A Multidimensional Evaluation-Based Reinterpretation of the Cultural Heritage Value of Blue-and-White Porcelain Patterns in Contemporary Design

Abstract

Blue-and-white porcelain patterns embody rich symbolic meanings and play a pivotal role in the transmission of Chinese intangible cultural heritage. However, their contemporary application often faces challenges due to complex visual forms and contextual interpretations. This study adopts a semiotic perspective to reinterpret blue-and-white porcelain motifs as cultural heritage symbols, aiming to assess their potential for sustainable preservation and modern revitalization. A hybrid evaluation framework is proposed, combining Grey System Theory and the Fuzzy Evaluation Method to quantitatively analyze 40 representative patterns across five key dimensions: cultural symbolism, esthetic value, communicative potential, modern applicability, and sustainability. Data were collected from expert panels, public surveys, and market performance, with the Analytic Hierarchy Process (AHP) employed to determine the relative importance of each dimension. The results reveal that plant and geometric patterns exhibit high adaptability and symbolic clarity, making them ideal for reinterpretation in modern design. Conversely, complex narrative and animal-based motifs demonstrate weaker performance in communicative efficiency and sustainability, indicating the need for visual simplification and semantic transformation. This study provides a theoretical and methodological foundation for the revitalization of traditional porcelain heritage in contemporary design practice, contributing to the global dissemination and sustainable development of cultural heritage symbols.

1. Introduction

Blue-and-white porcelain patterns represent a significant component of traditional Chinese cultural heritage, integrating Confucian, Buddhist, and Taoist philosophies into a unique symbolic system [1]. Since the Yuan Dynasty, the blue-and-white coloration and delicate motifs have epitomized ancient Chinese craftsmanship [2], reflecting traditional Chinese views of nature and philosophical thought [3]. Patterns featuring plants, animals, and historical figures carry profound symbolic meanings [4]. For instance, plant patterns such as the lotus symbolize purity, while peonies represent wealth. Animal motifs like dragons and phoenixes denote authority and prestige, and bats are associated with blessings due to phonetic similarity with the Chinese character “Fu” (福) [5]. These motifs embody esthetic values and reflect societal values and philosophical ideas through specific cultural contexts [6]. Additionally, poems and paintings depicted on porcelain further deepen the cultural significance of these patterns, highlighting the era’s cultural landscape and literati sentiments [7]. Thus, blue-and-white porcelain encompasses diverse motifs, including plants, animals, human narratives, and geometric designs, each with distinctive cultural implications and historical backgrounds, solidifying their role as key symbols of Chinese culture [8].

In recent years, driven by diverse global design trends and growing awareness of digital preservation for cultural heritage [9], blue-and-white porcelain patterns have gained increased attention and prominence in contemporary design. Renowned fashion brand Prada, for example, integrated iconic blue-and-white color tones and traditional floral motifs into their fashion collections, creating culturally symbolic modern garments. Dutch designer Marcel Wanders collaborated with Moooi, applying blue-and-white porcelain patterns to furniture and home décor, demonstrating a cross-cultural fusion of Eastern and Western esthetics. Within the evolving paradigm of sustainable design, innovative utilization of traditional cultural symbols such as blue-and-white porcelain, and assessing their potential from a sustainable perspective, has become a focal point in academia and the design industry [10]. Globalization necessitates contemporary design not only to possess visual appeal but also to balance cultural inheritance and innovation [11]. The widespread adoption of sustainable design principles has prompted a reevaluation of traditional cultural symbols’ roles in design, stimulating further exploration into sustainability throughout their design, production, and usage phases [12].

Semiotics offers a significant perspective for analyzing the sustainability of cultural symbols [13], comprising signifiers, signified meanings, and interpretations [14]. For instance, the Confucian ideal of “harmony and balance” is embodied in the color palette of blue-and-white porcelain, while motifs like plum blossoms, orchids, bamboo, and chrysanthemums represent Confucian virtues. Buddhism significantly influences patterns as well, notably the lotus, symbolizing purity and nirvana [15]. Semiotic analysis elucidates both the denotative relations between symbols and their meanings [16], and connotative relations through interpretation by diverse cultures [17]. For example, dragon and phoenix motifs symbolize power and nobility in Chinese culture but may carry different connotations elsewhere, reflecting shifts in symbolic meanings across cultural contexts [18]. Cultural symbols thus not only encapsulate historical memories, societal values, and collective identities but also play a pivotal role in achieving cultural sustainability. Sustainable symbolic practices involve perpetuating influence and fostering new cultural meanings [19]. Through deliberate design and innovation, cultural symbols can sustain cultural transmission and enhance social cohesion, extending beyond visual representation to encompass cultural communication in globalized, modern contexts [20].

Semiotic theory provides a foundational lens for understanding how blue-and-white porcelain patterns function as cultural symbols. Rooted in the classical tripartite structure of signifier, signified, and meaning—as developed by Saussure and later expanded by Barthes—semiotics enables a systematic exploration of how visual motifs convey both explicit denotations and culturally embedded connotations. In the context of blue-and-white porcelain, visual forms such as the lotus, dragon, or phoenix not only represent esthetic or decorative values but also embody deeply rooted social codes, religious beliefs, and philosophical ideologies. These symbols operate within a dynamic semiotic system where meaning evolves across time and cultural boundaries, contributing to cultural continuity and reinterpretation. In parallel, the concept of cultural sustainability has gained increasing scholarly attention, particularly in relation to design heritage. Rather than merely preserving artifacts or replicating visual motifs, cultural sustainability emphasizes the ongoing transmission, reinterpretation, and contextual adaptation of cultural knowledge. It encompasses intangible elements such as symbolic meaning, collective identity, and historical consciousness, and seeks to balance heritage preservation with innovation. Cultural sustainability thus implies a commitment to safeguarding cultural memory while ensuring its relevance in modern and future contexts. In this sense, blue-and-white porcelain patterns are not only cultural symbols but also symbolic assets that carry evolving cultural narratives, requiring both critical interpretation and responsible design adaptation.

Against this backdrop, the sustainable application of blue-and-white porcelain patterns faces various challenges [21], particularly maintaining their cultural essence amid innovation and achieving sustainability through contemporary design methods [22]. Therefore, evaluating cultural symbolism and the sustainability of blue-and-white porcelain patterns in contemporary design contexts serves both to preserve and inherit traditional culture and to provide innovative pathways for modern design practice [23]. Employing Grey System Theory and the Fuzzy Evaluation Method, this study systematically assesses the potential of these patterns based on visual attractiveness, cultural inheritance, design innovation, public acceptance, and sustainability. By integrating semiotics with sustainable design theory, this research aims to provide theoretical support for future cultural inheritance and innovative design endeavors.

This study addresses the following core questions:

Q1: How can scientific quantitative methods effectively assess the sustainability performance of blue-and-white porcelain patterns in contemporary design?

Q2: How can multi-layered data collection and analytical methods complement each other to comprehensively present the multidimensional values of these patterns?

Q3: Under the guidance of sustainable design principles, how can an effective balance be achieved between cultural inheritance and design innovation in blue-and-white porcelain patterns?

In previous work, we explored the use of generative AI technologies—specifically Stable Diffusion and Low-Rank Adaptation (LoRA)—to support the creative inheritance of blue-and-white porcelain cultural elements, focusing on the reconstruction of esthetic features through an AI-assisted workflow. However, that study primarily emphasized generative design processes rather than systematic evaluation [24]. In contrast, the present research aims to quantitatively assess the sustainable design potential of blue-and-white porcelain patterns within contemporary design contexts. By integrating Grey System Theory, the Analytic Hierarchy Process (AHP), and the Fuzzy Evaluation Method, this study provides a multidimensional evaluation framework that complements previous generative approaches and contributes to the discourse on sustainable cultural innovation.

2. Literature Review

2.1. Grey System Theory

Grey System Theory (GST), as a mathematical tool for quantitative analysis under conditions of uncertainty and incomplete data, has been widely applied in various evaluation and decision-making fields [25]. For instance, Ren Qiugang (2016) utilized GST to evaluate interior residential space design by constructing an evaluation index system, effectively addressing incomplete design preference information and improving evaluation accuracy, thus identifying key factors affecting interior design quality [26]. Gerus-Gościewska et al. (2019) applied GST to study residential location preferences, analyzing factors such as crime rate and social infrastructure, offering theoretical support for urban planning [27]. In the field of big data-driven art design, Huang and Tao (2023) employed grey relational analysis to assess design effectiveness, enhancing evaluation reliability through data preprocessing and accurate data detection, thus providing intelligent and efficient data analysis for art design [28].

