本研究旨在探討達彌施對兩個課題的處理：「指涉」與「重建」，以此兩個觀察點，發現藝術符號學的特性。達彌施的思考是混融在不同範圍上的，包含對繪畫表達的重新觀看、認識，以及對於方法論的檢討。本研究從「指涉」與「重建」兩種問題開展，即嘗試以不同的觀察重心，相對於單一重心，以涵蓋藝術符號學中不同片段的思考，指出此一理論的觀點與定位。

本文的四個章節，分析了達彌施所論的四個議題：〈論繪畫理論〉、〈論再現〉、〈論繪畫空間〉、〈論句法〉。〈論繪畫理論〉分析了達彌施對傳統繪畫理論的檢討，進而發現繪畫問題與方法論問題的並置探討，是引出不同視角，並阻斷唯一見解形成的手段；〈論再現〉則發現了達彌施對主要問題的重新設定，其面對「再現」，以表達問題作為重心，離開它所涉及的形上學問題，藉此讓整體符號學的探討脫離特定問題框架限制；〈論繪畫空間〉分析達彌施對指涉的直接勾勒，發現此一勾勒超乎對繪畫的詮釋，而更是一種方法論的演示，展現了相對實在的切入方法，有別於一般看法聚焦於假設性因素。它因而更能發現繪畫空間呈現的微妙因素；〈論句法〉則歸納達彌施對形成意義過程的看法：「指涉」既非繪畫本身的規律，也不是一種解讀規則可以概括的，而是兩者的交會結果。

研究發現，勾勒「指涉」與「重建」思考方式並非兩個分開的問題，而是形成達彌施藝術符號學的主要工作：即超越各種認知模式，並且發現繪畫表達超乎設想的變化幅度。

This study serves to delineate Damisch’s treatise on two subject matters: “Designating” and “Reconstruction”, and to reveal the methodological features of Semiology of Art from this perspective. Damisch’s discourse is a fusion of various inquiries, mainly, experimenting alternative outlooks on pictorial expression, as well as examining the method of theories. Initiated with the questionings associated with “Designating” and “Reconstruction”, this study is an attempt to bring into play different aspects, instead of viewing from a single point of view, by means of which, to examine different parts of Damisch’s discourse, and to reveal its arguments as well as its position among different theories.

The four chapters in this thesis are analyses of issues elaborated by Damisch: ‘On Theories of Painting’, ‘On Representation’, ‘On Pictorial Space’, ‘On Syntax’. ‘On Theories of Painting’ is an analysis of Damisch’s critique on traditional theories of painting. It points out that Damisch’s juxtaposition of paintings and theories as subjects, is a means of opening up different viewpoints, counteracting the intensification of a predominant viewpoint. The second chapter, ‘On Representation,’ clarifies Damisch’s setting of the main issue. Confronting the idea of representation, Damisch shifts from its metaphysical issue to a semiotic one, thus setting the semiotic inquiry free from certain preconditions. ‘On Pictorial Space’ is an analysis on Damisch’s depiction of designation. It is revealed that Damisch’s depiction is a demonstration of a new approach towards painting, rather than a mere interpreting process. The depiction demonstrates a relatively ‘realist’ way a of seeing, unlike the common approach, which focuses on the hypothetical aspects. It thus brings to light more subtle aspects of pictorial space. Eventually, ‘On Syntax’ synthesizes Damisch’s view on the signifying process: “designating” is neither a self-contained function of the painting itself, nor could it be equalized to the functioning of the spectator’s consciousness, it is instead, the blend of the two factors.

It is revealed in this study, that the delineation of “designating” and the “reconstruction” of ways of thinking are not two separate tasks, but rather form the main task of Damisch’s Semiology of Art: that of exceeding epistemological modes, and to unveil the unpredictable variations of pictorial expression.

達彌施著作與譯本
Damisch, Hubert. Théorie du /nuage/ : pour une histoire de la peinture. Paris : Éditions du Seuil, 1972.
Damisch, Hubert. A Theory of /Cloud/: toward a history of painting. Translated by Janet Llyod. California: Stanford University Press, 2002.
達彌施（Hubert Damisch）。董強譯。《雲的理論：為了建立一種新的繪畫史》。台北市：楊智出版社，2002。

