be highly refined? (Yang, ??
? , 2002). 
 13
 
 Figure 9: Theater performance  
 (Source: http://140.124.25.14/.../part_5/item_1_3.htm) 
 
  According to the costumes of Taiwanese Opera?s developing process, we can see 
the tendency of design to favor the audiences taste. The four primary roles in 
Taiwanese Opera are Sheng, Dan, Jing, and Chou. Sheng is a male role, Dan is a 
female role, Jing is a justice, and Chou is a comic role. The roles of Sheng and Dan 
have seen the most obvious transition in costume style. The reason for transitional 
style in  Taiwanese Opera is that the opera responds to the innovation of other 
performing arts to maintain its vitality among Taiwanese performance art (Chen, ??
? , 1993, p1). 
  Another thesis devoted to the costumes of the Taiwanese Opera analyzed the role 
of Sheng and Dan, female costume style in the Tang dynasty; western female head 
ornaments of the 18
th
 century, and then compares them to similar elements present in 
doll costume design. This thesis does not analyze the role of Sheng and Dan, but 
rather general head ornament and costume styles in the context of historical 
 14
integration. Another author studied the role of Chou particular to the era of outdoor 
performance in Taiwanese Opera. The author analyzed Chou?s performing style and 
the market demand for Chou, but did not discuss the costume of Chou. Yet another 
author studied Taiwanese ideology from a Taiwanese Opera?s script. The author 
analyzed it to understand Taiwanese literature in order to publish this literature into 
school textbooks, and help children to understand Taiwan?s traditional culture. 
 Each of these studies highlights the cultural value of Taiwanese Opera,  
comparing each role?s complete aesthetic elements to the construction of each role?s  
costume. As mentioned above, each role has its own costume according to the  
personality of the character. Therefore, this thesis will analyze Sheng, Dan, Jing and  
Chou?s head ornament, in order to construct a guideline for applying the elements into  
furniture design. Not only will Western designers benefit from these guidelines, but  
Taiwanese designs will also have a standard to preserve in the future. 
 
1.4. Objectives of Study 
 
  ? To study Sheng, Dan, Jing, and Chou?s costume types 
 ? To analyze each role?s head ornament, costume, shoes, and patterns used 
 ? To develop each role?s outfit design guideline 
 ? To develop the design process frame of how to transfer the aesthetic  
  elements of Taiwanese Opera?s costume aesthetic into product design 
 ? To apply the guidelines on furniture design 
 ? To transform the 2D image of Taiwanese Opera?s costume patterns into the 
  3D form of furniture to illustrate a series of four roles 
 
 15
1.5. Definitions of Terms 
 
 Manga - the comic book from Japan. 
 Enka - type of music from Japan since the end of 19 century. 
 Hakka - subgroup of the Han Chinese people based in the  provinces of 
 Guangdong, Jiangxi, and Fujian in China. 
 Gezai ??  - ditty generally called gezai, using language from Min-Nan in 
 China called Min-Nan yu ??? .  
 Chegu show ??? - a type of folk performance from Fujian in China. This 
 performance has only three to six actors. 
 Huang Min Hua Ju ???? - a drama written to extol a Japanese president. 
 Performed only during Japanese occupation of Taiwan from 1937 to 1945. 
 Sheng- leading male role in Taiwanese Opera.  
 Dan- leading female role in Taiwanese Opera. 
 Jing- male role, also called the face-painted role in Taiwanese Opera. 
 Chou- comic role in Taiwanese Opera. The gender of this role can be male or 
 female. 
 
1.6. Assumptions 
 
 This study was directed based on the following assumptions: 
 ? Asian design is drawing an increasing amount of attention all over the 
world. 
 ? Furniture design possessing the characteristic of Taiwanese Opera will gain 
 16
higher market value. 
 ? Few studies of Asian aesthetic design guidelines exist. Few designers know 
how to apply Asian aesthetic elements into their products. 
 ? Through this research, Western designers, will be able to better understand 
Asian design. 
 ? People who do not understand Asian culture are still able to differentiate 
between Asian style products and non-Asian style products. 
 
1.7. Scope and Limits 
 
 For this study, the scope will be limited to 1999-2009. The focus will be 
theatrical performance in Taiwanese Opera today. ?The theatrical performance in 
Taiwanese opera since the 90?s through today tends toward a more refined stage? 
(Yang, ??? , 2002). There are around 300 Taiwanese Opera performance groups,  
but this study will be limited to the three largest groups: Li-hua Yang?s performance 
group, Holo performance group and Ming-hua-yuan performance group. Only the 
four roles of Sheng, Dan, Jing, and Chou?s costumes design elements were chosen for 
research. Additionally, the focus was on the inherent meanings of the designs used as 
well as the design itself for each role?s characteristics which transfer the abstract 
meaning into visual elements. The visible elements were studied from each role?s 
costumes, including design configuration, pattern and proportion. In this study, the  
 
color of the costume was not a consideration of the furniture design, and because of 
time limitations, only one role's guideline is applied to the full size model. 
 
 17
1.8 Procedure of study 
 
 This study was both investigative and developmental. The procedure consisted  
of five steps for each of the roles of Sheng, Dan, Jing, and Chou.  
 I. Study the costume type and characteristic 
  Select the primary costume type of the role and choose one or two elements 
from the costumes. Then select six different types of the costume to analyze. 
Analyze the characteristics of each role. 
 II. Divide costume into three parts 
  Divide each outfit into three parts, including head ornament, body, and 
shoes parts. Analyze each according to its individualized design elements. 
 III. Analyze the head ornament, body, and shoe design elements 
  This step analyzes configuration, pattern and proportion.  
  A. Configuration 
   The configuration is the shape of each part and shares the same 
 configuration in the six different costumes but will vary in the specific 
 guidelines. 
  B. Pattern 
The pattern is arranged according to the needs of the designer and then 
becomes part of the guidelines. 
   
C. Proportion 
   The proportion analyzes the same section of six different costumes and 
 uses the average proportion of the part to create. 
 
 18
Analyze the head ornament, body, and shoe design elements, using Sheng?s  
body as an example (Figure 10). 
 
 
 
 Figure 10: Analyzing Sheng?s body 
 
 IV. Design guideline and elements application 
  This section summarizes each role?s specific design configurations, 
 proportion, and patterns in six steps. Each step will help the designer apply 
 different design elements to their chair designs. 
 
 V. Develop a design process frame for applying the design elements 
  The design frame has four main steps which include choosing a topic, 
analyzing the topic, design integration, and a conclusion. Design integration has 
 19
 20
three parts as well which are function development, style development, and 
manufacturing development. 
 
This research will be divided into four parts for each of the roles Sheng,  
Dan, Jing, and Chou. Each section will study the characteristic and costume history of  
the role, and analyze for each the head ornament, body, and shoes. Each part will also  
include the configuration, pattern, proportion as well as the meaning of the patterns  
used. Finally, the guidelines will be applied to the process frame for furniture  
manufacturing. 
CHAPTER TWO: CHARACTER OF SHENG 
 
 There are four kinds of roles in Taiwanese Opera. And each role?s characteristic 
is according to the role?s sex, personality, age, job, society, position, etc. 
 The basic rule is that people named Sheng, Dan, Jing, and Chou use the opposite 
metaphor. For the first example, Sheng means ?out of practice? in Chinese, but 
actually he is acting like an experienced role; therefore, the meaning of the opposite 
metaphor is Sheng?s role. Second, Dan means ?sunrise? in Chinese and in the 
Yin-yang theory, Yin means the moon and yang means the sun. Woman belongs to Yin; 
therefore, the opposite metaphor is Dan. Third, Jing means ?clean?, but Jing is a 
face-painted role that has many colors on his face, which is unclean, so it is named 
Jing. Fourth, in Chinese philosophy Chou is cow and the characteristic of cows is 
clumsiness. Actually, Chou?s characteristic is clever and lively so Chou is the 
opposite metaphor. 
 This study analyzes each role?s costumes. According to the historical record, 
Taiwanese Opera?s costumes principally distinguish the roles? identity and sex, and 
actors did not have to wear different costumes in different dynasties, so actors can 
wear the same costumes whether the story?s background is Ming or Qing dynasty. 
 ?Taiwanese Opera?s costume is splendid and each role?s costume and makeup is 
matched and coordinated, therefore, compared with other traditional operas, it 
represents diversification and avant-garde style? (Lin, ??? , 2002). 
 As mentioned above, in each age, costume designers use the story background 
 21
and people?s characteristics to come out with design rules and identify the inner 
meaning of each shape to apply to costumes. ?Each of the basic shapes has its own 
unique character and characteristics and to each attached a great deal of meaning, 
some through association, some through arbitrary attached meaning, and some 
through our own psychological and physiological perceptions? (Dondis, 1973, p. 44). 
 
2.1. The connection between character and costume design for Sheng 
 
 Sheng is a male leading role in Taiwanese Opera. There are two kinds of roles for 
Sheng: one is a scholar and the other is a martial arts role. In this thesis, however, I 
will only analyze the scholar role because in Taiwanese Opera, this is the role 
primarily associated with Sheng. This role?s personality is that of a gentleman, and he 
is said to have an iron hand in a velvet glove. His acting is casual and very elegant, 
and his appearance is pretty. Therefore, this kind of Sheng could have the role of a 
scholar, loyal courtier, dutiful son, or virtuous person.  
 In order to analyze the characteristics of Sheng, the research method analyzed six 
costumes and divided each costume into three parts as follows: head ornament, body, 
and shoes, all of which are related. 
 
