Journal of Chaohu University ›› 2020, Vol. 22 ›› Issue (5): 120-126.doi: 10.12152/j.issn.1672-2868.2020.05.016
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.
Chen Hongshou's paintings
HU Tai-nan. On the Schema Connotation of Chinese Painting from the Perspective of Pierce Semiotics:
Taking Chen Hongshou's Paintings in Late Ming and Early Qing Dynasty as an Example[J].Journal of Chaohu University, 2020, 22(5): 120-126.
Add to citation manager EndNote|Reference Manager|ProCite|BibTeX|RefWorks