艺术意义中的三维配置:符形、符义、符用  

Three Dimensional Configuation in Artistic Meaning:Syntactics,Semantics,and Pragmatics

作　　者：赵毅衡[1] 罗贝贝 ZHAO Yiheng;LUO Beibei

机构地区：[1]四川大学符号学-传媒学研究所,四川成都610207

出　　处：《福建师范大学学报（哲学社会科学版）》2022年第4期85-97,172,共14页Journal of Fujian Normal University:Philosophy and Social Sciences Edition

基　　金：国家社会科学基金重大项目“当代艺术提出的重要美学问题研究”(20&ZD049)。

摘　　要：莫里斯对皮尔斯符号学理论做了三分科:符形学研究符号如何组成具有合一意义的文本,符义学研究符号文本与世界的关联,符用学研究符号被接收者使用的方式。这个划分看似简洁分明而通透,但真正讨论起来却很为纠缠,不易分清。在符号美学领域,符号学可以对符号的意图意义、文本意义、解释意义这三个环节分别处理。中国书法艺术意义配置以符形为主导,符义与符用往往起配合作用。从艺术的符号意义三维度来看,在符义、符用维度上,艺术品有赝品,而在符形维度上,艺术无赝品。在现代工艺设计中,抽象风格跳脱指称,退回到符形,以突出器物与公共空间的符义,尽量不干扰其符用。厘清莫里斯的三分科,有助于拓展对符号美学的理解。Charles W.Morris divided Charles Sanders Peirce’s semiotic theory into three parts:syntactics studies how symbols form texts with unified meaning,semantics studies the relationship between symbolic texts and the world,and pragmatics studies the way in which symbols are used by recipients.This division seems simple,clear and transparent,but it is really entangled and difficult to distinguish.In the field of semiotic aesthetics,semiotics can deal with the intentional meaning,textual meaning and interpretive meaning of symbols respectively.The configuration of the artistic meaning of Chinese calligraphy is dominated by the form of symbols,and semantics and pragmatics often play a cooperative role.From the three-dimensional perspective of the symbolic meaning of art,in the dimensions of semantics and pragmatics,art has counterfeits,while in the dimension of syntax,art has no counterfeits.In modern process design,abstract style jumps away from reference and returns to syntax to weaken its reference meaning,so as to highlight the semantics of objects and public space and try not to interfere with its pragmatics.To clarify Morris’three branches is helpful to expand the understanding of symbolic aesthetics.

关 键 词：莫里斯 符形 符义 符用 符号美学 艺术符号学 

分 类 号：J0-05[艺术—艺术理论]