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Paradigm Shift in Chinese Landscape Representation

机译:中国山水画中的范式转换

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Studying Chinese landscape painting of the Southern Song period, I propose a semiotic paradigm to examine its artistic change from realist representation to self-expression. This conception is inspired by the Morrisian hypothesis about the pragmatical dimension of semiosis. In this light, I discuss the paradigm shift at two levels, the formal level of visuality and the conceptual level of ideology. Accordingly, I observe that the paradigm shift decisively redirected the course of the mainstream in Chinese landscape painting from being external sensitive to more internal sensitive, and thus a new paradigm has been set up in Southern Song.
机译:在研究南宋时期的中国山水画时,我提出了一个符号学范式,以考察其从现实主义表现到自我表现的艺术变化。这个概念是受关于符号学的实用维度的莫里斯假设的启发。有鉴于此,我在两个层次上讨论了范式转换,即视觉的形式层次和意识形态的概念层次。因此,我观察到范式的转变决定性地将中国山水画的主流路线从对外部的敏感转向对内部的敏感,从而在南宋树立了新的范式。

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