Haiyirete et al. (2024), in a comprehensive evaluation of characteristic towns in China, integrated grey rough set theory with TOPSIS to assess economic, social, and ecological dimensions, contributing theoretical insights for urban-rural integration and sustainable development [29]. Similarly, Xiao et al. (2024) utilized ecological niche theory and grey prediction models to analyze the dynamics of regional innovation ecosystems across nine cities in Hubei Province, providing scientific bases for regional innovation policies and forecasting future development trends to support innovation-driven growth [30]. Xiaoyan Yan et al. (2023) combined entropy weighting and grey relational analysis to construct a model evaluating rural tourism development in Jiangxi Province, revealing regional disparities and highlighting financial constraints as a major limitation [31].

In service design, Liu (2021) introduced the grey DEMATEL-ANP method to sustainable product-service systems (PSS), developing a multidimensional value analysis framework to identify key factors, supporting manufacturers’ resource allocation and stakeholder coordination decisions [32]. Fan (2024) employed a prospect-grey target decision model to evaluate community elderly care service quality, recommending stratified care approaches tailored to varying disability levels, thus providing crucial guidance for enhancing care service quality [33].

In education, Guo Jingyuan (2022) [30] combined GST with fuzzy analytic hierarchy processes to evaluate physical education outcomes in universities, enhancing evaluation objectivity and precision. Collectively, these studies illustrate GST’s extensive applicability across various fields, highlighting its effectiveness in resolving uncertainties and ambiguities within complex systems [34]. The application of GST not only improves quantitative research capabilities but also provides scientific foundations for optimizing designs, services, and policy decisions.

In the current study, GST is applied to analyze cultural symbols’ performance and sustainability. Quantitative analysis of multidimensional data reveals the potential and value of cultural symbols in modern design, offering theoretical support for systematic assessment and innovative design, thereby establishing a foundation for sustainable development in cultural heritage.

2.2. Fuzzy Evaluation Method

The Fuzzy Evaluation Method, adept at handling ambiguity and uncertainty, is especially effective for quantifying subjective evaluations and uncertain data [35]. By constructing fuzzy sets and membership functions [36], this method converts ambiguous data into quantifiable scores, enabling scientific evaluations under uncertain conditions [37]. This method has broad applications in design research. For instance, Xia et al. (2021) combined Analytic Hierarchy Process (AHP) with fuzzy comprehensive evaluation to quantify user experience for health-check mobile applications aimed at elderly users, identifying key factors such as operability and information handling, thus offering design improvements [38]. Cheemakurthy and Garme (2022) employed a fuzzy AHP-based model to assess ferry design performance indices, translating operational requirements into quantifiable indicators, thus supporting public water transportation operators in design and procurement decisions [39]. Guo et al. (2022) [10] developed a fuzzy evaluation system for museum quality assessment based on visitor experience, demonstrating its practical value in quantitative user experience evaluation.

In cultural heritage and sustainability, Lin et al. (2020) utilized fuzzy evaluation and entropy methods within the UN Sustainable Development Goals framework to evaluate Suzhou’s sustainability levels across economic, social, and ecological dimensions, identifying significant differences among these dimensions and informing optimal resource allocation [40]. Zheng et al. (2023) employed fuzzy evaluation to assess cultural expression and public acceptance of the 1933 Shanghai Old Millfun industrial heritage site, demonstrating that fuzzy evaluation accurately reflects visitor preferences, reducing gaps between designers and public expectations [41].

Hung et al. (2022), using Delphi and fuzzy AHP methods, identified key factors for sustainable community care centers in Taiwan, finding management capabilities and financial resource use as most influential, thus providing management strategies to reduce reliance on government subsidies [42]. Shao et al. (2023) combined fuzzy evaluation with AHP to assess tourist satisfaction with scenic area services, identifying high demands for information services and security facilities, and recommending enhancements in smart tourism offerings [43]. Collectively, these studies demonstrate the robustness and adaptability of fuzzy evaluation, especially in subjective and uncertain data scenarios [44], significantly enhancing research objectivity and providing scientific bases for design optimization and decision-making support [45].

In this study, the fuzzy evaluation method refines the preliminary results from GST, enhancing data accuracy and reliability and providing comprehensive assessment of symbolic performance [46]. Its application allows precise quantification of cultural value, heritage significance, and sustainable design potential, supporting cultural heritage protection and innovative design.

2.3. Sustainable Design Theory

Sustainable design theory, an interdisciplinary integration of design and ecology, emphasizes environmental protection, efficient resource utilization, cultural heritage preservation, and innovation in design practices, highlighting positive societal and economic impacts [47]. Sustainable cultural symbol design requires ecological responsibility and the continuation and reinterpretation of traditional symbols to foster global cultural exchange [48]. This concept has been applied and validated across multiple domains [49].

Liburd et al. (2023) explored stakeholder-driven tourism design to enhance socio-cultural values and sustainable tourism in nature reserves, emphasizing collaborative design’s importance for socio-ecological balance [50]. Fu and Lv (2023) investigated rural environmental art design from an eco-cultural perspective, presenting rural landscape designs as sustainable pathways for rural revitalization [51].

Zhou et al. (2022) incorporated cultural heritage elements of Foshan, China, into tourism map designs, enhancing tourists’ cultural understanding and local cultural identity, achieving regional heritage sustainability [52]. Yen (2022) examined festival experience design impacts on cultural emotions, tourism motivations, and intentions, highlighting emotional experiences’ role in enhancing cultural sustainability [53].

Wang et al. (2023) developed a deep learning-driven rattan weaving pattern design method, promoting craft digitization and modernization [54]. Chen et al. (2022) applied fractal theory in ethnic costume design, exemplifying sustainable innovation in traditional attire [55]. These studies underscore that cultural heritage’s sustainable design requires interdisciplinary collaboration and innovation, revitalizing traditional culture through modern design practice and globalizing its value.

3. Research Methodology

In this study, Grey System Theory (GST) and the Fuzzy Evaluation Method are employed as the core analytical tools, primarily due to the following considerations:

Firstly, the Grey System Theory shows significant advantages in addressing problems involving small samples, incomplete information, and uncertainty [56]. Blue-and-white porcelain patterns, as typical cultural symbols, often contain fragmented historical and inherited data. Particularly in traditional crafts and art research, historical documentation or physical records are frequently incomplete, resulting in non-systematic data [57]. Conventional analytical methods, such as statistical regression or deep learning models, typically require sufficient and complete datasets and thus struggle to fully capture the potential value of blue-and-white porcelain patterns in sustainable design. In contrast, GST, through grey relational analysis, effectively identifies the hidden connections and prioritization between porcelain pattern characteristics and contemporary design needs under limited information conditions [58].

Secondly, the Fuzzy Evaluation Method excels in addressing strongly subjective assessment dimensions [59]. Evaluating blue-and-white porcelain patterns across dimensions such as cultural symbolism, esthetic value, communicative power, modern applicability, and sustainability inevitably involves subjective judgments. Traditional quantitative tools often fail to effectively integrate subjective opinions from experts and the public. However, the fuzzy evaluation method constructs a multidimensional scoring system based on fuzzy mathematics, converting subjective evaluations into quantifiable data and yielding more representative and practical outcomes. This method is particularly suitable for the complex design characteristics and rich cultural symbolism inherent in porcelain patterns.

Additionally, combining GST with fuzzy evaluation effectively integrates quantitative and qualitative analyses. While Multi-Criteria Decision-Making (MCDM) methods can assess complex systems across multiple dimensions, they rely on clearly defined weights and complete information [60]. Social Network Analysis (SNA) primarily reveals network relationships among symbols rather than directly quantifying cultural symbols’ performance in design contexts [61]. GST quantitatively prioritizes symbol features, whereas fuzzy evaluation complements this by incorporating subjective dimensions like audience feedback and cultural sustainability, resulting in more comprehensive and practically significant assessments.

As shown in

Table 1. Comparative analysis of alternative methods.

