Abstract

In recent years, Chinese animation has increasingly embraced traditional cultural elements, with Chan (Zen) Buddhism emerging as a rich source of philosophical and aesthetic inspiration. Existing research on the manifestation of Chan aesthetics in Chinese animation has explored the topic from diverse perspectives, yet analyses from a systematic semiotic perspective remain limited. Most symbolic studies reduce Chan elements to isolated visual signs with one-to-one meaning correspondences, neglecting the synergistic operation of narrative, visual, and auditory symbols in animation as an integrated system. Drawing on Roland Barthes’ theory of myth, this study employs a qualitative semiotic analysis to examine how Chan aesthetics are reconstructed and naturalised in Chinese animated works across different periods and genres. The analysis demonstrates that core Chan concepts are reconfigured into secularised audiovisual symbol systems. These systems translate abstract philosophy into tangible aesthetic forms and narrative structures, with meaning generated through the interplay of denotation, connotation, and myth. Furthermore, the representation of Chan aesthetics evolves across eras. Early animation relies on minimalist ink-wash visuals and implicit narrative; contemporary commercial animated film employs causal storytelling to embed Chan values in modern contexts; and Ye Youtian ‘poetic animation’ emphasises personal spiritual expression through non-linear imagery.

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