Water patterns are one of the earliest patterns to appear in Chinese history. The reason why water patterns first appeared and developed steadily is because of the concept of "aquatic people, aquatic heaven and earth, all things". Ancient people lived by water and relied on the water resources and products of rivers, lakes, and seas to survive. Naturally, they had infinite worship of water, which influenced their cognition and aesthetic concepts. The vortex pattern and wave pattern in the Majiayao painted pottery culture are the leaders in the development of water patterns. This work "Floating Light and Wave Shadow" takes the vortex and wave patterns in the Majiayao painted pottery culture as the starting point of visual language, using thin porcelain as the main form of expression, redesigning them, transforming these two patterns from abstract two-dimensional planes to three-dimensional curved structures, combining the use of internal and external light sources, simulating the rhythm of water and the tension of whirlpool through the language of wave modeling, and exploring the artistic themes of "flow and stillness" and "light and shadow and perception" on the basis of expressing the worship of water, nature, and life. The work is not only a visual reconstruction of the natural imagery of water, but also an attempt to contemporary express and creatively transform traditional Chinese symbols. It aims to present the innovation in form and material through these two themes, as well as the author's thoughts on the worship, change, and perception of nature.