2017/01/02 by Lian Duan · 1 citation
Arts and Humanities · Biochemistry, Genetics and Molecular Biology · Psychology · #Umberto Eco and Semiotics #Visual Culture and Art Theory #Microbial Metabolism and Applications #Paradigm shift #Semiosis #Semiotics #Representation (politics) #Ideology #Mainstream #Painting #Expression (computer science) #Aesthetics #Dimension (graph theory) #Landscape painting #Sociology #Cognitive science #Art #Epistemology #Visual arts #Psychology #Computer science #Philosophy #Politics
paper · pdf · doi:10.1080/25723618.2017.1339507
openalex publication_date 2017/01/02 · openalex created_date 2025/10/10 · openalex updated_date 2026/05/22
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.