Method	Common Applications in Heritage/Design Research	Limitations with Incomplete or Subjective Data	Advantages and Justification for This Study
Regression Analysis	Model linear/nonlinear relationships; used for factor influence studies (e.g., heritage tourism impact, user behavior prediction)	Requires large, complete datasets; poorly handles missing or fragmented data; limited capacity for qualitative symbolic assessment	Inapplicable due to small sample size and high data incompleteness in cultural symbol evaluation
Deep Learning	Automated pattern recognition; used in image classification and design generation (e.g., AI-based motif generation, style transfer)	Needs extensive labeled data; low interpretability; weak suitability for subjective expert evaluation; cannot directly model symbolic sustainability	Previously used in generative design phase but unsuitable for evaluating multi-dimensional symbolic value
MCDM (AHP, DEMATEL, TOPSIS, etc.)	Multi-dimensional performance evaluation; widely used in heritage site evaluation and cultural asset prioritization	Relies on clear criteria weights; subjective weighting process sensitive to expert bias; often lacks robust handling of incomplete data	AHP was integrated for weight assignment, but full MCDM models alone cannot address data uncertainty
Social Network Analysis (SNA)	Analyzes relational structures between cultural elements, institutions, or actors	Descriptive focus on network relations; cannot quantitatively assess symbolic value or design applicability directly	Useful for mapping cultural connections but insufficient for performance evaluation of patterns
Grey System Theory (GST) + Fuzzy Evaluation (FEM) (This study)	Effective for incomplete, small-sample, and ambiguous data situations; applied in cultural symbol evaluation, design sustainability, and policy analysis	May require normalization and expert calibration; complexity increases with multi-level integration	Directly addresses limited data and subjective assessments; combines objective relational analysis (GST) and subjective scoring refinement (FEM); most suitable for evaluating cultural symbol sustainability

, GST and the fuzzy evaluation method were specifically selected for their adaptability in handling small samples and subjective data, overcoming limitations of traditional analytical tools regarding incomplete cultural symbol data [62]. The combined approach ensures scientific accuracy and comprehensiveness [63], providing a robust theoretical foundation for assessing the sustainable design potential of blue-and-white porcelain patterns.

Several methodological Innovations distinguish this study:

Novel Evaluation Dimensions: The study introduces a five-dimensional evaluation structure—cultural symbolism, esthetic value, communicative power, modern applica-bility, and sustainability—which systematically captures both cultural and design-oriented aspects of blue-and-white porcelain patterns, filling a gap in existing evaluation frameworks.

Multi-source Data Integration: Unlike most prior studies that rely solely on expert or public input, this research integrates expert scoring, public perception surveys, and market performance data. This triangulated data fusion improves both representativeness and objectivity in cultural symbol assessment.

Progressive Multi-method Synergy: The AHP method determines scientific weighting among evaluation dimensions based on expert consensus; GST processes incomplete data and extracts relational priorities; the Fuzzy Evaluation Method subsequently refines subjective uncertainties, producing a comprehensive, balanced evaluation outcome. This stepwise integration enhances both methodological rigor and practical applicability.

Application to Cultural Heritage Design Contexts: The framework addresses the unique characteristics of cultural symbol evaluation in design innovation scenarios, where fragmented historical data, subjective esthetic judgments, and dynamic sustainability considerations coexist—an area where existing models are rarely applied holistically.

This integrative approach thus contributes a structured, replicable, and adaptable model that advances the methodological toolkit for cultural heritage sustainability evaluation.

Specifically, as shown in Figure 1, we collect expert evaluations, public feedback, and market performance data, focusing particularly on five key dimensions: cultural symbolism, esthetic value, communication, modern applicability, and sustainability. The selection of the five evaluation dimensions—cultural symbolism, esthetic value, communication, modern applicability, and sustainability—was guided by existing literature on cultural heritage evaluation, design adaptation, and sustainable design practices. Cultural symbolism and esthetic value reflect the intrinsic cultural meanings and visual quality of blue-and-white porcelain patterns, which are widely emphasized in cultural symbol research. Communication and modern applicability address the patterns’ potential for reinterpretation and public resonance within contemporary design contexts, which are key concerns in modern cultural product development. Sustainability reflects the growing emphasis on cultural heritage preservation and environmentally responsible design, aligning with global sustainable design frameworks. Collectively, these dimensions offer a comprehensive structure to capture both cultural significance and design adaptability of traditional porcelain patterns under contemporary sustainable development goals.

Subsequently, the Analytic Hierarchy Process (AHP) is utilized to distribute weights among these five dimensions, ensuring a balanced evaluation framework. Combining this with Grey System Theory and the Fuzzy Evaluation Method, we perform quantitative analyses. Using Grey System Theory, we establish comparison matrices and standard reference sequences to calculate grey relational degrees between various porcelain patterns and ideal design goals, thereby identifying the priority and developmental potential of each pattern. Meanwhile, the Fuzzy Evaluation Method employs fuzzy judgment matrices to systematize and scientifically quantify multi-dimensional scoring. Integrating the analytical results from both methods, this study provides a multi-level assessment of cultural symbols in blue-and-white porcelain patterns, forming a rigorous and comprehensive theoretical framework for their innovative application in contemporary design and sustainable cultural development.

3.1. Research Objects

This study utilized Grey System Theory and the Fuzzy Evaluation Method to quantitatively analyze and comprehensively assess blue-and-white porcelain patterns. Ten professionals specialized in cultural heritage formed an expert panel, and a total of 238 valid public questionnaires were collected through online and offline channels. See

Table 2. Expert panel information.

S/N	Occupation	Age	Education
1	University professor	56	PhD
2	University Associate professor	45	PhD
3	University faculty	38	PhD
4	Graduate student	26	Master’s Degree
5	Undergraduate student	20	Bachelor’s Degree
6	Civil servant	41	Master’s Degree
7	Corporate manager	47	Bachelor’s Degree
8	Self-media operator	36	Bachelor’s Degree
9	Marketing specialist	37	Bachelor’s Degree
10	Product Designer	35	Master’s Degree

.

To ensure the reliability of the AHP pairwise comparisons and fuzzy evaluation, we established a structured expert panel composed of ten individuals selected based on their academic and professional experience in cultural heritage, visual design, and related industries. Among them, three hold PhDs and are current faculty members at universities, while the remaining members include practitioners and researchers with substantial design-related backgrounds. Importantly, the AHP pairwise comparisons were not individually conducted, but rather developed through group consensus discussion led by the three senior academic experts. The resulting judgment matrix was evaluated using the consistency index (CI) and consistency ratio (CR), which met standard thresholds (CR < 0.1), ensuring the matrix’s validity. Public survey respondents and market data contributors did not participate in any consistency-related evaluation processes. This methodological design effectively reduces the potential influence of inconsistent or underqualified inputs on AHP consistency testing and reinforces the credibility of the weighting results.

Initially, 40 representative blue-and-white porcelain patterns were selected based on expert evaluations and public surveys, encompassing plant, animal, human figure, and geometric categories to ensure diversity and comprehensiveness. Subsequently, three datasets were collected for these 40 patterns: expert evaluations, public feedback, and market performance data. Finally, GST and fuzzy evaluation were applied separately to quantitatively analyze the performance of these 40 patterns across five dimensions: cultural symbolism, esthetic value, communicative power, modern applicability, and sustainability.

3.2. Sample Selection

To ensure a broad and representative analysis of blue-and-white porcelain patterns in modern design contexts, this study selected samples from four major categories: plant patterns, animal patterns, human patterns, and geometric patterns. To ensure cultural significance and practical relevance, the selection of the 40 representatives blue-and-white porcelain patterns followed three main criteria: (1) patterns with documented historical and cultural value in classical ceramic literature and museum archives; (2) structural balance across the four categories of plant, animal, human figure, and geometric designs; and (3) applicability to modern design scenarios based on visual clarity, symbolic richness, and esthetic adaptability.

First, over 60 classical blue-and-white porcelain patterns were collected from authoritative sources, including museum collections, academic archives, and digitized heritage databases. Second, a two-stage evaluation was conducted to assess the cultural and design value of each pattern. An expert panel and a group of public respondents rated each pattern across five key dimensions—cultural symbolism, esthetic value, communicative power, modern applicability, and sustainability—using a 5-point Likert scale. The scores were normalized and aggregated to form a total score for each pattern.

Third, the top 10 scoring patterns from each category were selected to form a structurally balanced and manageable sample set of 40 patterns. This sample size enables comparative analysis across categories while maintaining analytical depth and feasibility for expert evaluation. The choice of 10 patterns per category reflects a compromise between comprehensiveness and clarity, and aligns with established practices in symbolic image analysis studies. See

Table 3. 40 pattern names.

