随着全球化进程的加速和文化多元化现象日益凸显, 非物质文化遗产的保护及传承成为社会的热点问题之一。关中地区民间布艺虎作为中国传统文化的重要组成部分,承载着丰富的历史信息和内涵,展现了关中地区人民的智慧与审美情趣。然而,在现代社会快速发展的背景下,布艺虎面临着创新乏力、传承人缺乏、传承方式转变等诸多困境。为破解关中民间布艺虎文化在当代传承中创新性表现不足及符号意义消解问题，本文基于皮尔斯符号学的系统性分类与转译的理论模型, 在传统符号与现代设计理念间建立有效链接，旨在解决传统符号与现代设计需求的断裂难题。主要的研究工作如下:

（1）从符号学角度出发,对关中地区民间布艺虎的现状及研究方法进行文献综述,明确关中地区民间布艺虎形象符号化的优缺点与侧重点,找出其存在的问题,为后续有针对性的解决问题奠定基础。

（2）对关中地区民间布艺虎形象的基本构成和设计要素进行调研与确定, 以皮尔斯符号学三元论（符号对象、再现体、解释项）为理论基石，构建一套较为完整的关中地区民间布艺虎形象符号化分析与转译的设计方法与理论体系。

（3）基于皮尔斯符号学理论，构建“时间—空间—内涵”三维符号分类模型,并结合皮尔斯符号三分法（直接解释项、动力解释项、最终解释项）在时间维度基因存续（如传统工艺保留）、空间维度场景创新（如社群互动体验）、内涵维度意义升华（如文化自信传递）间形成协同，其方法论可迁移至其他民俗艺术领域，为传统文化在当代语境中的活态传承提供“符号学分析—层级解构—创新转译”的系统性范式，助力非遗文化在全球化背景下的价值再生与可持续传播。

（4）构建关中地区民间布艺虎形象的文化转译路径。通过与符号三分法（直接解释项、动力解释项、最终解释项）的结合,提出关中地区民间布艺虎的文化转译策略,有效衔接传统符号的深层意义与现当代设计需求,推动关中地区民间布艺虎从“信仰符号”向“文化消费符号”的转译。创新性引入“新解释者群体”（设计师、消费者、技术用户等），构建“符号解析—转译重构—再分析衍义”的动态闭环路径实现文化基因的活态化传承。

（5）以关中地区的民间布艺虎形象为研究对象,对上述提出的符号分析与设计转译策略进行验证,为非遗保护提供了兼顾文化内核与市场活力的实践范式。此类策略有一定的通用性,可拓展至其他民俗艺术领域,助力传统文化再全球化语境中的可持续发展。

本研究不仅可以为关中地区民间布艺虎的非遗保护提供理论支撑与实践范式,其方法论可拓展至其他民俗艺术领域,助力传统文化在全球化语境下的可持续发展。

With accelerated globalization and heightened cultural diversity, the protection and transmission of Intangible Cultural Heritage have become pressing societal concerns. As a vital component of Chinese traditional culture, Guanzhong folk cloth tiger art embodies profound historical and cultural significance, reflecting the wisdom and aesthetic sensibilities of local communities. However, rapid modernization has exposed this craft to challenges such as insufficient innovation, lack of inheritors, and evolving transmission paradigms. To address the diminished innovative expression and semiotic devaluation in contemporary heritage practices, this study employs Peircean semiotic frameworks of systematic classification and translational interpretation, establishing interdisciplinary connections between traditional symbols and modern design principles. The study conducts the following research initiatives:

(1) From the perspective of semiotics, a literature review is conducted on the current situation and research methods of the folk cloth tiger in the Guanzhong region, clarifying the advantages and disadvantages and key points of the symbolization of the folk cloth tiger image in the Guanzhong region, and identifying the existing problems, laying the foundation for targeted problem-solving in the future.

(2) Conduct research and determine the basic composition and design elements of the folk cloth tiger image in the Guanzhong region, and based on Peirce's triadic theory of semiotics, construct a relatively complete design method and theoretical system for the symbolization analysis and translation of the folk cloth tiger image in the Guanzhong region.

(3) Based on Peirce's semiotic theory, a three-dimensional symbol classification model of "time-space-connotation" is constructed, and combined with Peirce's three-part method of interpretation, a synergy is formed in the time dimension of gene preservation, the space dimension of scene innovation, and the connotation dimension of meaning elevation. The methodological approach can be transferred to other folk art fields, providing a systematic paradigm of "semiotic analysis-hierarchical deconstruction-innovative translation" for the dynamic inheritance of traditional culture in the contemporary context, and assisting in the value regeneration and sustainable dissemination of intangible cultural heritage in the context of globalization.

(4) Constructing the cultural translation pathway for Guanzhong folk cloth tiger imagery, this study proposes a Peircean semiotic strategy through triadic interpretant methodology. This framework bridges traditional symbolism's semantic depth with contemporary design imperatives, facilitating the artifact's evolution from "belief symbol" to "cultural consumption symbol". By innovatively engaging new interpreter communities, we establish a dynamic closed-loop system of symbolic analysis → translational reconstruction → reinterpretive derivation, enabling cultural gene reactivation through iterative semiotic regeneration.

(5) Taking the folk cloth tiger image in the Guanzhong region as the research object, the above-mentioned symbol analysis and design translation strategies are verified, providing a practical model that takes into account cultural core and market vitality for intangible cultural heritage protection. Such strategies have certain universality and can be extended to other folk art fields, assisting in the sustainable development of traditional culture in the context of re-globalization.

This study provides theoretical-practical frameworks for safeguarding Guanzhong folk cloth tiger heritage, while its methodology extends to broader folk arts, promoting traditional culture's sustainable globalization-era development.

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