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August 16, 2026Humanities and Social Sciences CommunicationsOpen Access

Visual representation of cross-cultural adaptation in Nanyang style of painting: a semiotic analysis of Georgette Chen’s Family Portrait

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Authors

CQChen QiuPWPAN WEIQINGLGuangdong Li

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Overview

Semiotic analysis reveals cross-cultural adaptation and identity negotiation strategies in Malayan immigrant visual art, highlighting pathways between tradition and modernity.

Key Points

  • To examine the visual representation of cross-cultural adaptation and identity negotiation in Georgette Chen's 1954–1955 oil painting Family Portrait within the historical context of Malaya.
  • Constructed an interdisciplinary analytical framework combining Peirce’s semiotics, Kim’s cross-cultural adaptation theory, and Maslow’s hierarchy of needs.
  • Identified and interpreted visual signs (icons, indices, and symbols) related to family roles, spatial layout, and daily activities to assess psychological and cultural adaptation.
  • Demonstrated that the coexistence of Chinese and Western dress, the prominent visualization of female subjects, and children's cultural elements function as strategic visual signs of identity negotiation.
  • Showed that daily visual symbols in the painting reflect underlying psychological adaptation processes related to belonging and map the navigation between tradition and modernity in immigrant families.

Cite This Study

Qiu et al. (2026) studied this question.

synapsesocial.com/papers/6a8179cbf2fb91fc834ad1abhttps://doi.org/10.1057/s41599-026-08735-2
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