中国古代绘画中的文人袒裸形象研究 - 基于皮尔斯符号三分法视角 -

Abstract

The portrayal of nude scholars occupies a distinctive position within the annals of Chinese art history, functioning not only as a representation of the scholars' quotidian lifestyles but also as a manifestation of their spiritual aspirations and philosophical doctrines. Nonetheless, extant scholarship has predominantly emphasized the surface-level visual representations, thereby neglecting an in-depth exploration of the underlying symbolic significances inherent in this imagery. This study employs a semiotic framework to elucidate the intricacies of the nude scholar motif as a cultural signifier and its emblematic functions within historical contexts. The primary objective is to dissect the symbolic roles of nude scholars across multiple dimensions utilizing Charles Sanders Peirce’s triadic sign theory—comprising icons, indexes, and symbols—to unveil the cultural ideologies encapsulated within these representations. Methodologically, this research integrates semiotic theory with empirical analyses of selected cases from ancient Chinese paintings, facilitating a stratified examination of the sign structures associated with nude scholars and their interpretative meanings within their cultural milieus. The findings indicate that the depiction of nude scholars, through iconography, mirrors the authentic states of scholarly existence, thereby embodying notions of liberty and nonconformity; as indexes, their integration with natural landscapes signifies the profound interrelationship between scholars and the natural world, advocating a lifestyle liberated from mundane constraints; and as symbols, the nude scholar transcends mere physical depiction to encapsulate the intellectual and emotional ethos of the scholars. The significance of this study lies in its contribution to the expansion of the symbolic paradigms within ancient Chinese painting through a semiotic lens, offering novel perspectives for traditional art historical research. Furthermore, the semiotic methodology not only enriches the comprehension of the nude scholar archetype but also furnishes a robust methodological framework for the interdisciplinary study of art history and cultural symbolism, thereby illuminating the complex interplay between symbols and cultural narratives in ancient Chinese art.