2.2 Characteristics of head ornament of Sheng 
 
 There are two categories of head ornament styles in Sheng: one is ?soft scarf? 
and the other is ?stiff headgear.? The first category known as ?soft scarf? has another 
name - ?square scarf? (????? ); it is for the scholar who is primarily a student, as 
seen in examples S2, S3, S4 and S5 (Table 1). The second category is ?stiff 
 22
headgear;? it is for the scholar who holds a government position, as seen in examples 
S1 and S6 (Table 1). 
 As a result of culture variations, designers have to study varied design line 
configurations, patterns, and proportions from the specific culture and innovate the 
design elements with which people can identify (Liang, ??? , 1996). Therefore, the 
analysis will be based on three parts: configuration, pattern, and proportion. 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 23
2.2.1 Configuration, pattern and proportion of the head ornament 
 
Table 1: Sheng?s head ornament style S1-S6 
 
A. Configuration 
 1. The head ornaments are symmetrical (Table 1). 
 2. Sheng?s head ornament has two layers and one or two folds, example R1 
column (Table 1).  
 3. It is rectangular in the back and has a small protruding horn on the corner of 
 24
the foreground rectangle, examples S2-R4 and S3-R4 (Table 1). 
 4. It has a bow style in the back and a small protruding horn on the corner of 
the foreground rectangle, examples S4-R4 and S5-R4 (Table 1). 
 5. The rectangle bands are perpendicular to one another, R2 column of 
examples S2 through S5 (Table 1). 
 6. The center of the front or sometimes back band has an elliptical marking. 
 7. It uses a stair-like shape as in examples S1-R1 and S6-R1 (Table 1). 
 
 According to the methods results, there are some inner meanings to the 
configurations people used. First of all, in the Ming Dynasty, people designed a head 
ornament with two layers, called a Square Scarf (????? ). The inner meaning is a 
metaphor for political and social stability (???? ), because people believe scholars 
can contribute civility to a society. Second, people designed head ornaments with a 
stair-like pattern, the inner meaning being one of attaining prominence step-by-step 
(???? ). 
B. Pattern 
 1. Animal patterns (Eastern dragon and bat) 
 2. Plant patterns (flower and leaf) 
 3. Other pattern (Ruyi ?? ) 
 
 The inner meanings of these patterns vary. First, the eastern dragon is a 
propitious symbol of power. Second, the bat carries a meaning of good luck in all 
walks of life. Third, the flower and leaf patterns symbolize purity and a sense of high 
morals. The final pattern is that of Ruyi (Figure11), which is the name of a Buddhist 
 25
ceremonial scepter that conveys positive images of joy, satisfaction, and comfort. This 
can be seen in S1-R7 (Table 1). 
 
 
 Figure 11: Red sandalwood Ruyi 
 (Source: http://www.jysls.com/thread-229269-1-1.html) 
 
C. Proportion 
 1. The angle of the stair-like pattern is 100+/-5 degrees, examples S1-R1and 
S6-R1 (Table 1). 
 2. The largest ratio in width of the back band to the foreground band is 1:3, 
examples S2-R2, S4-R2, S5-R2, and S5-R3 (Table 1). 
 3. The ratio in size of the back and front layers is around 12:11, the front layer 
being just a little bit smaller than the back layer, examples S3-R3, S4-R3 (Table 
1). 
 
2.3 Characteristics of body 
 
 According to the following research, there are two types of costumes for Sheng. 
 26
The first is a one-piece costume known as ?tuck? (?? ) (Figure 12), without a 
waistband. The second is a two-piece costume which is called ?refined costume,? and 
it includes a waistband (Figure 13). ?Even refined costume combines with modern 
design concepts, but people can still recognize it is from an ancient period?? (Wu,??
? , 1991, p100). ?Different periods have different costume designs, conforming with 
history? (Guo, ??? ,1999). The next section is an analysis of the two kinds of 
costume of Sheng. 
   
Figure 12: Tuck (?? ) 
 27
 
Figure 13: Refined costume 
 
 Lines not only construct the frame of the costume, but they also affect the 
costume?s outfit and configuration. Additionally, people have basic ideas of the 
outline, collar, and buttons of the costumes (Liang, ??? , 1996). Therefore, the 
configuration in the body section of the costumes can provide people with some ideas 
for design. What follows is an analysis of the special parts of Sheng?s costumes: collar, 
waist band, sleeves, and pattern. 
 
 
 
 
 
 
 28
2.3.1 Configuration, pattern and proportion of the body 
 
Table 2: Sheng?s body style S1-S6 
 
A. Configuration 
 1. The collar is not symmetrical; the shape instead resembles the lowercase 
letter y, example R4 column (Table 2). 
 2. Most of Sheng?s costumes have a waist band in the middle to divide the 
upper and lower body, R3 column of examples S2, S3, S4, and S5 (Table 2). 
 29
 3. The sleeve openings are wide and drooping, and the length takes it over the 
hands, example R5 column (Table 2). 
 4. The position of the arms in the sleeves is to have one in front and the other 
hidden in the back, examples S2, S4, and S5 (Table 2). 
 
 According to the methods results, the collar shape instead resembles the 
lowercase letter y. This type, called?right collar ??? (Figure14), requires two steps 
to make. First, pull the right side cloth to the left chest. Second, pull the left side cloth 
to the right chest. The reason for this is that it allows the wearer of the robe to conceal 
objects inside the fold of the robe and retrieve it with the right hand. One of the wisest 
philosophers in ancient China was Confucius (circa 551-479 BC). He said: ?right 
collar? fold is representative of orthodox Chinese culture. However, according to the 
Sheng?s collar result some Taiwanese Opera fashion designers do not follow the 
?right collar? rule. 
 
Figure 14: ?Right collar ??? 
 30
B. Pattern 
 1. Animal patterns (Eastern dragon) 
 2. Plant patterns (flower, leaf and bamboo) 
 3. Other pattern (repetition circles and Ruyi) 
 4. The plain costume has a complicated pattern; conversely, the complicated 
costume has a plain pattern. Compare S5 with S1, S2, S3, S4, and S6 (Table 2) 
to see the difference. 
 
 Earlier, I detailed the inner meanings of eastern dragon, bat, flower and leaf and 
Ruyi patterns in the head ornament in section 2.2.1. The same analysis can be applied 
to the additional patterns found in Sheng?s body. First, bamboo symbolizes 
outstanding character and a sense of high morals. Second, the repetition circles 
symbolize good interpersonal skills and a tender personality. Finally, there is a slightly 
different form to Ruyi?s pattern when compared to its shape on the head ornament, yet 
the meaning is the same. This can be seen in example S6-R6 (Table 2). 
 
C. Proportion 
 1. The angle of the collar is from 50 to 75 degrees. Most angles are 60 degrees, 
as seen in example R1 (Table 2). 
 2. The most common proportion of collar elements is A: B: C=1:7:1.5, as seen 
in examples S1-R2 and S2-R2 (Table 2). 
 3. The most common proportion of the collar to the waistband is 1:1.5, as seen 
in examples S2-R3, S4-R3, and S5-R3 (Table 2). 
 4. The proportion of the collar to the decoration band is 1:1; sometimes the 
ratio widens to 1:1.25, as seen in examples S4-R6 and S5-R6 (Table 2). 
 31
5. There are two layers of the sleeve; the proportion is around 1:2, as seen in 
examples S3-R5 and S4-R5 (Table 2). 
 
2.4 Characteristics of Shoes 
 
 In Taiwanese Opera, Sheng?s shoes are for practical use, so the style is not too 
important (Wu, ??? , 1991, p100). In this section, I will show two kinds of shoes 
related to Sheng: one is normal style shoes and the other is boots, as seen in examples 
S1 and S2 (Table 3). The ?normal style shoes? is for a commoner, poor scholar, or a 
monk. Wearing these shoes requires special socks which are called ?long socks.? As 
implied by the name, these long socks finish right under the knee. The ?boots? are for 
scholars or justices. There are three special designs inherent in these boots. The first is 
a two to three inch high bottom, the second features oblique cuts, and the third has a 
square top. What follows is an analysis of the configuration, pattern, and proportion of 
these two kinds of shoes. 
 
 
 
 
 
 
 
 
 
 
 32
2.4.1 Configuration, pattern and proportion of the shoes 
 
TABLE 3: Sheng?s shoe style 1 and 2 
 
A. Configuration 
 1. The front of the normal style shoes has a round shape, and the bottom is one 
half of one inch high, as seen in example S1-R2 (Table 3). 
 2. The front of the boots has a square shape, and the bottom is two to three 
inches high, as seen in example S2 (Table 3). 
 3. The bottom has two oblique cuts on it, as seen in examples S2-R2 and S2-R3 
(Table 3). 
B. Pattern 
 No pattern. 
C. Proportion 
 1. The proportion of the two layers in the normal style shoes is 2.5:1. The 
 33
 34
bottom layer is one half of one inch high, as seen in example S1-R1  
 (Table 3). 
 2. The proportion of the two layers in the boots is 5.5:1, with the bottom layer 
two to three inches high, as seen in example S2-R1 (Table 3). 
 3. The first oblique cut is from the top and has an angle of 50 degrees, as seen 
in example S2-R2 (Table 3). 
 4. The second oblique cut is from the bottom and has an angle of 85 degrees, as 
seen in example S2-R3 (Table 3). 
 
 The reason for designing the bottom layer of the higher bottom boots two to 
three inches high is so people can feel this role?s character: tall, handsome, and 
courteous. Additionally, the oblique cuts are for more balanced walking. 
 
 
 
 
 
 
 
 
 
 
 
 
 
CHAPTER THREE: CHARACTER OF DAN 
 
3.1. The connection between character and costume design for Dan 
 
 Dan is a leading female role in Taiwanese Opera. There are three kinds of roles 
for Dan: the first is a modest woman; the second is a nimble young girl; and the third 
is an old woman. In this thesis, however, I will only analyze the modest woman role 
because in Taiwanese Opera, this is the role primarily associated with Dan. This 
role?s personality is modest and virtuous. Her acting is elegant and the special pose 
performed by the hands is called the ?lotus gesture?? (Figure 15). Thus, this kind of 
Dan could have the role of a virtuous woman or a modest mother.  
 
