莫里斯的符用学与南宋山水画的范式之变

发布时间：2018-05-24 03:56

本文选题：范式 + 符用学　；参考：《文艺理论研究》2017年01期

【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。
[Abstract]:This paper studies landscape painting in the Southern Song Dynasty in order to explore its transformation from realistic representation to self-expression by means of semiotics paradigm. This paradigm is based on the symbolic relation, and is based on the semiotics' theory of the semiotics, Charles Morris. Based on this theory, this paper focuses on the "introversion" of Southern Song culture, pays attention to the relationship between this problem and artistic self-expression, and reviews the paradigm change of landscape painting from two aspects of visual form and ideology. The conclusion of this paper is: due to the change of cultural context, landscape painting of Southern Song Dynasty no longer takes the reproduction of nature as the main paradigm, but establishes a new paradigm of self-expression. Since then, the mainstream of Chinese landscape painting has changed from focusing on the outside world to focusing mainly on the heart.
【作者单位】：加拿大康科迪亚大学(蒙特利尔);

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