The semiotic analysis of the wood carving in the traditional architecture —Subject on ancient architecture in Changhua city－

• Main Authors: Chih-jen Lee, 李志仁
• Other Authors: Chao-hsi Ho
• Format: Others
• Language: zh-TW
• Published: 2004
• Online Access: http://ndltd.ncl.edu.tw/handle/63583272189645029376

碩士 === 國立雲林科技大學 === 空間設計系碩士班 === 92 === The craving decoration of traditional architecture has gradually developed according to the history background, the material of building and the tool of the usage. In the Shang dynasty, it started having the appearance of the wood carving decorations, and the East Chou Dynasty was period to decorate the beam, column and architrave by adopting the skill of the carvings broadly then. Immediately after Chin and Han Dynasty was after, the ruling class put forward the higher adornment to beautify the need to its need to its building. These pieces of carving not only reflected times, the local area and the delivery of specific style, but also the mental and social level of the mankind’s cultural environment. Therefore, the wood carving in the traditional architecture constructs not only in decorative beautification need, but also the trace to converse the people’s dream and the emotion and culture into substance form. So these traces also make the tradition architecture own the tense of thought the content. Learns with the attitude of science, the semiotics develops the logic and careful way, and is able to analysis the structure and inside meaning of sign within the cultural system, for example social customs, the rite system, and all phenomenon that etc. is cultural about. Hence, the tradition architecture of wood carving also can be seen as a form of the symbol. Like other sign, it has the complete sign system such as particular phrasing and the principle of organizing, and the function of expression and symbol. The purposes of this research are to establish the symbolic system of traditional culture of carving wood, the conceive of the topic and the distribution in carving for an artisan, the inner meaning and the reaction of the audience. This dissertation tries to get the structure of the wood carving from the point of semiotic. Starting with the intention of artisan, the method of carvings, the concrete present and the expression of the meaning, and has the outcomes that： 1.The principle of phasing and organizing of the wood carvings： To observe the connection between the original idea, the material and the skill of the artisans from the rule of evolution form deep structure to the form structure. 2.The skill of the idea and its meaning of the wood carvings： To observe the skill and the meaning of these articles from the original idea, the material and the skill from picture marks, indicate marks and symbolize marks. 3.The process of producing effects for audience of the wood carvings： To analyze the interrupting and interpreting methods in the process of accepting the original information. At last, this research is not only emphasis in the aspect of theory, but also to observe the spirit and of carving wood shown and its future development by means of exciting of related theories and the case of the countryside investigates. Deducing the deeper life of artisan and the meaning of symbol of the carving wood through structure, meaning and usage through the syntactic, the semantic, and the pragmatic. And then to re-realize and re-interpreting the deeper trace between artisan and carving wood and then to feel deeply.