Figure 15: Lotus gesture 
 
3.2 Characteristics of head ornament of Dan 
 
 Dan?s chignons follow the fashion of the Ming dynasty. Royalty of the Ming 
dynasty used fake chignons to connect with real hair. There can be one to two 
 35
chignons on the top of the head (Figure 16). The second significant part is the tassel 
(Figure 17). Chignons worn by the Ming dynasty used jewels to make a flower shape 
called ?tiao xin topknot ???? (Figure 18). In the following  section the results will 
show that some of Dan?s topknots have been simplified from the flower to a 
rectangular shape. 
 
Figure 16: One and two chignons? style 
 
Figure 17: Tassel 
 
Figure 18: Tiao xin topknot ??? 
 36
3.2.1 Configuration, pattern and proportion of the head ornament 
 
TABLE 4: Dan?s head ornament style S1-S6 
 
A. Configuration 
 1. There can be one to two chignons on the top of the head, example S1-R4, 
S2-R4 and S4-R4, S5-R4 (Table 4). 
 2. The single chignon is oval-shaped, example S1-R4 and S2-R4 (Table 4). 
 3. The double chignons are rectangular, with the ends of the chignon flat and 
 37
the corners round, examples S4-R4 and S5-R4 (Table 4). 
 4. The hair ornaments are on the hair edge, example S1-R3 (Table 4), or in the 
concave line, examples S2-R3, S3-R3 and S4-R4, or in the middle of the hair, 
R3 column of examples S2, S4, S5 and S6 (Table 4). 
 5. There are two kinds of tassel on Dan?s head ornaments. The first 
configuration is rectangular with beads and the second is a flower with beads, 
examples S2-R5, S2-R6 and S4-R5, S5-R5 (Table 4). 
B. Pattern 
 1. Plant patterns (flower and leaf) 
 
 In Sheng?s section 2.2.1, the flower and leaf patterns symbolize purity and a 
sense of high morality. But in Dan?s section, flower and leaf patterns symbolize 
elegance and beauty.  
 
C. Proportion 
 1. The proportion of chignons to the head is 3:1, as seen in the R1 column of 
examples S1, S2, S4 and S5 (Table 4). 
 
3.3 Characteristics of body 
 
 According to the study of Dan?s costumes, the results show two basic kinds of  
costumes. One is a traditional high, round collar and the other is a deep symmetrical 
v-shaped collar. The line of the traditional round collar is clean and simple; 
additionally, adding some patterned embroidery around the collar would enhance  
 
 38
elegance. The symmetrical collar type is a v-neck top, a kind of Chinese-style jacket 
similar to that of the Ming dynasty (Figure 19). 
 
 
Figure 19: A woman in Ming dynasty (??????Ming  dynasty ancient book) 
 
 
 
 
 
 39
3.3.1 Configuration, pattern and proportion of the body 
 
TABLE 5: Dan?s body style S1-S6 
 
A. Configuration 
 1. There are two kinds of collars. One is a high, round and the other is a low, 
v-neck collar, examples S1, S2 and S3 through S6 (Table 5). 
2. There are two different styles of sleeves. One is three layers, and the other is 
two layers on each sleeve, examples S1, S2 and S3 through S6 (Table 5). 
 40
B. Pattern 
 1. Animal patterns (butterfly) 
 2. Plant patterns (tree peonies and leaf) 
 3. Other pattern (repeating circles) 
 
 Previously, the symbolism of the leaf and repeating circle patterns in the head 
ornament and body were detailed in sections 2.2.1 and 2.3.1. Dan?s body pattern also 
has leaf and repeating circle. The new patterns in Dan are butterfly and tree peonies. 
The butterfly symbolizes freedom, beauty and love, example S3-R6 (Table 5). Tree 
peonies represent one of the main motifs of Chinese decorative arts. It has been 
cultivated in China since the seventh century and was considered the ?flower of the 
emperor?, and also the ?empress of flowers.?  The exterior of the tree peony is 
delicate and luxuriant. Therefore, it represents feminine beauty, wealth and rank, 
examples S2-R7, S4-R5 and S5-R5 (Table 5). 
 
C. Proportion 
 1. The angle of the collar is 100+/-10 degrees, as seen in the R1 column (Table 
5). 
 2. The most common upper body and waist band proportion are 6:1, the R2 
column of examples S4 through S5 (Table 5). 
 3. The three layer sleeve?s proportion is around 1:2:1, examples S1-R3 and 
S2-R3 (Table 5). 
 4. The two layer sleeve?s proportion is 1: 1.2, as seen in examples S4-R3 and 
S6-R3 (Table 5). 
 
 41
3.4 Characteristics of shoes 
 
 Dan?s shoes follow the characteristic shape of Manchu
1
?s shoes of the Qing 
dynasty. They are called ?Qi shoes ?? ? (Figure 20). The shape of the heel is like a 
Chinese style wine cup, and measures five inches high (Figure 21). The heel has also 
been likened to an upside-down flowerpot; therefore, it has earned the name 
?Flowerpot Bottom.? The other flat shoe is called an ?embroidered shoe ??   
(?? )? (Figure 22). 
  
Figure 20: Qi shoes ?? 
(Source:http://www.yain.com.tw/prodshow.asp?ProdId=B60514) 
 
Figure 21: Chinese wine cups in Qing dynasty (Source: http://zjjixs.blog.163.com/) 
                                                 
1
 Manchu: Since 1635, more than eight tribes combined in east-north China which are called Manchu. 
 42
 
Figure 22: Embroidered shoes ??  or ??  
(Source: http://www.yain.com.tw/prodshow.asp?ProdId=B60514) 
 
3.4.1 Configuration, pattern and proportion of the shoes 
 
TABLE 6: Dan?s shoe style S1-S4 
 
 
 43
 44
A. Configuration 
 1. Most shoes have two layers, with the bottom layer smaller than the top one, 
examples S1, S2 and S4 (Table 6). 
 2. The shape of the sole is a trapezoid, examples S1-R3 and S2-R3 (Table 6). 
 3. There is a tassel on each shoe?s toe, the shoe tassel is shaped like a tear drop, 
pointed away from the Dan R4 column of examples S1 through S3 (Table 6). 
B. Pattern 
 1. Animal patterns (phoenix) 
 2. Plant patterns (tree peonies and leaf) 
 3. Other pattern (Ruyi ?? ) 
 
 The meanings of the tree peonies outlined in section 3.3.1 remain constant for 
the Dan?s body pattern and shoe pattern. The newest patterns in Table 6 are the 
phoenix and Ruyi. The phoenix symbolizes propitious and eternal life, example S4-R5 
(Table 6). There are two kinds of Ruyi patterns already discussed in 2.2.1: Sheng?s 
head ornament and body pattern. Table 6 has the third kind of Ruyi pattern. These 
simplified patterns look like a succession the lower case w, examples S1-R6 and 
S2-R6 (Table 6). 
 
C. Proportion 
 1. The ratio of the shoe height to heel is 1:1, example S1-R1 and S2-R1 (Table 
6). 
 2. There is a line dividing the two patterns of the shoe, and the proportion of the 
space is 1:1, the R2 column of examples S1, S3, and S4 (Table 6). 
 
CHAPTER FOUR: CHARACTER OF JING 
 
4.1. The connection between character and costume design for Jing 
 
 Jing is a male role, also called the face-painted role in Taiwanese Opera. In the 
beginning of Taiwanese Opera this role did not exist, but due to the continual 
influence of the Chinese Opera?s style, the skill of the face-painted character emerged. 
Although Taiwanese Opera has the role of Jing, face-painting is not a serious part in 
Taiwanese Opera. Therefore, the majority of these roles have only some 
representative patterns painted and some have none at all. There are also two kinds of 
Jing in Taiwanese Opera; one is a justice like ?Bao Gang ?? ? and the other is a 
general like ?Guan Gang ?? ? and ?Xiang Yu ?? ?. All of them represent famous 
historical personages. This role?s personality is that of a calm, steady, and impressive 
man. His acting exhibits great power, and his appearance evokes great fear. 
 
4.2 Characteristics of head ornament 
 
 As noted previously, there are two kinds of Jing, one a justice and the other a 
general. The justice?s head ornament is called ? Xiang Sha ?? ? (Figure 23) which is 
a type of gauze hat. This head ornament has three characteristics. First, it has a 
slightly rounded form. Second, it has stair-like layers which escalate from front to 
back. Third, the symmetrical protrusions are called ?wings? which insert into the back 
 45
on both sides at a length around 12 inches and 1 inch wide. The ends of the wings are 
bent. Another name for these wings is ?to open ? ?, which carries the implication that 
the wings are ready for flight, and auspiciously symbolize promotion. The 
characteristic is derived from a historical requirement among the Sui Tang ??  
dynasty in which all civil officials wore gauze hats. Until the Bei Song ?? dynasty, 
the emperor ordered all civil officials to change to the winged gauze hats to prevent 
them from talking during his royal addresses. If the officials did speak during these 
times, the wings would tremble, notifying the emperor instantly. 
 In contrast, the general?s head ornament is called ?general helmet ?? ? (Figure 
24). The shape is like a bell decorated by several soft red balls. The decoration on the 
top is called a pike. In this section, six head ornaments that will be analyzed: three for 
?Xiang Sha ? ?,? examples S1-S4, two for ?general helmet ?? ?, examples S5 and 
S6, and one as a blend of the two, example S4 (Table 7).  
 