Plant Patterns	Animal Patterns	Human Patterns	Geometric Patterns
Peony pattern	Chinese Dragon pattern	Tang Bohu Points to Autumn Fragrance	Circular pattern
Plum blossom pattern	Phoenix pattern	Eight Immortals Crossing the Sea	Square pattern
Bamboo leaf pattern	Qilin pattern	Zhou Yafu	Happiness pattern
Lotus pattern	Tiger pattern	Guiguzi Descends the Mountain	Fortune pattern
Curly grass pattern	Deer pattern	Zhaojun Goes to the Frontier	Water wave pattern
Flower pattern	Fish pattern	Yuchi Gong	Cloud pattern
Pomegranate pattern	Bat pattern	Characters from Dream of Red Mansions	Revolving pattern
Chrysanthemum pattern	Lion pattern	Characters from Journey to the West	Landscape pattern
Shaoyao pattern	Crane pattern	Three Visits to the Thatched Cottage	Wanzi pattern
Grape pattern	Eagle pattern	Meng Yuemei	Shouzi pattern

.

3.3. Data Collection and Preprocessing

Data in this study included expert evaluations, public feedback, and market performance, reducing biases from a single data source and providing comprehensive, multi-dimensional perspectives [64]. This approach ensures assessments address both the cultural-historical significance and contemporary adaptability of porcelain patterns [65].

Expert Evaluation Data: Ten experts independently scored 40 cultural symbols across five dimensions (cultural symbolism, esthetic value, communication, modern applicability, and sustainability) using a 1–100 scale, and their average scores quantified each symbol’s performance.

Public Feedback Data: A total of 238 valid questionnaires were collected via online and offline surveys, and the average ratings represented public awareness and acceptance of these patterns in contemporary life.

Market Performance Data: Using web scraping technology [66], sales data for the top 100 selling blue-and-white porcelain items on Taobao (a platform owned by Alibaba) were collected to identify pattern usage. Automated scraping scripts were executed between October 2024 and December 2025, targeting products with keywords such as “青花瓷” (blue-and-white porcelain), “碗” (bowl), “陶瓷” (ceramic), and “釉下彩” (underglaze) in their titles. From the resulting dataset, we selected the top 100 best-selling daily-use porcelain products, extracting key attributes including product name, unit price, sales volume, shop URL, and the dominant decorative pattern. After removing duplicates and low-quality entries, each product’s primary pattern type was identified, and the frequency of appearance and sales volume were aggregated by category. These aggregated sales scores were then used to calculate the performance score of each pattern in the market context, forming one of the three key data layers in our final weighted evaluation mode. This integration of consumer preference via e-commerce data enhances the practical validity of our pattern evaluation framework. Experts then evaluated these data to quantify each pattern’s real-world application effectiveness and popularity across the five dimensions.

A weighted average method was used for data preprocessing, setting weights as follows: expert evaluation data (40%), public feedback data (30%), and market performance data (30%), producing a comprehensive “Blue-and-White Porcelain Pattern Score” dataset. The weighting scheme of expert evaluation (40%), public feedback (30%), and market data (30%) was determined based on expert-informed judgment, combining practical experience from prior cultural evaluation studies and feedback from the interdisciplinary expert group involved in this research. This allocation aims to balance the theoretical depth provided by domain experts, the perceptual validity from the public, and the empirical significance of real-world sales data. See

Table 4. Comprehensive evaluation data table of 40 patterns.

Pattern	Cultural Symbolism	Esthetic Value	Communication	Modern Applicability	Sustainability
Peony pattern	94.6	92	87.8	92.3	93.8
Plum blossom pattern	94.3	92.9	79.4	91.2	93.8
Bamboo leaf pattern	65.4	67.2	65.8	66.5	66.6
Lotus pattern	94.6	94.8	94.8	93.8	95.4
Curly grass pattern	62.7	66.3	65.4	66.6	66.2
Flower pattern	92.8	95.4	88.2	95.7	94.1
Pomegranate pattern	63.1	64.7	63.3	63.3	63.8
Chrysanthemum pattern	92.7	92.2	69.7	90.4	92.4
Shaoyao pattern	90.9	90	69.8	88.9	91.8
Grape pattern	64.3	66.2	64.3	65	64.5
Chinese Dragon pattern	94.7	88.8	77.7	89	93.4
Phoenix pattern	94.4	88.8	74.7	89	93.4
Qilin pattern	65.2	58.9	61	56.3	58
Tiger pattern	63.9	57.4	57.8	56.6	57.5
Deer pattern	63.3	58.7	58.6	57.5	57.4
Fish pattern	95	91.1	75.9	90.5	94.7
Bat pattern	66.8	56.6	57.5	56.3	56.6
Lion pattern	62.7	57.3	57.3	56.4	57.1
Crane pattern	64	58.3	58.6	58.3	58
Eagle pattern	58.9	57.3	56.4	56.4	56.4
Tang Bohu Points to Autumn Fragrance	65.9	61.5	66.2	56.3	58
Eight Immortals Crossing the Sea	65.6	57.3	65.9	56.3	56
Zhou Yafu	64.4	57.1	64.8	56	56
Guiguzi Descends the Mountain	64.9	57.7	64.9	56.6	56.3
Zhaojun Goes to the Frontier	65.9	58.4	65.1	57	56
Yuchi Gong	65.2	57	64.8	56.6	56.7
Characters from Dream of Red Mansions	66.2	59.2	66.2	56.9	57
Characters from Journey to the West	67.2	58.3	66.9	57.6	57.3
Three Visits to the Thatched Cottage	65.7	57.8	65.9	57.2	57.6
Meng Yuemei	62.4	58.9	63.4	56.3	56.4
Circular pattern	89.1	91.8	71.6	85.3	84.4
Square pattern	62.1	64	64.4	58.6	57.7
Happiness pattern	94.1	94.1	72.2	87.8	88.4
Fortune pattern	94.7	94.1	75.5	88.9	89.8
Water wave pattern	94.1	94.2	82.9	87	89.6
Cloud pattern	65.3	65.8	66.2	60.3	61.2
Revolving pattern	93.2	94.6	77	88.8	90.5
Landscape pattern	93.7	91.1	83.2	89	91.6
Wanzi pattern	93.7	94.7	70.7	91.7	92.4
Shouzi pattern	94.7	95.4	73.7	92.4	94.1

.

This study involved expert consultation and the collection of public survey data. Prior to data collection, all participants were informed of the research purpose, data usage, and anonymity guarantees. Participation was entirely voluntary, and informed consent was obtained from all respondents. No personal or sensitive information was collected. For the expert panel, consent was obtained in written form. For public survey respondents, consent was obtained through an electronic agreement prior to questionnaire submission.

To ensure comparability, data normalization was performed on all datasets [67], scaling values to the [0, 1] range using the following formula:

$$X^{\prime }={\displaystyle \frac{X-X_{min}}{X_{max}-X_{min}}}$$

where X represents the original value, and X_min and X_max represent the minimum and maximum values in each dimension.

For example, the “lotus pattern” had original dimension scores: cultural symbolism (94.6), esthetic value (94.8), communicative power (94.8), modern applicability (93.8), and sustainability (95.4). Normalize the “Lotus Pattern” across all dimensions based on the minimum and maximum values in the dataset. The specific results are as follows:

$$X_{\mathrm{Cultural}\mathrm{symbolism}}={\displaystyle \frac{94.6-58.9}{94.6-58.9}}=0.95$$

$$X_{\mathrm{Esthetic}\mathrm{value}}^{\prime }={\displaystyle \frac{94.8-56.6}{95.4-56.6}}=0.98$$

$$X_{\mathrm{Communication}}^{\prime }={\displaystyle \frac{96.4-57.2}{96.4-57.2}}=1.000$$

$$X_{\mathrm{Modern}\mathrm{applicability}}^{\prime }={\displaystyle \frac{93.8-56.3}{94.2-56.3}}=0.99$$

$$X_{\mathrm{Sustainability}}^{\prime }={\displaystyle \frac{95.4-56.3}{95.4-56.3}}=1.000$$

After normalization, the lotus pattern’s scores approached 1 in all dimensions, indicating exceptional performance across all evaluated metrics. Similar normalization was applied to the remaining 39 porcelain patterns. See

Table 5. Pattern Score Table after Data Normalization.

