In order to solve the practical dilemma of "limited understanding, no experience, and difficult promotion" of Shuangdun culture, from the perspective of the integration of the content of Shuangdun's symbolic culture and the media carrier, the theory of symbol interaction is used to conduct a field survey of Shuangdun ruins, analyze their symbol types, artistic representations, communication channels and other characteristics, integrate the symbol system of Shuangdun culture, and extract the key symbols of cultural identity. At the same time, the method of combining digital technology with visual design is adopted to build a double pier culture display and communication system under augmented reality technology, forming a "digital field" of multi sensory interactive experience, with a view to providing feasible suggestions for the cross regional and cross space-time communication of double pier culture.

Zhao Xin, Ma Jin. Double pier cultural symbol under augmented reality technology display design research. Frontiers in Art Research (2022) Vol. 4, Issue 16: 109-115. https://doi.org/10.25236/FAR.2022.041615.

[1] Anhui Institute of Cultural Relics and Archaeology (2008.). A Report on the Excavation of Shuangdun Neolithic Site in Bengbu, pp.66- 69.

[2] Xu Dali, (2008). A Brief Introduction to the Symbols of Shuangdun Site in Bengbu. Central Plains Cultural Relics, no.6, pp. 17-20.

[3] Xu Dali, (2008). Preliminary Discussion on Pottery Sculpture of Shuangdun Neolithic Site in Bengbu. Cultural Relics Research, no.5, pp.14-21.

[4] Xu Dali, Kan Xuhang (2006). The Philological Meaning of 607 Carved Symbols in Shuangdun. Chinese Cultural Heritage, no.5, pp. 37-58.

[5] Kan Xuhang (2007). Excavation of Shuangdun Neolithic Site in Bengbu, Anhui . Archaeological Journal, no.1, pp.19-25.

[6] Rao Zongyi (2000). Symbol, Initial Text and Letter Chinese Character Tree . Shanghai Bookstore Press, pp.402-411.

[7] Jiang Shen, Lu Xiaobo (2013). The interactivity and application of exhibition communication in the digitalization of cultural heritage. Modern Communication, pp.60-67.

[8] Yu Riji (2017). AR Technology and Digital Development of Intangible Cultural Heritage [M]. People's Publishing House, pp.90-97.

[9] Wang Yongtian, Zheng Wei (2006).Digital Field Reconstruction of the Old Summer Palace Based on Augmented Reality Technology. Science and Technology Bulletin, pp.19-22.

[10] Fielding R,(1985).The Technique of Special Effects Cinematography, pp.60-67.

[11] Jan Asman (2015) .Cultural Memory: Words, Memories and Political Identity in Early Advanced Culture. Beijing: Peking University Press, pp. 92-111.

[12] Li Yanzu (2009) . Introduction to Art Design. Hubei Fine Arts Publishing House, pp.39-42.

[13] Clifford Gerz (2014). Cultural Interpretation. Yilin Publishing House,  pp.19-22.

[14] Wang Mingyu, Yu Xin(2013 ). The Inheritance and Criticism of Saussure's Linguistic Theory. Foreign Language Teaching and Research, pp.67-72.

[15] Kang Cheng (2007). The Evolution of Lotman's View on Language and Its Significance. Journal of the PLA Institute of Foreign Languages, pp.19-22.

[16] Fan Jinshi (1994). Fifty Years of Protection of Dunhuang Grottoes. Dunhuang Studies, pp. 19-22.

[17] Ortner. Sherry (1973).On key symbols. American Anthropology, pp.39-42. 

[18] George Herbert Mead(2014). Huo Guihuan's Mind: Self and Society. Yilin Press, pp.39-42.

[19] Chen Jingguo(2020). The Existence of Man as Interaction: An Analysis of the Social Connotation of Bloomer's Symbolic Interactivity. Tsinghua Sociological Review, pp.90-98.

[20] Liang Yongguo, Li Yanan (2017). Cooley's "I in the Mirror" Thought and Its Practical Significance. Journal of Puyang Vocational and Technical College, pp. 39-42. 

[21] Mao Xiaoguang (2001) .New Perspective of Symbolic Interaction Theory in the 20th Century: An Analysis of Foreign Social Sciences, pp.38-41.