一直以来，学界运用现代西方符号学解读艺术，主要集中在艺术史和艺术批评及西方绘画本体研究上，对中国传统绘画的解读和研究屈指可数。作为明末清初的画坛怪杰，陈洪绶为世人留下了大量的人物、花鸟、山水画作品，其作品高古奇逸，独树一帜，在中外美术史上享有盛誉。从某种程度上说，陈洪绶绘画作品同美国符号学家皮尔斯提出的“三分”理论有许多暗合之处。文章以皮尔斯符号学为切入点，从第二种三分法中的像似符、指示符、规约符等方面对陈洪绶绘画进行深入分析与解读，以期帮助我们从新的角度领略陈洪绶绘画语言，更好地解读以陈洪绶为代表的中国画图示内涵。

The academic world has been utilizing modern western semiotics to interpret art for a long time, mainly focusing on art history and art criticism as well as ontology research of Western painting. There are only a few interpretations and researches on traditional Chinese painting. As a painting geezer in the late Ming and early Qing dynasties, Chen Hongshou has left a large number of figures, flowers and birds, and landscape paintings for the world. His works are of a unique style and enjoy a high reputation in the history of Chinese and foreign art. To some extent, his painting works have many similarities with the theory of "three Symbols and three Terms" (icon, index, symbol, representamen, interpretant, object) put forward by American semiotician Pierce. Based on Pierce's semiotics, this paper makes an in-depth analysis and interpretation of Chen Hongshou's paintings from the aspects of similar function, indicative function and stipulation function, in order to help us understand Chen Hongshou's painting language from a new perspective and better interpret the schema connotation of Chinese painting represented by Chen Hongshou.