Pattern	Cultural Symbolism	Esthetic Value	Communication	Modern Applicability	Sustainability
Peony pattern	0.95	0.91	0.78	0.95	0.96
Plum blossom pattern	0.94	0.94	0.57	0.92	0.95
Bamboo leaf pattern	0.17	0.27	0.22	0.27	0.26
Lotus pattern	0.95	0.98	1	0.99	1
Curly grass pattern	0.1	0.25	0.21	0.27	0.25
Flower pattern	0.9	1	0.82	1	0.97
Pomegranate pattern	0.11	0.21	0.16	0.18	0.19
Chrysanthemum pattern	0.9	0.92	0.18	0.95	0.92
Shaoyao pattern	0.85	0.86	0.32	0.86	0.9
Grape pattern	0.14	0.25	0.18	0.24	0.24
Chinese Dragon pattern	0.95	0.82	0.52	0.74	0.9
Phoenix pattern	0.95	0.83	0.23	0.79	0.93
Qilin pattern	0.17	0.71	0.7	0.66	0.73
Tiger pattern	0.13	0.02	0.2	0.26	0.26
Deer pattern	0.12	0.05	0.04	0.03	0.03
Fish pattern	0.96	0.89	0.8	0.86	0.97
Bat pattern	0.21	0	0.01	0.01	0.01
Lion pattern	0.1	0.02	0	0	0
Crane pattern	0.16	0.05	0.04	0	0
Eagle pattern	0	0.02	0	0	0
Tang Bohu Points to Autumn Fragrance	0.19	0.13	0.13	0.22	0.21
Eight Immortals Crossing the Sea	0.19	0.02	0	0	0
Zhou Yafu	0.15	0.01	0.19	0	0
Guiguzi Descends the Mountain	0.16	0.03	0.19	0	0
Zhaojun Goes to the Frontier	0.19	0.05	0.2	0.03	0
Yuchi Gong	0.19	0.07	0.19	0.02	0.03
Characters from Dream of Red Mansions	0.2	0.04	0.25	0.03	0.03
Characters from Journey to the West	0.18	0.04	0.25	0.03	0.03
Three Visits to the Thatched Cottage	0.09	0.06	0.16	0	0
Meng Yuemei	0.81	0.91	0.37	0.77	0.72
Circular pattern	0.94	0.96	0.19	0.92	0.95
Square pattern	0.95	0.97	0.38	0.83	0.98
Happiness pattern	0.94	0.92	0.19	0.8	0.95
Fortune pattern	0.91	0.91	0.19	0.95	0.97
Water wave pattern	0.17	0.27	0.22	0.27	0.26
Cloud pattern	0.94	0.96	0.19	0.92	0.95
Revolving pattern	1	0.97	0.39	0.95	0.98
Landscape pattern	0.95	0.97	0.38	0.93	0.98
Wanzi pattern	0.91	0.92	0.19	0.95	0.97
Shouzi pattern	0.95	0.97	0.38	0.95	0.98

.

4. Research Process

4.1. Weight Allocation Using Analytic Hierarchy Process (AHP)

To construct a scientifically grounded and interpretable AHP hierarchy for evaluating the sustainable design potential of blue-and-white porcelain patterns, a three-level structure was established. This hierarchy includes:

Goal level: Overall assessment of pattern sustainability.

Criteria level: Five evaluation dimensions—cultural symbolism, esthetic value, communication power, modern applicability, and sustainability.

Alternative level: The 40 selected pattern samples.

The five criteria at the second level were derived through an integrated expert-informed process. Specifically, the research team conducted several rounds of discussions with cultural heritage experts and design practitioners to identify key factors commonly considered in evaluating traditional patterns within modern design contexts. These discussions were supplemented by preliminary analysis of related studies on heritage pattern evaluation and visual communication in design.

To ensure construct validity, the final hierarchy was reviewed and approved by a panel of 10 domain experts who also participated in the subsequent pairwise comparison and weighting processes. This approach ensured that the structure reflects both domain-relevant insights and practical design considerations, while avoiding excessive complexity. This study specifically calculates weights for the five dimensions at the criterion level. As shown in Figure 2.

A panel of ten experts conducted pairwise comparisons among these five dimensions to quantify their relative importance [68]. To minimize subjective bias, the AHP nine-point scale was employed (1, 3, 5, 7, 9 representing equal, slightly more, clearly more, strongly more, and extremely more important, respectively; 2, 4, 6, 8 as intermediate values). Pairwise comparisons produced the judgment matrix [69]. See

Table 6. Judgment matrix.

Assigned Value	Meaning
1	Indicates that the two factors are equally important.
3	Indicates that one factor is slightly more important than the other.
5	Indicates that one factor is moderately more important than the other.
7	Indicates that one factor is strongly more important than the other.
9	Indicates that one factor is extremely more important than the other.
1/3	Indicates that one factor is slightly less important than the other.
1/5	Indicates that one factor is moderately less important than the other.
1/7	Indicates that one factor is much less important than the other.
1/9	Indicates that one factor is extremely less important than the other.
2, 4, 6, 8	Indicates that the importance between the two factors lies between two adjacent levels.

and

Table 7. Pairwise Comparison Matrix.

	B1	B2	B3	B4	B5
B1	1	1	3	1	4
B2	1	1	2	1	3
B3	1/3	1/2	1	1/2	2
B4	1	1	2	1	2
B5	1/4	1/3	1/2	1/2	1

.

Summation of each column yielded a column-sum vector: [3.5333, 3.6667, 10.3333, 4.3333, 13.0]. A normalized judgment matrix was derived from the column-sum vector. See

Table 8. Pairwise Comparison Matrix.

	B1	B2	B3	B4	B5
B1	0.2791	0.2609	0.3529	0.25	0.3333
B2	0.2791	0.2609	0.2353	0.25	0.25
B3	0.093	0.1304	0.1176	0.125	0.1667
B4	0.2791	0.2609	0.2353	0.25	0.1667
B5	0.0698	0.087	0.0588	0.125	0.0833

.

Using the weight calculation formula, the average of each row in the normalized matrix produced the weight vector. See

Table 9. Weighted Score.

Serial Number	Weighted Score
B1	30%
B2	25%
B3	13%
B4	24%
B5	8%

.

$$\mathrm{Weight}={\displaystyle \frac{\sum _{j=1}^n{a}_{ij}}{n}}$$

$$\begin{array}{c}\mathrm{B}1:{\displaystyle \frac{0.2791+0.2609+0.3529+0.2500+0.3333}{5}}=0.2952\\ \mathrm{B}2:{\displaystyle \frac{0.2791+0.2609+0.2353+0.2500+0.2500}{5}}=0.2550\\ \mathrm{B}3:{\displaystyle \frac{0.0930+0.1304+0.1176+0.1250+0.1667}{5}}=0.1266\\ \mathrm{B}4:{\displaystyle \frac{0.2791+0.2609+0.2353+0.2500+0.1667}{5}}=0.2384\\ \mathrm{B}5:{\displaystyle \frac{0.0698+0.0870+0.0588+0.1250+0.0833}{5}}=0.0848\end{array}$$

To validate consistency, the Consistency Index (CI) and Consistency Ratio (CR) were calculated. First, the maximum eigenvalue (λ_max) was determined by multiplying the original judgment matrix by the weight vector, dividing each element of the resulting weighted sum vector by corresponding weights, and averaging the results. For a matrix dimension of n = 5, the Random Consistency Index (RI) was 1.12.

$${\lambda }_{max}={\displaystyle \frac{\sum \left(\frac{WeightedSumVector}{WeightVector}\right)}{n}}$$

$${\lambda }_{max}={\displaystyle \frac{\frac{1.5074}{0.2952}+\frac{1.2961}{0.2550}+\frac{0.6412}{0.1266}+\frac{1.2113}{0.2384}+\frac{0.4261}{0.0848}}{5}}=5.0724$$

$$CI={\displaystyle \frac{{\lambda }_{max}-n}{n-1}}$$

$$CI={\displaystyle \frac{5.0724-5}{5-1}}=0.0181$$

Calculating the consistency ratio (CR):

$$CR={\displaystyle \frac{CI}{RI}}$$

$$CR={\displaystyle \frac{0.0181}{1.12}}=0.0162$$

The calculated CR was 0.0162, below the 0.1 threshold, confirming acceptable consistency and reliability. After expert evaluation, AHP calculation, and consistency verification, final weights were assigned: cultural symbolism (30%), esthetic value (25%), communication (13%), modern applicability (24%), and sustainability (8%).

4.2. Calculation of Grey Relational Degrees

Taking the “lotus pattern” as an example, normalized values were cultural symbolism (0.99), esthetic value (0.98), communicative power (1.000), modern applicability (0.95), and sustainability (1.000). Absolute differences between “lotus pattern” and reference sequences were computed.

$${\xi }_i(k)={\displaystyle \frac{\underset{\forall i}{min}\underset{\forall k}{min}|x_0(k)-x_i(k)|+\rho \cdot \underset{\forall i}{max}\underset{\forall k}{max}|x_0(k)-x_i(k)|}{|x_0(k)-x_i(k)|+\rho \cdot \underset{\forall i}{max}\underset{\forall k}{max}|x_0(k)-x_i(k)|}}$$

According to the formula,

$${\xi }_i(1)={\displaystyle \frac{0+0.5\cdot 1.00}{0.05+0.5\cdot 1.00}}$$

the calculated result is ξi (1) = 0.9091.