 
Figure 23: Xiang Sha ??  
 46
 
Figure 24: General helmet ??  
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 47
4.2.1 Configuration, pattern and proportion of the head ornament 
 
Table 7: Jing?s head ornament style S1-S6  
 
A. Configuration 
 1. The head ornaments are symmetrical (Table 7). 
 2. The head ornament is a round form with stair-like layers which begin low in 
the front and build towards the back, the R1 column of example S1 through S4 
(Table 7). 
 48
 3. A bent wing protrudes from each side of the ornament, examples S1-S3 
(Table 7). 
 4. The head ornament is bell-shaped, example S5 and S6 (Table 7). 
 5. Several soft red balls decorate the rim of the helmet, example S5 and S6 
(Table 7). 
 6. The large ball is at the pinnacle of the head ornament, with two medium balls 
on either side at the bottom of the rim, example S4-S6 (Table 7). 
 
 From analysis of the justice?s ?Xiang Sha ?? ,? we can easily see that certain 
costume designers in Taiwanese Opera still retain two main characteristics: stair-like 
layers of the hat and the bent ?wings? which insert into the back on both sides. The 
forms of the ?general helmet ?? ? remain close to the original design, but have 
shifted from prominent use of the pike design to more prominent use of the antelope 
horn design (Figure 25). 
 
 
Figure 25: Antelope horn 
 
 
 49
B. Pattern 
 1. Other pattern (sun and wave) 
 
 The symbolisms of these patterns vary. The sun is symbol of power, energy, and 
righteousness, example S5-R4 and S6-R4 (Table 7). The wave symbol is 
representative of continuous propagation, retention of the throne and national territory, 
and that the world is at peace. 
 
C. Proportion 
 1. The ratio of the back to front layers is 1:2, examples S1-R1 and S4-R1 
(Table 7). 
 2. The ratio of the sharp wing front the flat to bent portion is 3:1, examples 
S2-R2 and S3-R2 (Table 7).  
 
4.3 Characteristic of body 
 
 In the Ming dynasty, civil officials and military officers had to wear ?round or 
right collar ????? and ? 36 inch wide sleeved ????? robe for formal 
occasions (Figure 26).  
 50
 
Figure 26: Civil official in Ming dynasty  
(Source:http://big5.hwjyw.com/zhwh/traditional_culture/zgfs/ld/200705/t20070521_1
110.shtml) 
 
 Additionally, the most interesting part of the official robe is ?Bu Zi??? (Figure 
27). The pattern of Bu Zi?s patches sewn on the front and back side is a label telling 
the official?s rank. Furthermore, the Bu Zi of the civil officials bore images of birds; 
whereas the robes of military officer used beasts (Figure 28 and Figure 29). The result 
of analysis for Jing?s costume design shows how designers today also follow this rule 
and use these patterns to decorate. Most of Jing characters have had long beards 
reaching to their waist, another recognizable attribute of the role of Jing. Lastly, 
Jing?s sleeve has been shortened in width to around 6-10 inches. 
 51
 
Figure 27: Bu Zi ??  
(Source:http://big5.hwjyw.com/zhwh/traditional_culture/zgfs/ld/200705/t20070521_1
110.shtml) 
 52
 
Figure 28: Civil official?s Bu Zi ??  
(Source: http://big5.showchina.org:81/.../sw/200806/t195463.htm) 
 53
 
Figure 29: Military officer?s Bu Zi ??  
(Source: http://big5.showchina.org:81/.../sw/200806/t195463.htm) 
 
 
 
 
 
 54
4.3.1 Configuration, pattern and proportion of the body 
 
Table 8: Jing?s body style S1-S6 
 
A. Configuration 
 1. Most of the beards have a small protruding horn at each top corner and an arc 
at the top center, R1 column of examples S1, S2, and S6 (Table 8). 
 55
 2. There are two shapes of beard ends; one is a trapezoid and the other is 
oval-shaped, examples S1-R1, S2-R1 and S3-R1, S6-R1 (Table 8). 
 3. The length of the beard extends to the waist, R2 column of examples S1, S2, 
S3, S4 and S6 (Table 8). 
B. Pattern 
 1. Animal patterns (bird and tiger) 
 2. Other pattern (wave, cloud and rainbow) 
 
 As already noted above, the civil official uses the birds? pattern, the military 
officer uses the beasts? pattern. Additionally, the bird represents civilized manner and 
tiger represents power and majesty, example S3-R5 and S5-R5 (Table 8). The wave, 
cloud and rainbow patterns are all nature phenomena, and because the ancients could 
not explain them with science, they awed the power of nature; therefore, patterns of 
natural phenomena, example S2-R4, S2-R5, S4-R4, and S5-R4 (Table 8). 
 
C. Proportion 
 1. The ratio of length of the arm to width of the sleeve is around 5:1, example 
S2-R3 (Table 8). 
 
4.4 Characteristic of shoes 
 
 Jing?s shoes mirror the pattern and shape of Sheng?s boots. Refer to section 
2.4.1-S2. 
 
 
 56
4.4.1 Configuration, pattern and proportion of the shoes 
 
Table 9: Jing?s boots 
 
A. Configuration 
 Refer to section 2.4.1-S2. 
B. Pattern 
 Refer to section 2.4.1-S2. 
C. Proportion 
 Refer to section 2.4.1-S2. 
 
 
 
 
 
 
 
 
 57
CHAPTER FIVE: CHARACTER OF CHOU 
 
5.1. Connection between character and costume design for Chou 
 
 Chou is a comic role in Taiwanese Opera. The sex of this role can be male or 
female. ?In Taiwanese Opera, there are three kinds of roles for male Chou: civil 
official, martial artist and san-hua ?? . Additionally, Chou has a very important 
position in Taiwanese opera, one which leads an interesting performance? (Translated 
from: ??????????: ????????????????????????
????????????????????? ) (Yang, ??? , 1999). Moreover, the 
official emphasizes the spoken part; the martial artist places importance on kung fu, 
and san-hua ??  places importance on face expressions. In this thesis, however, I 
will focus on analysis of the male role of civil official, because in Taiwanese Opera 
this is the role primarily related with Chou. ?Chou in Taiwanese Opera does not just 
entertain the audience, in fact, it represents a genre of Chinese history which includes 
satire, a carefree spirit, individual consciousness and Chou's consciousness? 
( Translated from: ?????????????????????????????
???????????????; ???????????????????? ) (Wu, 
??? , 1997, p 82). 
Chou can range from an honorable man to a scoundrel. The honorable man?s 
 58
personality is nimble, humorous, and resourceful. The scoundrel?s personality is 
treacherous, cunning and selfish. His acting is comical and boorish. Therefore, this 
kind of Chou could have the role of an underclass civilian, a fisherman for example. 
 
5.2 Characteristics of head ornament of Chou 
 
 As we noted earlier, Taiwanese Opera was derived from Chinese Opera. In 
Chinese Opera, the civil official role of Chou?s head ornament is another type of 
gauze hat which is called ?round wing gauze hat ???? ? (Figure 30), The 
characteristics of it are the front and the back parts are very round, more round than 
the hat of Jing. Also, the ?wings? are round but do not bend. The ?round wing gauze 
hat ???? ? is for muddled and corrupt officials. Beside the head ornament, specific 
look of the eyebrows, moustache and mole are characteristic of Chou. 
 
 
Figure 30: Round wing gauze hat ???? 
 
 
 
 
 59
5.2.1 Configuration, pattern and proportion of the head ornament 
 
Table 10: Chou?s head ornament style S1-S6 
 
A. Configuration 
 1. There are four kinds of ?wings?: round, leaf, diamond, and rectangle, 
example R2 column (Table 10). 
 60
 2. The head ornament is a round form and has stair-like layers which begin low 
in the front and build towards the back, example R3 column (Table 10). 
 3. The eyebrow and short moustache are like the Chinese character for the 
number eight ???, R4 column of example S2, S3, S4 ,and S6 (Table 10). 
 4. There is often one mole located under the eye, R4 column of example S2, S3, 
and S5 (Table 10). 
B. Pattern 
 1. Other pattern ( Hui pattern ?? and organic pattern) 
 
?Hui pattern ??? (Figure 31) is the geomet ric pattern developed from ?Lei 
pattern ?? ? (Figure 32) in bronze ware (Figure 33) decoration. Hui pattern is named 
from the Chinese character ?Hui ??. The meaning of the Hui pattern is wealthy and 
eternal honor. In Chou, the Hui pattern has been simplified, example S1-R5 (Table 10). 
The organic patterns in Chou do not have any similar pattern source but are a new 
design pattern from Taiwanese Opera, R5 column of example S2, S3, and S6 (Table 
10). 
 
Figure 31: Hui pattern ?? 
 61
 
Figure 32: Lei pattern ?? 
 
Figure 33: Bronze ware (Source: http://detail.china.alibaba.com/.../239709643.html) 
 
C. Proportion 
 1. The ratio of the back to front layers is 1:2 or 1:2.5, R1 column of example S1, 
S3, S6 and S2, S4, S5 (Table 10). 
 
 
 
 
 62
5.3 Characteristic of body 
 
 The civil official role of Chou?s body costume is the same as justice of Jing, see 
section 4.3 Jing?s characteristic of body. 
 
5.3.1 Configuration, pattern and proportion of the body 
 
Table 11: Chou?s body style S1-S6 
 
 63
A. Configuration 
 1. The collar is rounded, R1 column of example S1 to S5 (Table 11). 
 2. Two types of Bu-Zi: square and round, example R3 column (Table 11). 
 
