Abstract:

In the early 1960s, Lacan, inspired by Chinese calligraphy and Chinese characters, introduced the concept of the “unary signifier”. Chinese culture led Lacan to regard “unary” as the fundamental characteristic of signifiers and advanced a theory of subjective identification. Additionally, Lacan used Chinese characters as an example to emphasize the creative value of imagination in aesthetic activities, thereby proposing an art theory with imagination as its core. The theory contributes to enhancing art appreciation, cultivating new sensibilities, and stimulating creativity in artistic practice. Therefore, this article examines the influence of Chinese cultural factors on Lacan’s theory of the unary signifier and explores its significance for the innovative construction of Chinese art theory within the framework of “mutual learning between civilizations”.

Key words: mutual learning between civilizations, Lacan, unary signifier, art theory