The grey correlation degree of lotus pattern in cultural symbolism is 0.9091.

For cultural symbolism, the grey relational degree of the “lotus pattern” was calculated as 0.968. Following the same method, relational degrees for other dimensions were calculated: esthetic value (0.9615), Communication (1.000), modern applicability (0.9804), and sustainability (1.000). Similar calculations were conducted for all 40 patterns across the five dimensions. See

Table 10. Relevance scores of 40 patterns.

Pattern	Cultural Symbolism	Esthetic Value	Communication	Modern Applicability	Sustainability
Peony pattern	0.9091	0.8475	0.6944	0.9091	0.9259
Plum blossom pattern	0.8929	0.8929	0.5376	0.8621	0.9091
Bamboo leaf pattern	0.3759	0.4065	0.3906	0.4065	0.4032
Lotus pattern	0.9091	0.9615	1	0.9804	1
Curly grass pattern	0.3571	0.4	0.3876	0.4065	0.4
Flower pattern	0.8333	1	0.7353	1	0.9434
Pomegranate pattern	0.3597	0.3876	0.3731	0.3788	0.3817
Chrysanthemum pattern	0.8333	0.8621	0.3788	0.9091	0.8621
Shaoyao pattern	0.7692	0.7812	0.4237	0.7812	0.8333
Grape pattern	0.3676	0.4	0.3788	0.3968	0.3968
Chinese Dragon pattern	0.9091	0.7353	0.5102	0.6579	0.8333
Phoenix pattern	0.9091	0.7463	0.3937	0.7042	0.8772
Qilin pattern	0.3759	0.6329	0.625	0.5952	0.6494
Tiger pattern	0.365	0.3378	0.3846	0.4032	0.4032
Deer pattern	0.3623	0.3448	0.3425	0.3401	0.3401
Fish pattern	0.9259	0.8197	0.7143	0.7812	0.9434
Bat pattern	0.3876	0.3333	0.3356	0.3356	0.3356
Lion pattern	0.3571	0.3378	0.3333	0.3333	0.3333
Crane pattern	0.3731	0.3448	0.3425	0.3333	0.3333
Eagle pattern	0.3333	0.3378	0.3333	0.3333	0.3333
Tang Bohu Points to Autumn Fragrance	0.3817	0.365	0.365	0.3906	0.3876
Eight Immortals Crossing the Sea	0.3817	0.3378	0.3333	0.3333	0.3333
Zhou Yafu	0.3704	0.3356	0.3817	0.3333	0.3333
Guiguzi Descends the Mountain	0.3731	0.3401	0.3817	0.3333	0.3333
Zhaojun Goes to the Frontier	0.3817	0.3448	0.3846	0.3401	0.3333
Yuchi Gong	0.3817	0.3497	0.3817	0.3378	0.3401
Characters from Dream of Red Mansions	0.3846	0.3425	0.4	0.3401	0.3401
Characters from Journey to the West	0.3788	0.3425	0.4	0.3401	0.3401
Three Visits to the Thatched Cottage	0.3546	0.3472	0.3731	0.3333	0.3333
Meng Yuemei	0.7246	0.8475	0.4425	0.6849	0.641
Circular pattern	0.8929	0.9259	0.3817	0.8621	0.9091
Square pattern	0.9091	0.9434	0.4464	0.7463	0.9615
Happiness pattern	0.8929	0.8621	0.3817	0.7143	0.9091
Fortune pattern	0.8475	0.8475	0.3817	0.9091	0.9434
Water wave pattern	0.3759	0.4065	0.3906	0.4065	0.4032
Cloud pattern	0.8929	0.9259	0.3817	0.8621	0.9091
Revolving pattern	1	0.9434	0.4505	0.9091	0.9615
Landscape pattern	0.9091	0.9434	0.4464	0.8772	0.9615
Wanzi pattern	0.8475	0.8621	0.3817	0.9091	0.9434
Shouzi pattern	0.9091	0.9434	0.4464	0.9091	0.9615

.

Using the weights derived from the AHP method, we calculated the weighted grey relational degrees for all patterns, which were then aggregated to yield the comprehensive relational coefficients. See

Table 11. Comprehensive grey relational degree.

Pattern Name	Comprehensive Correlation Coefficient	Pattern Name	Comprehensive Correlation Coefficient
Peony pattern	0.8671	Tang Bohu Points to Autumn Fragrance	0.378
Plum blossom pattern	0.8406	Eight Immortals Crossing the Sea	0.3489
Bamboo leaf pattern	0.395	Zhou Yafu	0.3513
Lotus pattern	0.9584	Guiguzi Descends the Mountain	0.3532
Curly grass pattern	0.3871	Zhaojun Goes to the Frontier	0.359
Flower pattern	0.9111	Yuchi Gong	0.3598
Pomegranate pattern	0.3748	Characters from Dream of Red Mansions	0.3618
Chrysanthemum pattern	0.8019	Characters from Journey to the West	0.3601
Shaoyao pattern	0.7353	Three Visits to the Thatched Cottage	0.3483
Grape pattern	0.3865	Meng Yuemei	0.7024
Chinese Dragon pattern	0.7474	Circular pattern	0.8286
Phoenix pattern	0.7497	Square pattern	0.8226
Qilin pattern	0.547	Happiness pattern	0.7772
Tiger pattern	0.373	Fortune pattern	0.8094
Deer pattern	0.3482	Water wave pattern	0.395
Fish pattern	0.8385	Cloud pattern	0.8286
Bat pattern	0.3506	Revolving pattern	0.8895
Lion pattern	0.3416	Landscape pattern	0.8541
Crane pattern	0.3493	Wanzi pattern	0.8131
Eagle pattern	0.3344	Shouzi pattern	0.8617

.

4.3. Application of the Fuzzy Evaluation Method

To further validate and supplement grey system analysis results, the fuzzy evaluation method was applied to assess comprehensive performance across five dimensions [70]. Fuzzy evaluation matrices were constructed based on ratings for the 40 porcelain patterns, with evaluation standards divided into five levels (excellent, good, medium, poor, very poor). See

Table 12. Fuzzy evaluation grades.

Evaluation Grade	Fuzzy Value Interval
Excellent	[0.8, 1]
Good	[0.6, 0.8]
Fair	[0.4, 0.6]
Poor	[0.2, 0.4]
Very Poor	[0, 0.2]

.

The comprehensive fuzzy evaluation value (B) was calculated as

$$B=W\times R_j$$

where $W=(w_1,w_2,\dots ,w_n)$ is the weight vector (0.30, 0.25, 0.13, 0.24, 0.08), and R_j represents the evaluation vector for each pattern.

For example, the “lotus pattern” normalized data: cultural symbolism (0.95), esthetic value (0.98), communicative power (1.00), modern applicability (0.99), and sustainability (1.00), with the assigned weights, yielded a comprehensive fuzzy evaluation value of 0.94801.

$$B=w_1\cdot R_1+w_2\cdot R_2+w_3\cdot R_3+w_4\cdot R_4+w_5\cdot R_5$$

$$B=\left(0.30\cdot 0.95\right)+\left(0.25\cdot 0.98\right)+\left(0.13\cdot 1.00\right)+\left(0.24\cdot 0.99\right)+\left(0.08\cdot 1.00\right)$$

$$B=0.285+0.245+0.130+0.2376+0.080=0.9776$$

This high value confirms the pattern’s excellent performance in cultural symbolism, esthetic value, communicative power, modern applicability, and sustainability, reinforcing its significant cultural inheritance and sustainable design value. Similar calculations were performed for the remaining 39 patterns. See

Table 13. Fuzzy comprehensive evaluation table of 40 patterns.

