<?xml version="1.1" encoding="utf-8"?>
<article xsi:noNamespaceSchemaLocation="http://jats.nlm.nih.gov/publishing/1.1/xsd/JATS-journalpublishing1-mathml3.xsd" dtd-version="1.1" xmlns:xlink="http://www.w3.org/1999/xlink" xmlns:mml="http://www.w3.org/1998/Math/MathML" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance"><front><journal-meta><journal-id journal-id-type="publisher-id">erd</journal-id><journal-title-group><journal-title>Education Reform and Development</journal-title></journal-title-group><issn>2652-5364</issn><eissn>2652-5372</eissn><publisher><publisher-name>Bio-Byword Scientific Publishing Pty. Ltd.</publisher-name></publisher></journal-meta><article-meta><article-id pub-id-type="doi">10.26689/erd.v7i3.10079</article-id><article-categories><subj-group subj-group-type="heading"><subject>Article</subject></subj-group></article-categories><title>An Exploration of the Artistic Nature of Contemporary Chinese Character Posters</title><url>https://artdesignp.com/journal/erd/7/3/10.26689/erd.v7i3.10079</url><author>YueYajuan,SergelenBatchuluun</author><pub-date pub-type="publication-year"><year>2025</year></pub-date><volume>7</volume><issue>3</issue><history><date date-type="pub"><published-time>2025-04-03</published-time></date></history><abstract>This article explores the artistic characteristics of contemporary Chinese character posters from the perspective of Roland Barthes’ semiotics. In the process, the method of work exposition and case analysis is used, and the artistic interpretation is combined with historical, social and cultural factors. Through analysis, it is concluded that Chinese character design is the “content symbol” of posters, Chinese character posters are the “visual representation” of Chinese aesthetic paradigms, and the contemporary artistic expression of Chinese character posters. The article proposes that Chinese character posters will exist and develop as independent works of art in the Chinese design environment. Chinese character posters will also become an important link between China’s cross-cultural communication and Chinese character culture, integrating multiple factors such as culture, art, concepts, and politics.</abstract><keywords/></article-meta></front><body/><back><ref-list><ref id="B1" content-type="article"><label>1</label><element-citation publication-type="journal"><p>Bourdieu P, 1993, The Field of Cultural Production. Polity, 29–73.</p><pub-id pub-id-type="doi"/></element-citation></ref><ref id="B2" content-type="article"><label>2</label><element-citation publication-type="journal"><p>MacIntosh-Murray A, 2007, Poster Presentations as a Genre in Knowledge Communication. Science Communication, 28(3): 347–376.</p><pub-id pub-id-type="doi"/></element-citation></ref><ref id="B3" content-type="article"><label>3</label><element-citation publication-type="journal"><p>Hewitt J, 2007, Designing the Poster in England, 1890–1914. Early Popular Visual Culture, 5(1): 57–70.</p><pub-id pub-id-type="doi"/></element-citation></ref><ref id="B4" content-type="article"><label>4</label><element-citation publication-type="journal"><p>He J, 2023, Exploration of the Design Form of Contemporary Art Exhibition Posters. Beauty and Times (Part 1), 2023(10): 74–78.</p><pub-id pub-id-type="doi"/></element-citation></ref><ref id="B5" content-type="article"><label>5</label><element-citation publication-type="journal"><p>Deng Z, 2024, Functional Interpretation of the Official Poster of the 2024 Paris Olympic Games. Sports Boutique, 43(7): 76–79.</p><pub-id pub-id-type="doi"/></element-citation></ref><ref id="B6" content-type="article"><label>6</label><element-citation publication-type="journal"><p>Wei X, 2023, The Historical Evolution of Movie Poster Design Forms. Popular Literature and Art, 2023(8): 52–54.</p><pub-id pub-id-type="doi"/></element-citation></ref><ref id="B7" content-type="article"><label>7</label><element-citation publication-type="journal"><p>Barthes R, 2020, Semiotic Aesthetics. Liaoning People’s Publishing House, Liaoning, 58.</p><pub-id pub-id-type="doi"/></element-citation></ref><ref id="B8" content-type="article"><label>8</label><element-citation publication-type="journal"><p>Zhou J, 2020, Semiotic Theory and Characteristics of Chinese Characters. Educational Media Research, 2020(1): 49–52.</p><pub-id pub-id-type="doi"/></element-citation></ref><ref id="B9" content-type="article"><label>9</label><element-citation publication-type="journal"><p>Wang B, Li M, 2022, Penetration of Chinese Elements in Jin Daiqiang’s Poster Design Works. Footwear Technology and Design, 2(7): 110–112.</p><pub-id pub-id-type="doi"/></element-citation></ref><ref id="B10" content-type="article"><label>10</label><element-citation publication-type="journal"><p>Zhu L, 2020, Semiotic Perspective on the Beauty of Chinese Characters. Journal of School of Literature, Nanjing Normal University, 2020(4): 91–98.</p><pub-id pub-id-type="doi"/></element-citation></ref><ref id="B11" content-type="article"><label>11</label><element-citation publication-type="journal"><p>Zhang Y, 2023, Application of Blank Art in Poster Design. Tiangong, 2023(23): 57–59.</p><pub-id pub-id-type="doi"/></element-citation></ref><ref id="B12" content-type="article"><label>12</label><element-citation publication-type="journal"><p>Barthes R, 2020, Semiotic Aesthetics. Liaoning People’s Publishing House, Liaoning, 35.</p><pub-id pub-id-type="doi"/></element-citation></ref><ref id="B13" content-type="article"><label>13</label><element-citation publication-type="journal"><p>Zhou X, 2023, Research on Visual Culture in Contemporary China. Social Sciences Academic Press, Beijing, 26.</p><pub-id pub-id-type="doi"/></element-citation></ref><ref id="B14" content-type="article"><label>14</label><element-citation publication-type="journal"><p>Li X, 2020, Modern Font Posters in the Context of Chinese Character Culture. Art Sea, 2020(5): 68–69.</p><pub-id pub-id-type="doi"/></element-citation></ref><ref id="B15" content-type="article"><label>15</label><element-citation publication-type="journal"><p>Zhang A, 2020, Exploration on the Design Origin of the Transformation of “Form and Meaning” of Chinese Character Posters. Hunan Packaging, 35(4): 14–16 + 28.</p><pub-id pub-id-type="doi"/></element-citation></ref></ref-list></back></article>
