近來，視覺設計教育領域常援引記號學(Semiotics)的指謂理論，以作為視覺設計作品的形式與意義上的賞析與解構方法。大致上，當前國內設計教育領域對於記號學的應用與研究仍處於吸收與引進的階段，然而，這對學術觀點而言是趨向於片面且孤立的。在此一角度的考量下，為使文化記號能重新建構並掌握解釋主權，本文將透過對記號之理解視域的轉換來探討中國文化史上之相關論述，以提供視覺設計學員、創作者在學習作業上多元的應用與參照。為達上述目的，本文首先藉由文獻分析法，就皮爾士(Charles Sanders Peirce, 1839-1914)的記號思想進行相關的分析與歸納，然後藉由皮爾士的記號學方法針對《周易》卦爻辭中的取象思維作一探討與比對，特別是以卦爻辭中的鱗介類與昆蟲類動物，如龍、龜、魚、鮒、貝、虩與蠱名物等為研究主題，從中尋求其記號思維，並進一步從其指謂間關係中推論其記號性質。文中三部分探討：一、皮爾士的思想及其記號學方法。二、《周易》卦爻辭及其記號表徵。三、卦爻辭中的鱗介類與昆蟲類動物之記號思維及其性質。研究後發現：首先，撇開文字記號不談，《周易》卦爻辭中所擇取之名物皆具有特殊意義，依記號學的視域而言，它是具有記號思維的，特別是其結構包含了記號本體、指謂對象與意解等三部分，相當於皮爾士記號學的三元論。此外，從卦爻辭中的鱗介、昆蟲類動物字彙之取象手法得知卦爻辭的記號思維具象徵性與肖似性的傾向。

Semiotics has been one of the most important theories in the field of Design recently. Therefore, the purpose of this study is to introduce Peircean (Charles Sanders Peirce, 1839-1914) terms and theories of signs in relation t the philosophy and types of Gua-Yao-Ci in the I-Ching in an attempt to help people in the field of Art and Design to understand the development and future of signs in Chinese traditional culture. For achieving the above purpose the literary review is applied to obtain the meanings and relevant content interpretations of the Semiotics from Peircean writings with a comparative analysis methodology applied to between Peirce's ideas of signs, the philosophy and types of Gua-Yao-Ci in the I-Ching, especially for the words of scales and insects. The results of this study show two points that might be helpful in explaining how to work by applying the ideas and theories outlined for people in the field of Art and Design. First, the Gua-Yao-Ci really stand for a genuine triadic relation to their objects and meanings in Peircean sign respect, therefore, the Gua-Yao-Ci might be called signs in the view of Semiotics. Besides, the Gua-Yao-Ci relates to their objects by way of some characteristic symbolic and resemblance that they possess.