日治時期美術設計的“台灣圖像”符號分析

An Analysis of "Icon of Taiwan" in Graphic Design in the Japanese Colonial Period

姚村雄(Tsun-Hsiung Yao) ； 陳俊宏(Jun-Hong Chen) ； 邱上嘉(Shang-Chia Chiou)

《設計學報》 13卷2期 (2008/06) Pp. 69-87

https://doi.org/10.6381/JD.200806.0069

摘要

本文係以日治時期美術設計中具有台灣意象之各類「台灣圖像」符號為研究對象。利用與設計相關之「記號學」(semiotic)理論，分析「台灣圖像」符號的傳達方式、運用情形與表現類型。以「歷史研究法」進行相關文獻資料與美術設計作品的收集、整理，並利用「比較分析法」進行「台灣圖像」符號的比較、分析。主要從索緒爾(Ferdinand de Saussure)符號理論，針對收集到的台灣圖像進行當時的「符號具」(signifier)和「符號義」(signified)分析；從皮爾斯(Peirce)符號區分方式，作台灣圖像的視覺符號分類，以及各類符號運作方式分析；依索緒爾之符號「系譜軸」(paradigmtic)與「毗鄰軸」(syntagmatic)理論，進行台灣圖像符號的組成關係探討；依莫里斯(Morris)符號理論的「指謂」(denotation)、「詞似」(connotation)，「意涵」(signification)等三種符號意義形成理論，分析台灣圖像符號意義傳達的樣態與方式。主要研究結果如下：當時的台灣圖像符號，具有「符號具」與「符號義」之一體兩面特性；因受殖民環境影響，圖像大多屬於「肖像型」與「指示型」符號，符號運作時，會出現一個圖像符號隸屬兩種類型之情形；在圖像類型系譜中，具獨特性且台灣地域色彩明顯者，較易成為設計符號之選擇，並會有不同圖像符號的同時使用；符號意義形成方式，除部分利用「意涵」作意義表現外，大多同時並用「指謂」、「詞似」等多種傳達樣態作符號意義之詮釋，以加強台灣意象表徵與內涵意義傳達。

關鍵字

美術設計 ； 台灣圖像 ； 符號

並列摘要

This study investigated the symbols of ”icon of Taiwan” in graphic design in the Japanese colonial period. The authors utilized the theory of Semiotic to analyze the way of communication and application of the symbols of ”icon of Taiwan”. A document research method was employed via the arrangement and collection of documents and graphic design works for the comparison and analysis of the symbols of ”icon of Taiwan”. In this study, the theory of semiotic of Saussure was used to analyze the signifier and signified of ”icon of Taiwan” at that time. Moreover, the semiotic theory of Peirce was employed to deal with the visual symbols classification of the graphic designs, and the manipulation of various kinds of symbols. Then the theory of paradigmtic and syntagmatic of Saussure were used to explore the composition relations of ”icon of Taiwan”. Based on Morris's semiotic theory of denotation, connotation and signification, the visual symbols' meaning and communication way of ”icon of Taiwan” were analyzed. The main findings are as follows: The ”icon of Taiwan” had the ”signifier” and ”signified” characteristic at that time. Because it was affected by the colonial environment, its image mostly belonged to the ”icon” and ”index”, and might have features of these two types of images. It was easy to become a design icon, and represented different images at the same time, if it had obviously unique and Taiwan local color characteristic. In addition to the function of ”signification”, most design employed ”denotation” and ”connotation” to make annotation of the icon significance, and strengthened the Taiwan image attribute and the meaning communication in terms of the icon significance mode of formation.

並列關鍵字

Icon of Taiwan ； Graphic Design ； Japanese Colonial Period ； Symbol

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