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期刊論文
伊夫阿蘭布瓦（Yve-Alain Bois）、周憲、張婷。〈藝術史的傳統與嬗變——伊夫－阿蘭˙布瓦教授專訪〉。《南京藝術學院學報(美術與設計)》03期（2018年）：01-04。
李光柱。〈余伯特˙達彌施繪畫理論初探〉。《藝苑》01期（2013年）：頁21-27。
柴冬冬。〈如何面對影像？——以余伯特˙達彌施的攝影圖像現象學為例〉。《福建論壇（人文社會科學版）》06期（2015年）：頁124-129。
張佳峰。〈達彌施藝術史論研究範式及其當代意義〉。《南京藝術學院學報(美術與設計)》。04期（2018年），頁9-35。
惠藍。〈以馬諦斯為理論對象——達彌施、博瓦「繪畫作為模式」之研究範式一例〉。《畫刊》09期（2014年）：頁61-64。
魯明軍。〈視覺敘事與繪畫史句法新探——圍繞達彌施「雲的理論」的討論〉。《文藝研究》07期（2013年）：頁119-127。

英、法文參考文獻
專書
Careri, Giovanni. Georges Didi-Huberman. Hubert Damisch: l’art au travial. Paris : Éditions Mimesis, 2016.
Deledalle, Gérard. Charles S. Peirce’s Philosophy of Signs: Essays in Comparative Semiotics. Bloomington and Indianapolis: Indiana University Press, 2000.
Foucault, Michel. The order of things: an archaeology of the human sciences. New York: Routledge, 1989.
Johnson, Oliver A. The mind of David Hume: A companion to book I of A treatise of human nature. Urbana and Chicago: University of Illinois press, 1995.
Levine, Emily. J. Dreamland of Humanists: Warburg, Cassirer, Panofsky, and the Hamburg School. Chicago and London: The University of Chicago Press, 2013.
Marin, Louis. On representation. Translated by Catherine Porter. California: Stanford University Press, 2001.
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Merleau-Ponty, Marice. Husserl at the limits of Phenomenology: Including texts by Edmund Husserl. Edited by Leonard Lawlor and Bettina Bergo. Illinois: Northwestern University Press, 2002.
Merleau-Ponty, Maurice. Phenomenology of Perception . Translated by Colin Smith. New York: Routledge, 2002.
Panofsky, Erwin. Meaning in the visual arts. Chicago : University of Chicago Press, 1982.
Panofsky, Erwin. Three essays on style. Cambridge, Mass : MIT Press, 1997.
Peirce, Charles S. Collected papers of Charles Sanders Peirce: v.1 Principle of Philosophy. Edited by Charles Hartshorne and Paul Weiss. Bristol: Thoemmes Press, 1998.
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Preziosi, Donald. (ed.) The Art of Art History: A Critical Anthology. Oxford: Oxford University Press, 2009.
Saussure, Ferdinand de. Course in General Linguistics. Edited by Charles Bally and Albert Sechehaye. Translated by Wade Baskin. New York: McGraw-Hill, 1966
Wolfflin, Heinrich. Principles of Art History. Translated by Hottinger, M. D. New York: Dover Publications, 1950.

期刊論文
Barthes, Roland. “Le message photographique.”Communications, 1 (1961):127-138. doi: 10.3406/comm.1961.921
Bois, Yve-Alain, Denis Hollier, Rosalind Krauss and Hubert Damisch. “ A Conversation with Hubert Damisch.” October 85 (Summer 1998): 3–17.
Bois, Yve-Alain, John Shepley. “Painting as model.” October 37 (1986): 125-137.
Damisch, Hubert. “ Eight thesis for (or against?) a semiology of painting.” Oxford Art Journal 28, no.2 (2005): 257-267. https://doi.org/10.1093/oxartj/kci025
Damsich, Hubert, Kent Minturn, and Priya Wadhera. “The part and the whole.” Art in Translation 4, no.2 (2012): 245-266. doi: 10.2752/175613112X13309377913160
Damisch, Hubert, Giovanni Careri, Bernard Vouilloux. “Hors cadre : entretien avec Hubert Damisch.”Perspective 1 (2014). Retreived from http://perspective.revues.org/1670
Deledalle, Gérard. “Peirce's ‘sign’: Its concept and its use.” Transactions of the Charles S. Peirce Society 28, no.2 (1992): 289-301.
Iversen, Margaret. “ The disccourse of perspective in the twentieth century: Panofsky, Damisch and Lacan.” Oxford Art Journal 28, no.2 (2005): 193-202.
Verheyen, Egon. “Correggio’s Amori di Giove.” Journal of the Warburg and Courtauld Institutes, 29 (1966): 160-192. doi: 10.2307/750714

網路資料
Ripa, Cesare. 1709. Iconologia; or, Moral emblems. Translated by Pierce Tempest. London: Benj. Motte. https://archive.org/details/iconologiaormora00ripa
Teresa of Avila. 2005. The Life of St. Teresa of Jesus. Urbana, Illinois: Project Gutenberg. http://www.gutenberg.org/files/8120/8120-h/8120-h.htm