B. Pattern 
 1. Animal patterns (bird and Eastern dragon) 
 2. Other patterns (sun, wave, and Hui pattern ?? ) 
 
 The patterns from Chou?s costumes share similar patterns to Jing?s, such as the 
bird, sun, and wave patterns (see 4.2.1 and 4.3.1). As mentioned above, Chou?s head  
ornament uses the Hui pattern ??, as does Chou?s body, but the Hui lines on the  
body are more twisted than those represented on the head, example R5 column 
(Table 11).  
 
C. Proportion 
 1. The angle of the collar ranges from is 65 to 110 degrees. Most angles are  
 100 +/- 10 degrees, example R1 column (Table 11). 
 2. The ratio of length of the arm to width of the sleeve is around 4:1, example 
S2-R2 (Table 11). 
 
 
 
 
 
 64
5.4 Characteristics of shoes 
 
 Chou?s shoes are identical to Sheng?s boots. Refer to section 2.4.1-S2. 
 
5.4.1 Configuration, pattern and proportion of the shoes 
 
Table 12: Chou?s boots 
 
A. Configuration 
 Refer to section 2.4.1-S2. 
B. Pattern 
 Refer to section 2.4.1-S2. 
C. Proportion 
 Refer to section 2.4.1-S2. 
  
 
 
 
 
 65
5.5 Design guideline and elements application 
 
 This section summarizes each role?s specific design configurations, proportion,  
and patterns in six steps. Each step will help the designer apply different design  
elements to their chair designs. There are three summary Tables for the role of  
Sheng. 
 
A. Sheng 
 
1. Corresponding part: 
 
  As mentioned above, I divided the costume into three parts: head ornaments, 
 body (including sleeves), and shoes. In this step the head ornament will be 
 matched to the chair top, body part to chair back, sleeve part to chair armrest and 
 shoe to chair leg. Because the top and back are so close to each other, one 
 application can be assigned to both the head ornament and body. For example, 
 the head ornament can influence both the chair top and back, or the body can 
 influence the chair top and back. Additionally, the patterns in each Table can be 
 applied to every part of the chair. 
 
 2. Selection of head ornament design elements: 
 
  Designers can choose a configuration number, under which is the most 
 common proportion for that design. Additionally, they can choose one or more 
 patterns with which to decorate the chair (Table 13). 
 66
 
 Table 13: Summary of Sheng?s head ornament design elements  
 
 
 
 67
 Sheng?s head ornament design guidelines: 
 
 I. The angle of the stair-like pattern is 100+/-5 degrees (NO.1 & 3). 
 II. The largest ratio in width of the back band to the foreground band is 1:3 and 
 the rectangle bands are perpendicular to one another (NO.5). 
 III. The ratio in size of the back and front layers is around 12:11, and it is 
 rectangular in the back and has a small protruding horn on the corner of the 
 foreground rectangle (NO. 7 & 8). 
 IV. Sheng?s head ornament has two layers and one or two folds (NO. 9 & 10). 
 
3. Selection of body design elements: 
 
  As with Sheng?s head ornament, the same selection process applies to body 
 design elements (Table 14). 
 
 68
 
 Table 14: Summary of Sheng?s body design elements 
 
 
 69
 Sheng?s body design guidelines: 
 
I. The collar is not symmetrical; the shape instead resembles the lowercase letter 
y, most angles of the collar are 60 degrees, and the most common proportion of 
collar elements is A:B:C=1:7:1.5 (NO.1). 
 II. The most common proportion of the collar to the waistband is A:B=1:1.5  
 (NO.2). 
 III. There are two layers of the sleeve; the proportion is A:B=1:4 (NO. 3). 
 IV. The proportion of the collar to the decoration band is A:B=1:1 (NO. 4). 
 
4. Selection of sleeve design elements: 
 
The chair armrest corresponds to each role?s sleeve (Table 14). For example, in 
devising a style, a designer could choose one sleeve configuration and a line segment 
within that configuration. This is an illustration of Sheng?s chair armrest style (Figure 
34). 
 
 
 Figure 34: Sheng?s chair armrest style 
 70
 5. Selection of shoe design elements: 
 
 The selection of shoe design elements is the same as the head ornament and 
body design elements (Table 15). 
  
 
 Table 15: Summary of Sheng?s shoe design elements 
 
 Sheng?s shoe design guidelines: 
 
 I. The front of the normal style shoe has a round shape, and the proportion of 
 this shoe is A:B=2.5:1 (NO.1 & 2). 
 II. The front of the boots has a squire shape, and the proportion of the boots is 
 A:B=5.5:1 (NO.3). 
 71
 III. The bottom has two oblique cuts, one angle is 50 degrees and the other is 85 
 degrees (NO. 4 & 5) 
 
 6. Possible combinations: 
 
  There are four examples of possible combination styles. In combination 
styles one and two (Figure 35); designers can choose one configuration and one 
or more patterns in each part to formulate a design style. The chair armrest is an 
optional function. In combination styles three and four (Figure 35), the design 
style can be implemented with either a distinct body part or head ornament, 
respectively. 
 
 
 Figure 35: Combination styles one to four 
 72
B. Dan 
 
1. Corresponding part: 
 
  As mentioned above, I divided the costume into three parts: head ornament,  
 body, and shoes. In this step the head ornament will be matched to the chair top, 
 body part to chair back, and shoes to chair leg. Because the top and back are so 
 close to each other, one application can be assigned to both the head ornament 
 and body. For example, the head ornament part can influence both the chair top 
 and back or the body part can influence the chair top and back. Additionally, the 
 patterns in each Table can be applied to every part of the chair. 
 
2. Selection of head ornament design elements: 
 
  Designers can choose a configuration number, under which is the most 
common proportion for that design. Additionally, they can choose one or more 
patterns with which to decorate the chair (Table 16).  
 
 73
 
Table 16: Summary of Dan?s head ornament design elements 
 
Dan?s head ornament design guidelines: 
 
I. There can be one to two chignons on the top of the head and the proportion of 
 chignons to the head is 3:1 (NO.1 & 2). 
II. The hair ornaments are on the hair edge (NO. 3, 4, & 5). 
 74
III. There are two kinds of tassel on Dan?s head ornaments. The first 
 configuration is rectangular with beads and the second is a flower with beads 
 (NO. 6, 7, 8, & 9). 
 
3. Selection of body design elements: 
 
  As with Dan?s head ornament, the same selection process applies to body 
design elements (Table 17).  
 
 75
 
Table 17: Summary of Dan?s body design elements 
 
 Dan?s body design guidelines: 
 
 I. The angle of the collar is 100+/-10 degrees (NO. 1). 
 II. There are two kinds of collars. One is a high, round and the other is a low, 
v-neck collar (NO. 1 & 5). 
 76
 III. There are two different styles of sleeves. One is three layers, and the other 
is two layers on each sleeve. The three layer sleeve?s proportion is around 1:2:1 
and the two layer sleeve?s proportion is 1: 1.2 (NO. 3 & 4). 
 
4. Selection of sleeve design elements: 
 
The chair armrest corresponds to each role?s sleeve (Table 17). This is the 
same design method as Sheng?s armrest. Dan?s armrest style is as follows 
(Figure 36). 
 
 
 Figure 36: Dan?s chair armrest style 
 
 5. Selection of shoe design elements: 
 
  The selection of shoe design elements is the same as the head ornament and 
body design elements (Table 18). 
 77
 
Table 18: Summary of Dan?s shoe design elements 
 
 Dan?s shoe design guidelines: 
 
 I. Most shoes have two layers, with the bottom layer smaller than the top one 
and the ratio of the shoe height to heel is 1:1 (NO. 1). 
 78
 II. There is a line dividing the two patterns of the shoe, and the proportion of 
the space is 1:1 (NO. 2). 
 III. There is a tassel on each shoe?s toe; the shoe tassel is shaped like a tear drop 
(NO. 1 & 2). 
 
6. Possible combinations: 
 
 There are the same four possible combination styles as Sheng (Figure 28). 
 
C. Jing 
 
1. Corresponding part: 
 
  As mentioned above, I divided the costume into three parts: head ornament,  
 body, and shoes. In this step the head ornament will be matched to the chair top, 
 body part to chair back, and shoes to chair leg. Because the top and back are so 
 close to each other, one application can be assigned to both the head ornament 
 and body. For example, the head ornament part can influence both the chair top 
 and back or the body part can influence the chair top and back. Additionally, the 
 patterns in each Table can be applied to every part of the chair. 
 
2. Selection of head ornament design elements: 
 
  Designers can choose a configuration number, under which is the most  
 
 79
common proportion for that design. Additionally, they can choose one or more 
patterns with which to decorate the chair (Table 19). 
  
  
Table 19: Summary of Jing?s head ornament design elements 
 
 
 
 80
 Jing?s head ornament design guidelines: 
 
 I. The head ornament is a round form with stair-like layers which begin low in 
the front and build towards the back and the ratio of the back to front layers is 
1:1 or 1.5:1 (NO. 1 & 2). 
 II. A bent wing protrudes from each side of the ornament and the ratio of the 
sharp wing front the flat to bent portion is 3:1 (NO. 3). 
 III. The head ornament is bell-shaped, several red soft balls decorate the rim of 
the helmet and the large ball is at the pinnacle of the head ornament (NO. 5, 
6 ,& 7). 
 
 3. Selection of body design elements: 
 
  As with Jing?s head ornament, the same selection process applies to body 
design elements (Table 20). 
 81
 
Table 20: Summary of Jing?s body design elements 
 
 Jing?s body design guidelines: 
 
 I. There are two shapes of beard ends; one is a trapezoid and the other is 
oval-shaped. Also most of the beards have a small protruding horn at each top 
corner and an arc at the top center (NO. 1, 2, 3, & 4). 
 II. The ratio of length of the arm to width of the sleeve is around 5:1 (NO. 5). 
  
