从符号学看写意风格文本的意义生成——以霍去病墓石雕为例  

A Semiotic Analysis of the Generation of Meaning in Text with Freehand Style:Huo Qubing's Tombstone Sculpture

作　　者：赵锐锐 Zhao Ruirui(Institute of Semiotics&Media Studies,Sichuan University)

机构地区：[1]四川大学符号学-传媒学研究所

出　　处：《符号与传媒》2023年第1期107-121,共15页Signs & Media

摘　　要：从“有”和“无”的感知层面,可以将符号分为实符号与空符号,形成的就是实符号组成的一般符号文本和实符号与空符号组成的特殊符号文本。后者的符号文本在艺术中常常被归结为写意风格。霍去病墓石雕作为写意风格的佳例,让我们看到其意义生成方式:实符号与空符号贯通又排斥的互动关联。在符号文本中,实符号与空符号是矛盾的,需要矫正解读——实符号是惯例性的,提示着符号的阅读方式,空符号又排斥这种惯例的局限性。贯通源于实符号提示文本的体裁,排斥来自空符号显示的对实符号空缺的停顿,这一停顿就指向实符号的局限性。所以,空符号拒绝体裁惯例的态度是艺术文本中写意风格的反体裁情态的附加码。Based on the perception of"non-voidness"and"voidness",signs can be divided into real signs and blank signs.Correspondingly,general texts are composed of real signs,and special texts are composed of both real signs and blank signs.In art,special texts are usually considered to be examples of the freehand style.A typical example of the freehand style is the tombstone of Huo Qubing,which offers us insights into the generation of meaning in texts produced in the freehand style.The main mechanism is the interaction between real signs and blank signs,which features both unity and rejection.In a text,real signs and blank signs are contradictory:real signs are conventional,and there is an agreement on the way to interpret the sign,whereas blank signs reject the limitations imposed by these conventions.Unity arises from the real signs'connections to a genre of text;rejection arises from the pause introduced by blank signs that reflects the absence of real signs.Such pauses directly denote the limitations of real signs.Therefore,the blank signs'rejection of genre conventions is an additional code in the anti-genre mood of the freehand style in artistic texts.

关 键 词：空符号 霍去病墓石雕 写意风格 留白 

分 类 号：K879.3[历史地理—考古学及博物馆学]