Abstract
Studying the landscape painting of the Southern Song period, this essay proposes a semiotic paradigm to examine its artistic change. The idea of this paradigm is inspired by the theory of Charles Morris, specifically, the Morrisian hypothesis about the pragmatical dimension of semiosis. From this point of view, this essay explores the inwardness of Southern Song art, and observes that, due to the change of cultural context, Chinese landscape painting in the Southern Song experienced a paradigm shift from realist representation to self-expression, which decisively re-directed the course of the mainstream in Chinese landscape painting from being external sensitive to more internal sensitive, and thus a new paradigm has ever been set up for the development of Chinese art.
First Page
189
Last Page
199
Recommended Citation
Duan, Lian. 2017. "Charles Morris's Pragmatics and the Paradigm Shift in Southern Song Landscape Painting." Theoretical Studies in Literature and Art 37, (1): pp.189-199. https://tsla.researchcommons.org/journal/vol37/iss1/5