Pattern Name	Comprehensive Correlation Coefficient	Pattern Name	Comprehensive Correlation Coefficient
Peony pattern	0.9187	Tang Bohu Points to Autumn Fragrance	0.176
Plum blossom pattern	0.8879	Eight Immortals Crossing the Sea	0.062
Bamboo leaf pattern	0.2327	Zhou Yafu	0.0722
Lotus pattern	0.9776	Guiguzi Descends the Mountain	0.0802
Curly grass pattern	0.2046	Zhaojun Goes to the Frontier	0.1027
Flower pattern	0.9442	Yuchi Gong	0.1064
Pomegranate pattern	0.1647	Characters from Dream of Red Mansions	0.1121
Chrysanthemum pattern	0.825	Characters from Journey to the West	0.1061
Shaoyao pattern	0.79	Three Visits to the Thatched Cottage	0.0628
Grape pattern	0.2047	Meng Yuemei	0.761
Chinese Dragon pattern	0.8072	Circular pattern	0.8435
Phoenix pattern	0.7864	Square pattern	0.8545
Qilin pattern	0.5363	Happiness pattern	0.8047
Tiger pattern	0.1532	Fortune pattern	0.8308
Deer pattern	0.0633	Water wave pattern	0.2327
Fish pattern	0.8985	Cloud pattern	0.8435
Bat pattern	0.0675	Revolving pattern	0.8996
Lion pattern	0.035	Landscape pattern	0.8785
Crane pattern	0.0657	Wanzi pattern	0.8333
Eagle pattern	0.005	Shouzi pattern	0.8833

.

5. Results and Analysis

5.1. Results of Grey System Theory

Judging from the evaluation results, some traditional plant and auspicious patterns performed particularly well, with a comprehensive score of more than 0.85, belonging to the high-score group. These include lotus pattern, peony pattern, flower pattern and revolving pattern, all of which reflect strong performance across multiple dimensions. Their excellence in cultural symbolism and visual appeal is matched by their modern design adaptability and communicative effectiveness. The lotus pattern, symbolizing purity and harmony in traditional Chinese culture, achieved the highest score, making it a prime candidate for sustainable design transformation.

Patterns scoring between 0.70 and 0.80, such as Chinese Dragon pattern, Phoenix pattern, and Shaoyao pattern, demonstrated moderate-to-high performance. These motifs exhibit distinct cultural identities and are visually adaptable, providing promising opportunities for redesign and creative reinterpretation.

Notably, animal-based motifs and narrative-themed patterns generally ranked lower. Patterns such as Eight Immortals Crossing the Sea, Zhao Jun Goes to the Frontier, and Three Visits to the Thatched Cottage scored below 0.40, placing them in the lowest tier. Despite their rich cultural significance, the complexity of their illustrations and dependency on specific historical contexts impede their applicability in contemporary design and limit their communicative reach. Some patterns (e.g., fish, bat) showed moderate performance in individual dimensions but had reduced overall scores due to underperformance in others, indicating specific weaknesses that compromise their holistic design value. As shown in Figure 3.

Overall, the grey system analysis highlights the strong performance of plant-based, geometric, and auspicious-symbol patterns, and identifies clear hierarchical differentiation in the sustainable design potential of blue-and-white porcelain motifs. Future design strategies should target lower-performing patterns with optimization techniques such as simplification, abstraction, and visual restructuring to enhance their relevance and viability in modern creative industries. This approach can foster renewed vitality and innovation for traditional cultural symbols in sustainable design contexts.

5.2. Results of Fuzzy Evaluation Method

This study applied the Fuzzy Comprehensive Evaluation (FCE) method to systematically assess 40 blue-and-white porcelain patterns across five core dimensions: cultural symbolism, esthetic value, brand communicative power, modern applicability, and sustainability. As shown in Figure 4, the overall fuzzy evaluation scores range from 0.01 to 0.98, demonstrating a pronounced polarization and hierarchical differentiation among the patterns.

Patterns that achieved high evaluation scores (greater than 0.7) are predominantly traditional floral and auspicious motifs, including the lotus pattern, peony pattern, floral pattern, plum blossom pattern, as well as patterns such as Circular pattern and square pattern. These motifs are characterized by rich cultural connotations—for instance, the lotus symbolizes purity and harmony, while the peony represents prosperity and wealth. In addition to their symbolic value, these patterns exhibit strong visual adaptability, making them well-suited for abstraction, transformation, and reinvention in contemporary design contexts. As a result, they were consistently rated highly by both experts and the public.

In the medium score range (0.2–0.7), patterns are generally simpler in form and symbolically neutral, such as bamboo leaf pattern, qilin pattern and water wave pattern. These designs possess a certain degree of cultural relevance and are sufficiently flexible for integration into modern product packaging, cultural and creative industries, and branding. However, their performance in brand communicative power and public appeal remains moderate, suggesting that further enhancement may be needed through design innovation or narrative reframing.

By contrast, patterns with low fuzzy scores (below 0.2) are mainly animal-themed or narrative-driven motifs, including pomegranate pattern, tiger pattern, deer pattern, and Zhaojun Goes to the Frontier. Although these motifs hold significant cultural value in traditional contexts, their complex visual compositions and context-dependent symbolism hinder their applicability and recognizability in modern design scenarios. Consequently, they received lower scores in dimensions such as modern applicability and communicative power. Furthermore, certain story-based patterns such as “Zhao Jun Departs the Frontier” and “Guiguzi Descends the Mountain” are less known among the general public, limiting their potential for symbolic conversion and contemporary dissemination.

Overall, the FCE results underscore the divergence in pattern adaptability based on symbolic category and visual complexity. Plant-based and geometric motifs demonstrate greater cultural universality and visual abstraction potential, resulting in higher comprehensive scores and a strong foundation for modern reinterpretation. In contrast, narrative and animal-based motifs face dual challenges in visual simplification and cultural accessibility.

Future studies may focus on the redesign of low- and mid-scoring patterns by simplifying visual structures, reconstructing narratives, and leveraging new media formats to enhance their cultural and commercial relevance. Additionally, the incorporation of FCE models into traditional pattern databases may serve as a scientific framework for screening, classifying, and prioritizing cultural elements, thereby facilitating the sustainable transformation of blue-and-white porcelain motifs in contemporary design practice.

5.3. Integrated Analysis of Grey System Theory and Fuzzy Evaluation Method

This study conducted a comparative analysis of 40 blue-and-white porcelain patterns using both Grey Relational Analysis (GRA) and the Fuzzy Comprehensive Evaluation (FCE) method. As shown in Figure 5, the two methods demonstrate a generally consistent evaluation trend, especially among high-performing patterns. However, notable discrepancies are observed in several specific cases, revealing the distinct emphases and complementary nature of these two evaluation approaches.

Patterns such as peony, lotus, and plum bblossom consistently received high and closely aligned scores under both GRA and FCE, indicating a well-balanced performance across all evaluated dimensions—including cultural symbolism, esthetic value, communicative power, modern applicability, and sustainability. These results suggest that such patterns not only resonate with traditional cultural esthetics but also exhibit strong potential for contemporary design adaptation. Their elegant forms and clear symbolic meanings facilitate widespread application in diverse modern design scenarios, including fashion, ceramics, and cultural products.

Conversely, significant score differences were observed in certain animal and narrative-based patterns. For example, Eight Immortals Crossing the Sea a GRA score of 0.35 but only 0.06 in FCE, indicating high expert recognition based on its cultural narrative but low public acceptability due to its complexity and limited visual accessibility.

These discrepancies can be attributed to several key factors:

Visual Complexity: Patterns with intricate compositions, especially narrative or animal-themed designs, tend to receive lower FCE scores due to challenges in visual simplification and application in modern minimalist design frameworks.

Cultural Cognition Gap: While traditional motifs like dragon and phoenix hold profound symbolic meaning in Chinese culture, their recognition and acceptance may vary among broader or younger audiences, who often prefer visually concise and easily interpretable design elements.

From the integrated analysis, several conclusions can be drawn:

High-Potential Patterns: Patterns such as peony, lotus, and plum blossom consistently performed well in both GRA and FCE, highlighting their strong advantages in cultural inheritance, esthetic appeal, design adaptability, and market resonance. These motifs are ideal candidates for prioritized redesign and innovation in future cultural product development.

Latent-Potential Patterns: Some patterns, such as circular and plum blossom, demonstrated strengths in specific dimensions but underperformed in others, particularly in communicative power or modern applicability. These motifs could benefit from targeted visual simplification and semantic reinterpretation to improve their market viability.

Patterns Requiring Improvement: Motifs like Zhuge Liang’s Story, Wang Zhaojun Goes to the Frontier, and Crane scored low in modern applicability and sustainability. Although these designs possess historical and cultural value, they require more in-depth cultural translation and creative reconfiguration to align with contemporary design needs.

In conclusion, the integrated analysis of GRA and FCE not only confirms their methodological complementarity but also reveals the multidimensional performance and application potential of blue-and-white porcelain patterns. Notably, plant-based and geometric motifs achieved high consistency across both methods, demonstrating a balanced advantage in cultural depth and modern relevance, making them suitable as core visual elements for contemporary cultural and creative products. In contrast, complex narrative and symbolic animal patterns showed greater divergence between the two methods, highlighting the need to bridge cultural symbolism and market adaptability.

