本文研究南宋山水畫,旨在借符號學范式來探討其從寫實再現向自我表現的轉變。此范式以符號關系為基準,借自美國符號學家查爾斯·莫里斯關于符號意指的符用關系理論。從這一理論出發,本文聚焦于南宋文化的"內向"問題,關注此問題與藝術自我表現的關系,并從視覺形式和思想觀念兩個層面檢討山水畫的范式之變。本文結論是:由于文化語境的變化,南宋山水畫不再以再現自然為主要范式,轉而確立了自我表現的新范式,自此,中國山水畫的主流從主要關注外界轉向了主要關注內心。

Studying the landscape painting of the Southern Song period,this essay proposes a semiotic paradigm to examine its artistic change.The idea of this paradigm is inspired by the theory of Charles Morris,specifically,the Morrisian hypothesis about the pragmatical dimension of semiosis.From this point of view,this essay explores the inwardness of Southern Song art,and observes that,due to the change of cultural context,Chinese landscape painting in the Southern Song experienced a paradigm shift from realist representation to self-expression,which decisively re-directed the course of the mainstream in Chinese landscape painting from being external sensitive to more internal sensitive,and thus a new paradigm has ever been set up for the development of Chinese art.