書法在當代海報設計之象徵性

書法以書寫、記錄文字為始，再發展為藝術，是中華藝術的象徵代表之一。但時至今日，書法記錄文字的功能日漸衰退，在藝術領域中仍然蓬勃發展，近年來因經濟與文化的影響，書法廣泛地應用於各種設計領域中。但是不論書法被應用於那個領域中，它的脈絡與線索跟形式的關係、跟象徵的關係，皆值得深入探究，以便更能掌握書法的特性。本研究以符號學來探討象徵、書法與海報的三角關係結構，進而發展一套分析模組，有系統性的分析在海報中的書法與象徵，並找出可能的設計發想系統。首先從文獻中探討象徵的定義和內部結構；其次是書法線的元素結構與內容；第三，歸納出象徵、書法與海報的垂直與縱向關係；第四，以文本分析進行海報案例的分析研究，本研究是探討書法與象徵這兩者關係，借助語意學來分辨其關係，而葛雷馬斯符號學中的符號矩陣是用來探討語意結構的研究理論，故以葛雷馬斯的符號矩陣來探索書法與象徵這兩個客體與分辨兩個客體間的關係。研究結果如下：一、從文獻與文本分析中發現，書法象徵的具有二種形式表現：1.線、墨彩與空間的符號系統。2.由表現技巧與手法延伸的情境意象。二、書法象徵的原型在海報可分為三大類：1.技法情境的相似性原型：以書法技巧而引起的聯想；2.肖似漢字的相似性原型：以書法的內容面—漢字來引發聯想，傳達概念；3.漢字符號的記號性原型：書法為形式表現，用於文字敘述。技法情境與肖似漢字的相似性原型，都是異質同構，也是系譜軸的思維聯想。本研究對後續提出二點建議1.本研究針對的是書法的象徵結構，但對只有墨移筆刷線條之海報作品並未收錄，建議可針對此進行後續研究。2.建議可朝書法應用於其他視覺修辭技巧，如比喻、誇張、借代等進行後續研究。

關鍵字

象徵性；書法；海報設計

並列摘要

Calligraphy started with the writing and texts recording, further developed into art, which is one of the symbols to represent Chinese Arts. However, nowadays, calligraphy is less and less for text recording but is applied to in the art instead; in recent years, calligraphy is applied in a wide range of design due to the trends influenced by economic and cultural circumstances. However, regardless of the applied fields, its context and clues in connection with the form and symbol are worthy of further research, so that it enables to seize its characteristics more and more. The study discusses the triangular relationship of symbol, calligraphy and posters by terms of Semotics, further develops an analysis model kit for systematic analysis of calligraphy and symbolism in the posters and any probability of identification of design thinking system. First of all, the definition of a symbol and its internal structure are discussed from literature review; secondly, the elemental structures and contents in the writing lines of calligraphy; thirdly, the induction of the vertical and longitudinal relationship between symbols, calligraphy and posters; fourthly, the analysis of a case study in topic of poster. The study aims to discuss the relationship between calligraphy and symbol, distinguish it by virtue of semantics, while the semiotic square of Greimas is used to explore the theory for the research in semantic structure; hence, it is also used to explore and distinguish the relationship between two objective forms, calligraphy and symbol. The findings indicated as follows: 1. As indicated from the literature review, there are two patterns of expressions to symbolize calligraphy. (1) a symbol system including line, ink color and space. (2) A contextual image extended by skills and techniques. 2. The prototype of calligraphic symbol on the poster is categorized as follows: 1. The prototype with similarity in technical context: association of calligraphy skills; 2. A prototype with similarity which resembles Chinese characters: - trigger the association and convey the concept with Chinese characters, the content of calligraphy writings; 3. A prototype of symbol marks of Chinese characters: calligraphy describes the texts as a form of expressions. The technical context and prototype with similarity which resembles Chinese characters are in isomorphism, also an association of thinking under paradigm. In this study, two suggestions for subsequent researches are as follows: 1. The study herein discusses mainly the symbolic structure of calligraphy, which excluding the poster with brush strokes by ink shifts, which is suggested to be the direction in the future. 2. The applications of calligraphy in other visual rhetorical skills such as metaphor, hyperbole and metonymy are suggested in the subsequent studies.