This dual-method evaluation provides robust theoretical and data-driven support for future research in AI-assisted cultural design, offering a scientific foundation for achieving a balance between cultural heritage preservation and modern innovation in the evolving design landscape.

6. Conclusions and Recommendations

6.1. Research Conclusions

This study conducted a systematic, multidimensional quantitative evaluation of the sustainable design potential of 40 blue-and-white porcelain patterns using Grey System Theory and the Fuzzy Evaluation Method. The analysis focused on five core dimensions: cultural symbolism, esthetic value, communicative power, modern applicability, and sustainability. The primary conclusions derived from the research are as follows:

Plant and auspicious motifs demonstrated exceptional performance, highlighting strong cultural heritage. Patterns such as peony, lotus, and floral motifs exhibited outstanding scores in both cultural symbolism and esthetic value, indicating that their profound cultural significance and visual appeal provide substantial potential for redesign and market adaptability in contemporary design. These patterns, characterized by simplicity and rich symbolic meanings, demonstrate versatility and applicability across various design fields.

Complex human-figure and animal patterns faced limitations in modern applications. Patterns involving historical narratives and detailed illustrations, such as “Tang Bohu’s Autumn Fragrance” and “Eight Immortals Crossing the Sea”, scored highly in cultural symbolism but relatively low in communicative power and modern applicability. These results suggest that complex narratives and highly specific cultural symbols have limited adaptability within contemporary design contexts, necessitating visual simplification and symbolic refinement to enhance market acceptance.

Patterns showed differential performance across dimensions of modern applicability and communicative power. Animal motifs, such as dragon and phoenix patterns, performed excellently in cultural symbolism but exhibited room for improvement in modern applicability and sustainability. Despite their significant cultural heritage value, these patterns face practical limitations in market conversion and product application due to intricate designs and strong dependence on specific cultural contexts.

Integration of Grey System Theory and Fuzzy Evaluation Method enhanced the comprehensiveness of the evaluation. By combining the two methodologies, this research not only validated the multidimensional performance of each pattern but also demonstrated the complementary strengths and scientific rigor of these methods. Grey System Theory emphasized objective, data-driven correlations focusing on historical and cultural contexts, while the Fuzzy Evaluation Method refined evaluation criteria, providing explicit and detailed dimensional assessments. This combination significantly enhanced the overall recognition of patterns’ sustainable potential, offering comprehensive guidance for their practical application and innovation. The complementary use of both methodologies thus established a robust scientific foundation for evaluating complex cultural symbols.

In conclusion, this study provided an in-depth exploration of the cultural values and contemporary application potentials of blue-and-white porcelain patterns from multiple dimensions. It also proposed specific design directions and optimization recommendations tailored to different pattern types. Through systematic analysis and robust evaluation methods, this research offers strong theoretical guidance and data support for the broader application of blue-and-white porcelain patterns in modern design, significantly contributing to their sustainable cultural inheritance and innovation.

6.2. Limitations of the Study

While this study proposes a comprehensive evaluation framework for assessing the sustainable design potential of blue-and-white porcelain patterns—based on Grey System Theory (GST), Analytic Hierarchy Process (AHP), and fuzzy evaluation—several limitations should be acknowledged.

First, although the expert panel was composed of professionals with substantial experience in cultural heritage and design, potential bias in expert judgment cannot be fully excluded. Similarly, public survey responses may reflect subjective preferences influenced by demographics or regional familiarity, which may affect generalizability.

Second, the selection of 40 patterns—though structurally balanced across four categories—may not fully capture the vast diversity of blue-and-white porcelain motifs in Chinese visual culture. The scoring process, based on five evaluation dimensions, also reflects a specific interpretive lens, which might differ in alternative cultural or design contexts.

Third, while the integration of market sales data strengthens practical validation, the data was limited to Taobao and may not fully represent broader global or offline design consumption trends.

While visual examples of the evaluated patterns were not included due to copyright and data source limitations, the sampling methodology and pattern typology were described in detail to ensure clarity and reproducibility. Future studies may consider incorporating standardized pattern visuals to support broader engagement and comparative research.

Future studies could explore more diversified sampling strategies, incorporate cross-cultural comparisons, and examine dynamic changes in pattern perception across different media platforms or timeframes. In addition, expanding the application of the model to other heritage-related design fields could further test its adaptability and robustness.

6.3. Application Recommendations and Future Research Prospects

The findings indicated that classic floral patterns such as peony and lotus excelled in cultural symbolism and esthetic value, showcasing substantial potential for contemporary application. These patterns could be preferentially integrated into modern product design, fashion industries, cultural and creative products, and architectural decorations to enhance cultural connotations and market appeal. For example, in 2022, the globally acclaimed video game League of Legends released a porcelain-themed skin series, creatively embedding traditional blue-and-white floral motifs into character designs and visual effects, allowing players worldwide to experience the unique charm of traditional Chinese culture. Such innovative cultural integration revitalizes traditional floral motifs within digital entertainment contexts. Meanwhile, geometric patterns such as the “double happiness” character and wave motifs, with notable esthetic appeal and communicative effectiveness, exhibit broad adaptability in graphic design, branding, and packaging design. Patterns showing exceptional performance in sustainability dimensions, including fish and bamboo-leaf motifs, also possess substantial application potential in green design, eco-friendly products, and sustainable fashion sectors. Designers are encouraged to prioritize these patterns for redesign and innovative development, fostering the heritage and commercialization of cultural symbols in contemporary contexts.

However, the study also revealed that certain patterns demonstrated relatively weaker performance in communicative power and modern applicability, notably traditional narrative-driven and animal patterns such as “Guiguzi Descending the Mountain” and “Lady Zhaojun Going Beyond the Great Wall”. Despite their unique cultural value, their intricate narratives and complex details significantly restrict their applicability in modern design scenarios. Future design practices should focus on visual simplification and refinement of symbolic elements, retaining core visual features while minimizing decorative complexity to align with contemporary esthetic trends and diverse design demands. Additionally, digital media technologies such as augmented reality (AR), digital illustration, and animation could facilitate the reinterpretation and revitalization of these traditional motifs, broadening their communication channels and application contexts, thus reinvigorating traditional cultural symbols within modern design narratives.

Regarding industrial integration and innovative application, future research should further explore cross-disciplinary integration of blue-and-white porcelain patterns, investigating novel application pathways in fashion design, home decor, and digital arts. Through cross-domain integration and product-oriented practices, it is possible to enhance the influence and global reach of blue-and-white porcelain cultural symbols. Additionally, incorporating advancements in artificial intelligence and digital technologies, future studies might introduce deep learning and generative AI techniques to establish digital databases for these porcelain patterns, facilitating intelligent generation and automated design processes. This approach would further enhance the efficiency and market adaptability of cultural heritage innovation within contemporary design and product development.

Despite the comprehensive assessment of the sustainable design potential of blue-and-white porcelain patterns using Grey System Theory and the Fuzzy Evaluation Method, the applicability and accuracy of these models in real-world contexts require further validation and refinement. Future research should integrate case studies and market feedback data, continuously adjusting and optimizing model parameters to improve predictive accuracy and practical guidance across various design scenarios.

Furthermore, to enhance comprehensiveness and representativeness, subsequent studies should expand the sample scope to include patterns from diverse historical periods and regional styles, alongside perceptions and evaluations from cross-cultural audiences. Comparative analyses within multicultural contexts would enable a deeper exploration of cross-cultural acceptance and identification with blue-and-white porcelain cultural symbols, thereby promoting their global dissemination and sustainable development in the international design market.

Future research should also precisely balance cultural inheritance with modernized design. On one hand, the profound intrinsic meanings and historical values of traditional cultural symbols should be thoroughly explored to ensure cultural authenticity and respect during innovation processes. On the other hand, designers should be encouraged to boldly experiment by integrating traditional motifs with various contemporary design languages, exploring novel visual expressions, and assigning new contemporary values to cultural symbols.

By integrating practical applications with outlined future research trajectories, this study not only provides empirical support and theoretical foundations for applying blue-and-white porcelain patterns in contemporary design but also clearly defines directions for cultural symbol heritage and innovation. This systematic research contributes significantly to promoting the innovative application and sustainable development of traditional cultural symbols within a global context, achieving profound integration and value revitalization of cultural heritage within contemporary society.