索绪尔符号和中国山水画的重新定义（英文）  

A Semiotic Study of Chinese Landscape Painting

作　　者：段炼 

机构地区：[1]加拿大康科迪亚大学

出　　处：《符号与传媒》2016年第2期86-105,共20页Signs & Media

摘　　要：本文旨在在西方艺术话语对风景画现存定义的框架内重新定义“中国山水画”。从这个角度,笔者应用索绪尔关于符号系统和表意过程的概念来研究中国山水画。通过细读中国艺术史上第一幅山水画,笔者讨论了索绪尔能指与所指之间的任意性关系,并指出这一关系在艺术中应该是非任意性,因为山水画的构成是视觉再现,涉及中国书写中的象形相似和表意暗示。就这一点而言,笔者进一步冒险进入中国美学中的第一个山水艺术经典理论文本,以此表明中国山水画不仅是对美丽风景的再现,而是一种通向“道”的形而上学的方式,是自然中的永恒方式。The aim of this essay is to redefine Chinese landscape painting within the framework of existing definitions of landscape painting in Western discourse on art. Accordingly, the author applies Ferdinand de Saussure＇s concept of the sign system and signification process to the sttfdy of Chinese landscape painting. Based on a close reading of the earliest landscape painting in Chinese art history, the author discusses the Saussurean theory of an arbitrary relationship between signifier and signified, and argues that in Chinese landscape painting this relationship is non-arbitrary because the strategies used for visual representation relate to the pictographic and ideographic qualities of Chinese writing script. The author addresses the first classical theoretical text on landscape art in Chinese aesthetics, and demonstrates that Chinese landscape painting is not a mere representation of beautiful scenery, but a metaphysical approach to the Tao, the ＂Way＂ toward eternality in nature.

关 键 词：山水画 索绪尔符号 道 任意性 非任意性 

分 类 号：J212[艺术—美术]