以符號學觀點探究超現實繪畫圖像的象徵性

關於符號學的觀念運用的範圍甚廣，其所涵蓋的範圍有設計、服飾、識別系統、繪畫，甚至於建築和庭園景觀都有研究者加以運用；雖然國內書籍已經有針對單獨畫家或者是以淺顯易懂的方式做廣泛性的介紹，卻鮮少有論著比較或探討畫派的畫家作品間圖像的關聯性，而圖像符號最普遍的表達方式就是「象徵」，透過象徵圖像的解讀，更能體會圖像符號的真實意義。本研究的研究對象主要從國內超現實相關著作統計畫家出現次數，最後篩選出三位超現實畫家作為本研究的樣本對象。關於本研究的目的如下：壹、以圖像學的解讀方式分析超現實繪畫圖像符號之意義與相對關係，藉由交叉比對，試圖找出超現實繪畫中，圖像符號的關聯性。貳、以索緒爾符號學結構主義的語言結構分析方式加以分類歸納，以釐清超現實畫家─達利、夏卡爾與馬格利特畫作之間的關聯性。參、主要以索緒爾符號學的觀點，輔以皮爾斯符號學的符號三層關係，探討超現實繪畫圖像的「象徵性」，試圖尋找符號脈絡和參考的依據。肆、希望藉由本研究，讓觀賞者了解到超現實畫家是如何運用圖像符號去表現他的畫作，透過畫家的作品，認識符號元素的產生及所代表的意義；並且更加容易理解畫作所要傳達的意義。有鑒於此，研究者以索緒爾符號學後期所發展的李維史陀「二元對立（Binary Opposition）」的結構，對超現實繪畫圖像做概念性的分類（Conceptual Categories）；並以索緒爾符號學對於「共時性」與「歷時性」的系譜軸做為圖像符號的分類依據，以及索緒爾符號學的「任意性」與「肖像性」作圖像符號的屬性區別，輔以皮爾斯符號學的符號三層關係做更詳細的區分；同時運用「歷史分析法」、「文本分析法」以及「圖像學研究法」解讀出符號的象徵意義，作為圖像解釋方式的輔助，探討與分析超現實畫作裡的圖像象徵性。研究者發現三位超現實畫家（達利、夏卡爾、馬格利特）有許多運用共同圖像的部分，以及大量使用到的共同圖像，相互比較探討後，發現畫家所運用到的共同圖像之間，代表的意義會有些許差別。對於探究象徵性的部分，研究者發現到，三位畫家作品圖像的「象徵」大多帶有「隱喻」的成分，其次是「隱喻」與「轉喻」同時存在的圖像符號，少數的圖像符號有「轉喻」的成分。本研究期望能讓觀賞者了解到超現實畫家如何運用圖像符號去表現他的畫作，透過畫家的作品，認識圖像符號元素的產生及所代表的意義；並且更容易理解畫作所要傳達的意涵，透過觀賞繪畫作品與自己的生活經驗相結合，產生不同的觀點，達到藝術融入生活的境界。

關鍵字

符號學；超現實繪畫；象徵性

並列摘要

Semiotic concepts have been extensively applied by researchers in various areas, including design, fashion, identification systems, paintings, or even architecture and landscape. In Taiwan, even though there are numerous books introducing painters individually or offering easy-to-understand, general profiles of painters, few of them have juxtaposed emblems of painters of a same school or discussed the association between their emblems. The most common expression of emblems and signs is symbolicity. By decoding the symbolic emblems, one can better detect the true meaning of emblems and signs. The subjects of this study were chosen based on the number of surreal artworks of domestic painters, and three surreal painters were selected to be the subjects of this study. The objectives of the study are as follows: 1. Iconology’s decoding was used to analyze the meaning and relationships of emblems and signs of surreal paintings. Cross comparison was applied to find association between emblems and signs in surreal paintings. 2. To clarify the association among three surreal painters, Dali, Chagall and Magritte, linguistic structural analysis of Saussure’s semiotic structuralism was adopted for making the classification. 3. Symbolicity of emblems of surreal paintings was explored based on Saussure’s semiotics perspectives, and the three-tier semiotic relationship of Pierce’s semiology was included as a complement. The goal is to search for semiotic context and reference. 4. The ultimate objective of this study is to help viewers understand how surreal painters apply emblems and signs in their artwork, to learn about how emblematic elements are created, as well as their meaning, through the artwork, and most importantly, to comprehend the messages from the paintings more easily. The researchers used the binary opposition structure of Levi Strauss, which was developed in the latter stage of Saussure’s semitology, to conduct conceptual categorization of emblems of surreal paintings. The researchers adopted the paradigm of synchronicity and diachronicity of Saussure’s semitology as the base of the categorization and the arbitrariness and iconicity of Saussure’s semitology for attribute differentiation of emblems and signs. To achieve a more detailed categorization, the above measures were complemented by the three-tier relationship of Pierce’s semitology. The researchers also used historical analysis, text analysis, and iconological analysis to decode the symbolic meaning of emblems and signs with the attempt to facilitate the explaining of emblems for exploring and analyzing the symbolic meaning of emblems of surreal paintings. The researchers have found that the three surreal painters ( Dali, Chagall and Magritte) share many emblems in their paintings. After comparing the emblems of these three painters, the researchers consider that the meaning of these shared emblems of the painters is somewhat different. From exploring the symbolicity, the researchers have found that metaphor is a major component of symbolicity of these three painters’ emblems, while coexistence of metaphor and metonymy is the second most frequently observed symbolicity of these emblems. Metonymy alone, nevertheless, is rarely observed as an element of these emblems. The researchers hope that this study can help viewers understand how surreal painters apply emblems and signs in their artwork, learn about how elements of emblems and signs are created, as well as their meaning, through artwork, and to comprehend the messages delivered by paintings more easily. The various viewpoints derived from integrating art appreciation into our everyday experience can help us make art a part of our life.