符号延异与图像缺失:明代山水画中的寻道者意象与艺术主流的终结  

Semiotic Differance and the Re-disappearance of Image in Ming Landscape Painting

作　　者：段炼 Lian Duan(Ph. D. in Chinese literature （China）, Ph. D. in art education （Canada）, 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 art history, visual culture and comparative literature. Address： FB 1030- 9, CMLL, SGW, Concordia University, Montreal, Canada.)

机构地区：[1]加拿大康科迪亚大学(蒙特利尔)

出　　处：《文艺理论研究》2018年第2期144-160,共17页Theoretical Studies in Literature and Art

摘　　要：有明一代山水画发展的主流,经历了一个由外向内的转变,前期画家寻道于自然,后期画家转而寻道于内心。本文通过图像研究而旨在阐述:明代山水画主流的转向,实为对前代山水画发展主流的重复,而重复的终点则是明末山水画中点景小人的缺席,这标志了主流的终结。这一探讨从德里达关于意指延异的概念出发,借鉴解构主义的双重阅读,来分析明代山水画中寻道者的意象及其在符号系统中作为意指中心的功能。本文结论是,当文人山水画发展到明末,寻道者意象的缺失,使中国山水画的意指系统被解构,艺术史的主流遂于明末消散。In the Ming dynasty,the mainstream in the development of Chinese landscape painting experienced a change from exploring the Tao in the external world to exploring it in the artist＇s inner world. This is a change ＂from the outside in. ＂This essay aims to make a point that the Ming mainstream is a repetition of the previous dynasties＇ mainstream in the development of landscape painting throughout Chinese art history,which is particularly signified by the re-disappearance of human figures in late Ming landscape painting. Studying this issue from the Derridean perspective of ＂differance,＂ this essay examines how the signification process is deferred by the disguised images of the pathfinder,which centralizes the signification system for the mainstream. Thus, this essay concludes that the re-disappearance of the pathfinder image in landscape decentralizes the signification system and indicates the end of the mainstream in the development of Chinese landscape painting by the fall of the Ming.

关 键 词：主流 图像中心主义 寻道者 延异 去中心化 在场 缺席 心性 

分 类 号：J212[艺术—美术]