| Summary: | 碩士 === 嶺東科技大學 === 視覺傳達設計研究所 === 100 === 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.
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