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文艺理论研究 ›› 2017, Vol. 37 ›› Issue (1): 189-199.

• 专题:跨文化比较研究 • 上一篇    下一篇

莫里斯的符用学与南宋山水画的范式之变

段炼   

  1. 加拿大康科迪亚大学(蒙特利尔)
  • 出版日期:2017-01-25 发布日期:2017-11-11
  • 作者简介:段炼,文学博士、美术学博士,曾任教于四川大学与纽约州立大学等校,现执教于加拿大康科迪亚大学(蒙特利尔),中文项目负责人,研究中国文学与中国艺术史。

Charles Morris's Pragmatics and the Paradigm Shift in Southern Song Landscape Painting

Duan Lian   

  1. Concordia University in Montreal, Canada
  • Online:2017-01-25 Published:2017-11-11
  • About author:Lian Duan, Ph.D. in Chinese literature, Ph.D. in art education, taught at Sichuan University in China, State University of New York at Albany in the United States, and now teaches at Concordia University in Montreal, Canada, where he also coordinates the Chinese Program. He has published extensively on visual art and comparative literature.

摘要: 本文研究南宋山水画,旨在借符号学范式来探讨其从写实再现向自我表现的转变。此范式以符号关系为基准,借自美国符号学家查尔斯·莫里斯关于符号意指的符用关系理论。从这一理论出发,本文聚焦于南宋文化的“内向”问题,关注此问题与艺术之自我表现的关系,并从视觉形式和思想观念两个层面检讨山水画的范式之变。本文结论是:由于文化语境的变化,南宋山水画不再以再现自然为主要范式,转而确立了自我表现的新范式,自此,中国山水画的主流从主要关注外界转向了主要关注内心。

关键词: 范式, 符用学, 内向, 再现, 表现

Abstract: Studying the landscape painting of the Southern Song period, this essay proposes a semiotic paradigm to examine its artistic change. The idea of this paradigm is inspired by the theory of Charles Morris, specifically, the Morrisian hypothesis about the pragmatical dimension of semiosis. From this point of view, this essay explores the inwardness of Southern Song art, and observes that, due to the change of cultural context, Chinese landscape painting in the Southern Song experienced a paradigm shift from realist representation to self-expression, which decisively re-directed the course of the mainstream in Chinese landscape painting from being external sensitive to more internal sensitive, and thus a new paradigm has ever been set up for the development of Chinese art.

Key words: Paradigm, pragmatics, inwardness, representation, self-expression