 
 82
 4. Selection of sleeve design elements: 
 
The chair armrest corresponds to each role?s sleeve (Table 20). This is the 
same design method as Sheng?s armrest. Dan?s armrest style is as follows 
(Figure37). 
 
 
 Figure 37: Jing?s chair armrest style 
 
 5. Selection of shoe design elements: 
 
  The selection of shoe design elements is the same as the head ornament and 
body design elements (Table 21). 
 
 83
 
Table 21: Summary of Jing?s shoe design elements 
 
 Jing?s shoe design guidelines: 
 
 I. The front of the boots has a square shape, and the proportion of this boots is 
 A:B=5.5:1 (NO.1). 
 II. The bottom has two oblique cuts, one angle is 50 degrees and the other is 85 
 degrees (NO. 2 & 3) 
 
6. Possible combinations: 
  There are the same four possible combination styles as Sheng (Figure 28). 
 
 
 
 84
D. Chou 
 
1. Corresponding part: 
 
  As mentioned above, I divided the costume into three parts: head ornament,  
 body, and shoes. In this step the head ornament will be matched to the chair top, 
 body part to chair back, and shoes to chair leg. Because the top and back are so 
 close to each other, one application can be assigned to both the head ornament 
 and body. For example, the head ornament part can influence both the chair top 
 and back or the body part can influence the chair top and back. Additionally, the 
 patterns in each Table can be applied to every part of the chair. 
 
 2. Selection of head ornament design elements: 
 
  Designers can choose a configuration number, under which is the most 
common proportion for that design. Additionally, they can choose one or more 
patterns with which to decorate the chair (Table 22). 
 85
 
 TABLE 22: Summary of Chou?s head ornament design elements 
  
 Chou?s head ornament design guidelines: 
 
 I. The head ornament is a round form and has stair-like layers which begin low 
in the front and build towards the back and the ratio the back to front layers is 
1:2.5 (NO. 1). 
  
 86
II. There are four kinds of ?wings?: round, leaf, diamond, and rectangle (NO. 3, 
4, 5, & 6). 
 III. The eyebrow and short moustache are like Chinese character for the number 
eight ?? ? (NO. 7, 8, & 9). 
 IV. There is often one mole located under the eye (NO. 7, 8, & 9). 
 
 3. Selection of body design elements: 
 
  As with Chou?s head ornament, the same selection process applies to body 
design elements (Table 23). 
 
 87
 
TABLE 23: Summary of Chou?s body design elements 
  
  
 
 88
 Chou?s body design guidelines: 
 
 I. The collar is rounded and the angle of the collar is 100 +/- 10 degrees (NO. 
1). 
 II. The ratio of length of the arm to width of the sleeve is around 4:1 (NO. 2). 
 III. Two types of Bu-Zi: square and round (NO. 3, 4, 5, 6, & 7). 
 
 4. Selection of sleeve design elements: 
 
  The chair armrest corresponds to each role?s sleeve (Table 23). This is 
the same design method as Sheng?s armrest. Chou?s armrest style is as follows 
(Figure38). 
 
 Figure 38: Chou?s chair armrests style 
 
 5. Selection of shoe design elements: 
 
  The selection of shoe design elements is the same as the head ornament and 
body design elements (Table 24). 
 89
  
TABLE 24: Summary of Chou?s shoe design elements 
 
 Chou?s shoe design guidelines: 
 
 I. The front of the boots has a square shape, and the proportion of this boots is 
 A:B=5.5:1 (NO.1). 
 II. The bottom has two oblique cuts, one angle is 50 degrees and the other is 85 
 degrees (NO. 2 & 3) 
 
 
 6. Possible combinations: 
 
  There are the same four possible combination styles as Sheng (Figure 28). 
 
 90
 91
The next step is to develop a design process frame. There are two methods for  
applying these guidelines to a product. The first is choosing the role?s guideline and 
then deciding upon a suitable product to apply the process to. The other method is  
choosing the topic and then apply each role?s guidelines to the product. This thesis  
will use the second method to develop the design process frame which can have more  
design results to compare. 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
CHAPTER SIX: THE DESIGN FRAMEWORK OF CULTURAL ELEMENT 
INTEGRATED CHAIR DESIGN (DFCEICD) 
 
6.1 DFCEICD design framework 
 
 This thesis developed a cultural product design system (DFCEICD) (Figure 39). 
DFCEICD uses a basis of four steps. The first step is choosing a topic, the second is 
analyzing the topic, the third is design integration which includes: function, style and 
manufacturing development, and the last step is conclusion. The framework consists 
of the following: 
  
Figure 39: The Design Framework of Cultural Element Integrated Chair Design
 92
(1) Choose topic 
 
 In this step the applicable products to develop must be chosen. A book was 
published by anthropologist Edward B. Tylor , in which he defined culture as 
?Culture, or civilization, taken in its broad, ethnographic sense, is that complex whole 
which includes knowledge, belief, art, morals, law, custom, and any other capabilities 
and habits acquired by man as a member of society?(1871). ?Culture is an activity of 
the spirit and the substance of which is a human?s life. This activity acts on the 
product, which is a condition of human performing design, and is manufactured to 
enact outer and inner requirements? (Guan, 1995, p86). (Translated from: ?????
??????????????????????????????????????
???????????????????????????? ) 
 As the quotes above indicate, the environment, humans and a product?s 
correlation is the constitution of a cultural product. Choosing the product to which 
you will apply a cultural design must take into account three elements. Selecting the 
product involves matching it with a suitable pattern, or design to enhance the 
product?s efficacy. 
 Environment: It considers where the product developed. Environment includes 
the society, culture and natural environment. Social environment involves social value 
and group preference; cultural environment is about culture continuity; and the natural 
environment considers proper product display. 
 Human: It considers the relationship between product and human. It includes a 
human?s interaction with the product. The usability and emotive energy has to be 
satisfied. 
 93
 Product: It considers the relationship with product and culture. A product?s 
cultural meaning and cultural context have to be considered while designing the 
product. 
 
(2) Analyze topic 
 
 In order to identify the scope of the product, use the ?5W1H? process to address 
the product?s design policy. The 5W1H design method can help pinpoint the flaws 
associated with a product before design begins. It refers to the sequence of asking, and 
responding to six questions: the five ?W?s? refer to who, what, when, where, and why; 
the ?H? addresses the question how. 
 
 Who - to decide who is the user 
 What - to be clear about need and limit 
 Where - where to use 
 When - what kind of situation can use this product 
 Why - design intent (include the detail of design, material and use direction)  
 How - how to use this product 
 
 
 
 
 
 
 
 94
(3) Design Integration 
 
 I. Function development 
 
Figure 40: I. Function development 
 
 ?The term ergonomic, which is used more and more as the total application of all 
human factors, comes from the Greek ergos, meaning work, and nomos, meaning 
natural laws? (Tilley & Dreyfuss, 1960, p9). After 1960, ergonomic theory grew in 
strength; it went from simple ergonomics to a complete research system of 
ergonomics which included: human, machine, and environment. ?The approach of 
human factors is the systematic application of relevant information about human 
capabilities, limitation, characteristics, behavior, and motivation to the design of thing 
and procedures people use and the environment in which they use them? ( Sanders & 
McCormick, 1992, p5). Therefore, ergonomics is the interaction of the human body 
and is concerned with how our environment interacts with our work. 
 Moreover, today people?s lives are increasingly affluent so they are particular 
about practicality, comfort and safety; thus, ergonomics is an important area to 
consider in product design. 
 
 
 95
II. Style development 
 
Figure 41: II. Style development 
 
 In style development, the first step is assessing the role?s abstract meaning, 
which is the essence of the role?s character. Then translate the abstract meaning to 
visual elements. For example, if this role?s persona is serious, the designer may 
intuitively use sharp, straight lines. This step depends on the personal experience of 
the designer. 
 After translating the abstract meaning into visual elements, the next step is 
costume style, or visual elements. This system divides the costume into three parts: 
head, body, and shoes. For each designated element, possible compositions are 
sketched. If the result does not match the design expectancy, the designer can return 
to the composition step (Figure 41). 
 
 
 
 
 
 
 96
III. Manufacturing development 
 
Figure 42: III. Manufacturing development 
 
 The manufacturing of furniture has two possible forms: one is traditional hand 
made furniture; the other is modern manufacturing process. 
 
1. Traditional hand made furniture 
 Craftsmen?s process for handmade furniture includes: choose lumber, template, 
cutting, combining all pieces, craft, modify, and lacquer. In choosing lumber, wood 
length, hardness and luster are the main things to consider. After the process of drying 
the wood, manufacturing can begin. According to luster and grain, cut the wood to 
separate heartwood
2
 from side wood?????  for use in different capacities. In the 
traditional hand made furniture, craftsmen?s design sense and hand made skill are the 
keys to affect the quality of the furniture. Additionally, the craftsmen?s main skill is 
making the tenon joints and the other is carving skill. ?Tenon joint is a very traditional 
skill in furniture making which can show a craftsmen?s skill, sense of beauty and 
                                                 
2
 Heartwood: The measure of area is bigger than other wood which is called heartwood. 
 97
united functional artistry? (Translated from: ??????????????????
???????????????????? ) ( Chou, ??? , 2002, p112). 
Introduction to the main kinds of Tenon joint structure: 
 
A. Straight tenon joint ?? :  
 Benefit: Straight tenon joint can resist outside force in every direction. 
 Straight tenon include: blind tenon ?? , one-third with through joint ??? , 
 through tenon joint ??? , haunched tenon joint ??? , and tenon joint with 
 wedge ???? , etc.  
 (1) Blind tenon use in column and crosspiece connection (Figure 43) 
 
Figure 43: Blind tenon (Source: Various mortise and tenon joints 
- www.lowes.com) 
 
 (2) Straight tenon joint also called a through tenon joint. It can strengthen the 
 98
 frame structure, for example straight tenon joint with wedges can mend the 
 furniture structure (Figure 44).  
 
