余伯特‧達彌施（Hubert Damisch, 1928-2017）在《雲的理論》第一章提出藝術 符號學，用以勾勒新型態的詮釋思考模式。其論述可分為兩個主軸：一方面批評傳統 繪畫理論的片面性，另一方面評估藝術語彙的成立條件。本文藉由九個議題，除了分 別釐清達彌施的批評論點，更重要的目標在於闡述達彌施的藝術符號學有何問題意 識，進一步思考其理論目標。前三段落說明達彌施對圖像、主題、寓意詮釋的質疑， 指出繪畫意義的形成過程，不可忽略視知覺訊息的重要性；中間三段探討達彌施對於 研究繪畫構成的理論之反思，其以「類比」作為相對於「風格」、「形式」的論述用語， 強調藝術手法並非格式化的描繪手段。末三段落則更為全面地整理達彌施對理論系統 的預設目的之批判。本研究發現，達彌施的藝術符號學重在思考過程的探討，目的在 於區隔兩種被混淆的範疇：理論系統賦予的意義，與藝術手法獨特的表現模態，後者 是藝術符號學的核心研究對象。

In the first chapter of Theory of /Cloud/, Hubert Damisch presented semiology of art as a new method of interpretation. The discourse could be mainly concerned in two aspects: the commentary on the partiality of traditional theories, and the assessment of artistic language and its conditions. This article, divided into nine parts, serves not solely to pinpoint the arguments of Damisch, but furthermore, to reveal the problematics of semiology of art, as well as exploring its objective. The three sections in the beginning elaborate on Damisch’s arguments against iconographic, thematic, and allegorical interpretations. It points out that the perceptional message plays a crucial role in the signifying process of pictorial language, which should not be ignored. The three following sections focus on Damisch’s reflection on formal analysis theories. By using “analogy” as a term opposed to “style” and “form”, Damisch emphasized that the artistic expression should not be defined by the idea of form. The final three sections synthesize Damisch’s critical comment on the presupposed aims of traditional theories. According to the discussion above, the present study discovers that Damisch’s semiology of art accentuates the assessment of the process of interpretation. The aim should be to determine the difference between two realms which are commonly confused: the connotations imposed by theories, and the unique attributes of artistic expression. The latter is the point on which semiology of art intends to amplify.