<![CDATA[This article examines Affandi's painting Bloody Battle through Charles Sanders Peirce's semiotic approach, especially the trichotomy of the representamen consisting of qualisign, sinsign, and legisign. The purpose of the article is to clarify how color qualities, brushwork, figure composition, and the presence of a human hand-like form produce layered meanings about conflict, violence, and human involvement. The method is descriptive-qualitative with a semiotic analysis of visual data. The findings show that the painting cannot be reduced to a simple opposition between good and evil. Its reddish-brown field, the contrast between the white rooster and the yellow-black rooster, and the ambiguous hand-like form create an unstable field of interpretation. Bloody Battle can therefore be read as a visual allegory of violence that is normalized and organized by social conventions. This study contributes to Indonesian visual art studies by showing that Affandi's expressive gesture also functions as a complex structure of signs]]>
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