摘要：Studying Chinese landscape painting of the Southern Song period, I propose a semiotic paradigm to examine its artistic change from realist representation to self-expression. This conception is inspired by the Morrisian hypothesis about the pragmatical dimension of semiosis. In this light, I discuss the paradigm shift at two levels, the formal level of visuality and the conceptual level of ideology. Accordingly, I observe that the paradigm shift decisively redirected the course of the mainstream in Chinese landscape painting from being external sensitive to more internal sensitive, and thus a new paradigm has been set up in Southern Song.
关键词：Paradigm shift; Morrisian pragmatics; self-expression; Song dynasty; Zen art; 范式迁移; 莫里斯; 符号学理论; 自我再现; 宋代; 禅宗艺术
