中国现代艺术符号学的发生及其感性辩证法

The Occurrence of Modern Chinese Art Semiotics and its Perceptual Dialectics

中国现代艺术符号学与符号学同年诞生,在中西文化碰撞交流的过程中,汉语“符号学”在注重认知关系的同时,特别强调感性的立场。艺术符号学与普通符号学之间形成“互生”的现象。我国20世纪早期文字符号的根本变革与最能够体现感性立场的艺术符号,对民族文化传统资源呈现出截然相反的姿态:文字符号对传统的截然抗拒,艺术符号对传统的主动继承,二者“殊途”指向的“同归”是中国现代文化转型中的民间场域。这是中国现代艺术符号学在发生期所蕴含的感性辩证法。从我国现代“符号学”的命名入手,厘清中国现代艺术符号学在发生期所蕴含的民族文化特征,对中国艺术符号学的根本溯源、整体发展以及民族话语体系建构具有重要意义,也是未来中国艺术符号学“接着说”的前提和基础。

Modern Chinese art semiotics and semiotics were both born in the same yearIn the process of cultural collision and exchange between China and the West,Chinese“符号学”(“semiotics”)paid special attention to the cognitive relationship of symbols,and at the same time emphasized the perceptual positionThe phenomenon of mutuality was formed between art semiotics and general semioticsThe fundamental transformation of Chinese characters in the early 20th century and the artistic symbols that can best reflect the perceptual position have shown diametrically opposite attitudes towards the traditional resources of national culture:while the symbols of traditional Chinese characters are rejected,the traditional artistic symbols are inheritedNotwithstanding such difference,the two share a common goal,that is,both turning their focus to folk culture in the transformation of modern Chinse cultureThis is the perceptual dialectics in modern Chinese art semioticsThe naming of modern Chinese art semiotics and clarification of the perceptual dialectics of modern Chinese art semiotics is important to the fundamental tracing and overall development of Chinese art semiotics as well as the construction of a national discourse of semioticsIt is also the foundation for the future development of Chinese art semiotics.