Figure 44: Straight tenon joint (Source: Various mortise and tenon joints 
- www.lowes.com) 
 
 (3) The corner bridle joint?s particular frame structure allows the joint to expose 
 (Figure 45). 
 
Figure 45: Corner bridle joint (Source: Various mortise and tenon joints ? 
http://www.lowes.com) 
 99
B. Dovetail joint: 
 Benefit: Dovetail joints can resist pulling force and thrusts, making it suitable for 
 solid wood. Also, it is one of the strongest joints because it can resist every 
 pulling force and thrust from every direction except the direction it insets into the 
 joint. 
 (1) Traditional furniture exposes the dovetail joint to representative good quality 
 and hand made tenon skill (Figure 46). 
 
 Figure 46: Through dovetail joint  
 (Source: http://www.efi-costarica.com/antique-furniture-joints.html) 
 
 (2) Half-blind dovetail joint which is used in drawer mortise on the front and side 
 board because it can resist pulling forces (Figure 47). 
 100
 
 Figure 47: Half-blind dovetail joint  
 (Source: http://www.efi-costarica.com/antique-furniture-joints.html) 
 
 (3) The mortise of small, cubed pieces and wider boards can also use the 
 half-blind dovetail joint (Figure 48). 
 
 Figure 48: Half-blind dovetail joint  
 (Source: http://en.wikipedia.org/wiki/File:Joinery-halfblinddovetail.gif) 
 101
C. Other useful mortises: 
 (1) Artificial board can use the doweled joint (Figure 49). 
 
 Figure 49: Doweled joint  
 (Source: http://www.efi-costarica.com/antique-furniture-joints.html) 
 
 (2) Tapered finger joint used in end to end surfaces (Figure 50). 
 
 Figure 50: Tapered finger joint  
(Source:http://www.franklinadhesives.com/Wood-Adhesives-US/Wood-Adhesiv
es/application/Finger-Joint.aspx) 
 
 
 102
 (3) Cross half lap joints can resist revolving force and are used on simple frame 
 structures (Figure 51). 
 
Figure 51: Cross half lap joint (Source: 
http://www.diyinfo.org/wiki/What_Are_Angle_Or_Cross_Timber_Joints) 
 
 (4) The tongue and groove joint can fit similar objects together, edge to edge, 
 which uses a wide board mortise (Figure 52). 
 
 Figure 52: Tongue and groove joint 
(Source: http://www.mplustimber.com/parquet.html) 
 103
 Next, crafting is the traditional art applied to solid wood furniture. Adding 
crafting can enhance the quality of the furniture. The craftsman?s skill can create 2D 
patterns to 3D embossments (Figure 53 and 54). 
 
 
Figure 53: Professional craftsman crafting status (Source: Picture taken in 
Yung-Shing Furniture Co.) 
 
Figure 54: Crafting detail (Source: Picture taken in Yung-Shing Furniture Co.) 
 104
 Painting is the last step in the manufacturing process. This may be done using 
raw lacquer or a finishing coat. 
 
 (1)Raw lacquer 
 
  Raw lacquer is made from tree sap. There are ten steps to the manufacturing 
 process. These steps span 10-14 days, and include sanding, priming, drying, 
 dyeing, detail sanding, and painting. Cotton is dipped into the raw lacquer and 
 then used to smear the lacquer onto the furniture, allowing it to soak into the 
 wood. When the whole process is finished, the furniture will shine and be 
 completely sealed by the lacquer. 
 
 
 (2) Finishing coat 
 
  The main stream method is using a finishing coat. Smear the water-based 
 primer onto the wood and allow the primer to become dry to the touch. Then 
 sand any rough areas and finally, apply the finishing coat. This way is much 
 simpler and meets consumers? demand for fast, standardized, and inexpensive 
 furniture. 
 
2. The modern manufacturing process 
 
 Modern manufacturing process represents a huge change in wood furniture 
design (Chou,??? , 2007, p138). In the past, craftsmen used a saw and planer to cut 
 105
and plane the wood. Today, the industry is particular about efficiency, so mass 
production is the new mode for manufacturing and can reproduce a lot of product in a 
short time.  
 Mass production is a method of producing products in large quantities at low 
cost per unit. It began during the growth of the machine-tool industry. Therefore, 
when a designer designs a product, they have to consider modular common ability, 
ease to process and reduce the number of modules. Additionally, dividing the module 
into applicable pieces can reduce indirect and supply costs. Therefore, modern 
carpentry machines are a necessity to mass production. These include: band saw 
sharpener, sponge drum sander, stroke belt sander, router, variable-speed bench 
jointer, band saw, bark-peeler, boring machine, buffing machine, carving machine, 
disk sander, dust collector, etc. Hand tools include: wood chisel, jig, band saw clamp, 
block plane, bow saw, keyhole saw, etc. 
 After the introduction of mass production, carpentry machines and tools were 
used in furniture design. The whole design process has six steps: design concept, 
sketches, shop drawing, template making, assembly, painting, spray painting, and 
creating a marketing strategy. 
 While drawing sketches, the designer must confirm which material will be used, 
product structure and then analyze the structure and producing mode. As noted above, 
dividing the module into pieces for mass production if possible, and reducing the 
number of modules will help to achieve a low cost but good value product. When the 
work is to be produced in quantity, only one machine setting and only one set of tools 
are needed, attributing to the reduced cost. 
 Today, designers use 3D software to build the full size model and transfer it to 
1/10 scale 2D drawing. Then the professional template maker uses this 2D drawing to 
 106
 107
zoom in one by one to the full size drawing and attach the full-sized prints of the 
drawing to wood. Last, the cutter cuts the wood template and planes it according to 
the 2D drawing. Using the template to cut the quantity of wood and plane, the cutter 
then makes tenon joints to assemble. After the assembly of the furniture, the last steps 
of the process are sanding and painting.  
 Some high quality furniture is still sanded and painted by hand. However, 
lacquer spray is the main stream finish on the furniture today. The first step is to use 
the primer paint to fill the wood capillary membrane, and when the wood has dried 
continue to sand it. The next step is the finishing coat. Creating a marketing strategy, 
which identifies the marketing position, selling price, shipping system and 
advertisement can be completed at this point. 
 
(4) Conclusion 
 The result of final product style. 
CHAPTER SEVEN: APPLICATION RESULTS 
 
 The guidelines and design system have been developed in previous chapters. 
This chapter will apply each role?s design guidelines into DFCEICD?s style 
development of chair design. For each role, an example of the style development 
process will be applied in full; for Dan both style development and the process will be 
applied in an example. 
 
7.1 Choose topic 
 
In Qiu?s interview with Yung-shing furniture company?s vice president 
Wen-yi Jiang, he said: ?Furniture is the product which is most representative of 
era and culture?? (Qiu, 2007, p53). Various pieces of furniture such as the chair 
can be most representative of design thought (Qiu, 2007, p26). Since 220 BC, 
human life has used chairs as furniture. Even now, the chair is a necessary 
product in human life. In other words, the relation of chair to human is 
inseparable. In this chapter the design guidelines will be applied to the chair. 
 
7.2 Analyze topic 
 
  The major function is for sitting. The scope of this study was limited to 
 chairs placed in professional waiting rooms and offices. The chair will have an 
  
 108
armrest and backrest. The target market for these chairs is ranging from 30-80 
years of age.  
 
7.3 Design integration of Sheng, Dan, Jing, and Chou 
 
 7.3.1 Function development 
 
  These particular chairs will include a backrest and armrest. ?A good seated 
 posture is one that is comfortable and does not put a lot of stress or strain on the 
 user?s buttocks, back, or arm muscles, and allows the user?s feet to be on the 
 floor?( Openshaw & Taylor, 2006, p14). 
 
A. Backrest 
 
 The backrest is essential to designing a chair according to these 
specifications. To be effective the backrest should conform to the contour of 
the spine to decrease stress on the back muscles (Openshaw & Taylor, 2006, 
p.25). ?Prolonged sitting is generally accepted as a high risk factor in low back 
pain and it is frequently suggested that a lordotic posture of the lumbar spine 
should be maintained during sitting? ( Lengsfeld, Frank, Van Deursen, & Griss, 
2000). According to these resources, people spend more time sitting in chairs 
than they do standing. As noted above, spine support in the chair is critically 
important (Figure 55). Thus, people determine which is a good chair to sit on 
based on the effectiveness of the backrest to support their aching back. 
According to the data of BIFMA chair design guideline measurements, the 
 109
most prominent point is 5.9??-9.8?? from seat pan (Figure 56 & 57). Generally, 
chair measurements are given with and without the headrest (Figure 58). 
 
Figure 55: Appropriate S-shaped curve of the spine  
(Source: http://www.allsteeloffice.com) 
 
 
Figure 56: Measurements from BIFMA guidelines used for ergonomic chairs 
 110
 
Figure 57: Specific BIFMA chair design guideline measurements. All 
measurements are in inches 
 
 
Figure 58: Common chair measurements (Source: Down Under Company) 
 111
B. Armrest 
 
 Similar to the backrest, the armrest supports the neck, shoulders, and back 
by providing a surface for the arms to touch. This relieves pressure between 
the arms and the back (Openshaw & Taylor, 2006, p.25). As afore mentioned, 
people determine which chair to sit in, based upon the right curvature of 
backrest, and the functionality of the armrest. The armrest height measurement 
from the BIFMA chair design guideline shows 6.9??-10.8?? or 7.9??-9.8?? 
(Figure 57).  
 
