山水画符号:《背后的故事》系列作品的符号学考量  

Landscape Painting Signs:A Semiotic Study of“The Story Behind”Series

作　　者：陈工布 Chen Gongbu(Central Academy of Fine Arts)

机构地区：[1]中央美术学院人文学院

出　　处：《探索与批评》2020年第1期157-165,共9页Inquiry and Criticism

摘　　要：本文尝试跨越视觉线索,从符号学的视角审视徐冰《背后的故事》系列作品。文章首先讨论“幕布”带来的模糊功能如何将山水画符号化,然后以符号学理论中的联想、同构性来分析这种符号化过程,尝试证明水墨与影子在构成上具有同构性,从而导致观者产生山水画联想。这种基于符号的联想方式或是该作品具有中国山水意境的原因。《背后的故事》系列作品将山水画彻底符号化,以现代语言展现形式,这种“山水画符号”唤起了观者对山水画的记忆,引发对山水画意境的体感。This paper attempts to go beyond visual cues to explore Xu Bing's series of“The Story Behind”from a semiotic perspective.It begins with discussing how the fuzzy function brought by the“curtain”symbolizes the landscape painting,then analyzes the semiosis with association and isomorphism,attempting to prove that ink and shadow are isomorphic in composition which leads to the association to landscape painting on the part of the viewer.Such association based on signs constitutes the reason for the series to exhibit the artistic conception of Chinses.landscape painting.The“The Story Bchind”series translate the landscape painting into signs and presents the form in modern language.This kind of“landscape painting signs”evokes the viewer's memory of landscape painting,and thus triggers the somatosensory of landscape painting's artistic conception.

关 键 词：《背后的故事》 影子艺术 徐冰 符号学 山水画 

分 类 号：J21[艺术—美术]