中国艺术符号学的现代性萌芽——以郭沫若艺术符号学思想为例

The Modernity of Chinese Art Semiotics——Taking Guo Moruo’s Art Semiotic Thought as an Example

中国本土化的艺术符号学萌芽于20世纪二三十年代,郭沫若对艺术的研究体现出鲜明的符号学研究特征。对艺术形式的关注是定义郭沫若艺术符号学的基本前提,郭沫若艺术符号学内在所指是情感,情感的节奏性运动是郭沫若统一艺术语言的理论依据,艺术与人、艺术与社会所形成的例示性指称关系是郭沫若艺术符号学的最终指归。郭沫若艺术符号学思想的显著特征是从符号的二元对立到阐释的三元融合;郭沫若在中西艺术对话交流的基础上提出了新的现代艺术观念,这对研究中国现代美学极具启发意义。

Saussure’s semiotics, Pierce’s semiotics, neo-Kantian semiotics and the Tartu-Moscow School are the main theoretical sources of contemporary art semiotics.Chinese localart semiotics originated in the 1920s and 1930s, in which Guo Moruo’s research on art reflected the distinctive characteristics of art semiotics.The attention to the art form is the basic premise for defining Guo Moruo’s art semiotics.The inner meaning of Guo Moruo’s art semiotics is emotion, and the rhythmic movement of emotion is the theoretical basis of Guo Moruo’s unifying art symbolic language. The exemplary referential relationship between art and people, art and society is the ultimate goal of Guo Moruo’s art semiotics.The remarkable feature of Guo Moruo’s art semiotics is from the binary opposition of symbols to the ternary fusion of interpretation. Guo Moruo put forward a new concept of modern art on the basis of the dialogue between Chinese and Western art, which was very inspiring for us to study Chinese modern aesthetics.