 7.3.2 Style development 
 
  The next step is to develop the style of a chair for Sheng, Dan, Jing, and 
 Chou. In this section, each role?s sketches, 3D model, guideline application and 
 scale model will be given. 
 
 A. Sheng style 
 
  Sheng?s personality is that of a gentleman, and he is said to have an iron 
 hand in a velvet glove. His acting is casual but elegant, and his appearance is 
 pretty. Therefore, this kind of Sheng could have the role of a scholar, loyal 
 courtier, dutiful son, or virtuous person. For example, he is a gentleman and 
 elegant abstract elements can transfer to visual elements such as straight  lines 
 with a few soft curves. The next step is choosing a pattern from Sheng?s 
 guidelines. Choose visual design elements from head, body, and shoes from 
 112
 Sheng?s guidelines and design to yield possible compositions. Following are the 
 sketches, 3D model, guideline application and scale model of Sheng: 
 
 i. Sketches 
 
 
 Figure 59: Sheng?s chair style sketches 
 
 
 
 
 
 
 
 113
 ii. 3D model 
 
 Figure 60: Sheng?s chair 3D model 
 
 
 
 
 
 
 
 
 
 114
 iii. Design guideline application 
 
 Figure 61: Design guideline applied to a model of Sheng?s chair 
 
 
 
 
 
 
 
 
 115
 B. Dan style 
 
  The style development for Dan is similar to that of Sheng. The design of 
 Dan possesses few straight lines but rather emphasizes the curved lines. 
 Following are the sketches, 3D model, guideline application and scale model of 
 Dan: 
 
 i. Sketches 
 
 Figure 62: Dan?s chair style sketches 
 
 
 
 
 116
 ii. 3D model 
 
 Figure 63: Dan?s chair 3D model 
 
 
 
 
 
 
 
 
 
 117
 iii. Design guideline application 
 
 Figure 64: Design guideline applied to a model of Dan?s chair 
 
 
 
 
 
 
 118
C. Jing style 
 
  Jing?s personality is that of a calm, steady, and impressive man. His acting 
 exhibits great power, and his appearance evokes great fear. The visual 
 representation of Jing appears in the sharp, straight lines of the character?s chair. 
 Following are the sketches, 3D model, guideline application and scale model of 
 Jing: 
 
 i. Sketches 
 
 Figure 65: Jing?s chair style sketches 
 
 
 
 119
 ii. 3D model 
 
 Figure 66: Jing?s chair 3D model  
 
 
 
 
 
 
 
 
 
 120
 iii. Design guideline application 
 
 Figure 67: Design guideline applied to a model of Jing?s chair 
 
 D. Chou style 
 
  Chou can range from an honorable man to a scoundrel. In both he possesses 
 a humorous element that is reflected in the design of his chair. His acting is 
 comical and boorish. The irregular and asymmetric lines of the chair reinforce 
 the humor of the character. Following are the sketches, 3D model, guideline 
 application and scale model of Chou: 
 121
 i. Sketches 
 
 Figure 68: Chou?s chair style sketches 
 
 
 
 
 
 
 
 
 
 
 122
 ii. 3D model 
 
 Figure 69: Chou?s chair 3D model 
 
 
 
 
 
 
 
 
 
 123
 iii. Design guideline application 
 
 Figure 70: Design guideline applied to a model of Chou?s chair 
 
 
 
 
 
 
 
 124
 The scale models of Sheng, Dan, Jing, and Chou: 
 
 Figure 71: The scale models of Sheng, Dan, Jing, and Chou 
 
7.3.3 Manufacturing development 
 
 In this section, Dan will be used as the example of manufacturing development. 
According to several industrial designers, Dan?s style is the most unique. Therefore, 
this style was chosen for continued development. There are six steps in this process: 
 
A. Building 3D model and technical sketches 
 Using 3D software, the full size model can be built precisely to the designer?s 
specifications. There are 17 pieces used to construct Dan?s characteristic chair (Figure 
72). 
 125
 
Figure 72: Three point view technical sketch of each piece 
 
B. Create the templates 
 
 Print out each piece of technical sketch and attach it to the wood to form the 
template (Figure 73 and 74). The template is essential to mass production of the part, 
and therefore an extremely important step. 
 
Figure 73: Print out the parts of template 
 126
 
Figure 74: Template attached to the wood 
 
C. Cutting the pieces 
 Use the template to make the cutting process more efficient. Use a band saw to 
cut each piece (Figure 75). 
 
 
Figure 75: Band saw 
 127
D. Make tenon joint and wood dowel joint 
 
 Estimate the suitable tenon joint to use on each piece and construct each piece, 
such as in the example as follows (Figure 76 to 82) 
 
 
Figure 76: Before cutting this wood, the dowel joint must be drilled 
 
Figure 77: Put the dowel into the hole 
 128
 
Figure 78: Cut the hole for the tenon joint 
 
 
Figure 79: Finish cutting the holes 
 129
 
Figure 80: Insert a piece of wood into the hole to form the tenon joint 
 
 
Figure 81: Cut the rest of the piece 
 130
 
Figure 82: Finished tenon joint 
 
 
Figure 83: Backrest tenon joints 
 
 131
E. Constructing each piece 
 Use a hammer to secure the tenon joint into the hole. 
 
Figure 84: Securing the tenon joint using a hammer  
 
F. Sanding and Tung oil finishing 
 
 The last step involves sanding each piece and then preserving the furniture with 
Tung oil, protecting it from moisture. 
 132
 
Figure 85: Final sanding 
 
 
Figure 86: Tung oil finishing used on the chair 
 133
 
Figure 87: The final chair model of Dan- front view 
 
 134
 
Figure 88: The final chair model of Dan 
 135
 
Figure 89: The final chair model of Dan- with cushion 
 
 
 136
7.4 Conclusion 
 
 Using the Design Framework of Cultural Element Integrated Furniture Design  
(DFCEICD) to design the furniture increases efficiency. These four chairs are  
designed to demonstrate the application of these guidelines and the DFCEICD design  
process frame (Figure 90). To apply the design guidelines function and  
manufacturing must be considered, which many result in a necessary deviation from  
the original sketch. 
 
 
Figure 90: 3D models of Sheng, Dan, Jing, and Chou 
 
 
 
 137
CHAPTER EIGHT: DISCUSSION AND CONCLUSIONS 
 
 The intention of this thesis was to uncover a probable composition to transform  
the Taiwanese Opera costume design guidelines into furniture design. In this  
research, four roles of Taiwanese Opera - Sheng, Dan, Jing, and Chou ? were  
used as the inspiration to create chairs bearing Asian influence. The results of this  
study suggest that the fashion designers of theater performance still follow  
the basic costume style from the Ming and Qing dynasties. Although the designers  
kept the basic costume style, there are new patterns incorporated into the design,  
creating a new costume altogether. These four chairs were designed to demonstrate  
the application of these guidelines and the DFCEICD design process frame and  
exhibit the developing trend of modernized classics. 
 Designers may use these guidelines for the head ornament, body, and shoes and  
apply them to the top, middle, and bottom part of a chair, and thereby choose the  
style concept from the composition. Moreover, the developments of function and  
manufacturing must be integrated in the style concept. As there are four guidelines  
and several items in each guideline, many different combinations are possible.  
 These design guidelines are used to help the designer build Taiwanese Opera  
or Asian style chair. This in turn will perpetuate the unique culture of the Taiwanese  
Opera. 
 
 
 138
Suggestion for future research: 
 
 Due to the limits of funding, research personnel, and time, some things were  
unable to be completely analyzed, such as: 
 1. Each role has more than one type, such as Sheng has two types of roles: one  
a scholar and the other a martial artist role. Because of time limitations, only 
one role was analyzed. Therefore, the research could continue to study it and 
develop the role?s design guideline. 
 2. The research could develop the other process frame to apply on other 
products, such as electronics, tableware, etc. 
 3. This is not the only solution which demonstrates how to apply these design 
elements, the researcher could develop other methods to study the design 
elements of Taiwanese Opera costumes. 
 
 
 
 
 
 
 
 
 
 
 
 
 139
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Pictures:  
Hakka blue shirt  
http://www.flickr.com/photos/lu_s/3172974239/ 
Japanese kimono, 1938 
http://www.bookmice.net/darkchilde/japan/khist10.html 
Televised Taiwanese Opera & Theater performance 
http://140.124.25.14/.../part_5/item_1_3.htm 
Red sandalwood Ruyi 
http://www.jysls.com/thread-229269-1-1.html 
Qi shoes ??  
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Chinese wine cups in Qing dynasty   
http://zjjixs.blog.163.com/ 
 
 145
Embroidered shoes ??  or ??  
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 Bronze ware 
  http://detail.china.alibaba.com/.../239709643.html 
Blind tenon, Straight tenon joint & Corner bridle joint -Various mortise and 
tenon joints   
http://www.lowes.com 
Through dovetail joint, Half-blind dovetail joint, & Doweled joint 
 http://www.efi-costarica.com/antique-furniture-joints.html 
Half-blind dovetail joint  
http://en.wikipedia.org/wiki/File:Joinery-halfblinddovetail.gif 
Tapered finger joint  
http://www.franklinadhesives.com/Wood-Adhesives-US/Wood-Adhesives/a
pplication/Finger-Joint.aspx 
Cross half lap joint  
  http://www.diyinfo.org/wiki/What_Are_Angle_Or_Cross_Timber_Joints 
Tongue and groove joint 
http://www.mplustimber.com/parquet.html 
 
 146
 147
Appropriate S-shaped curve of the spine  
http://www.allsteeloffice.com 
    Down Under Company 
   http://www.downunderchicago.com/op-human-scale-freedom-chair.html