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This paper seeks to reveal the world of Lacanian ‘signifiant' of Oscar Wilde(1854-1901) by analysing Wilde’s The Picture of Dorian Grey(1890). Wilde once said that the painter, Basil Hallward represents actual himself and Dorian and Henry, the one who he would like to become, the one people think he would be. This perception shows the author aware of the multiplicity of the subject beneath ‘the Real,’ the imaginary and symbolic Egoes, which could be the reason why he titled his work ‘The Picture of . . . ’ and not ‘A Portrait of . . . ’ as Joyce did in his A Portrait of the Artist as a Young Man(1916). His picture acts in effect as the Egyptian Hieroglyphs whose pictures decipher as alphabets but not as things seen in the hieroglyphs. This process get together the picture, Lacanian letter and ‘signifiant,’ ‘the Real’ as well as the secret art of Basil in the novel: they all evolve around ‘the Real.’ The deaths of main character-egoes are understood as the endeavor to reach ‘the Real,’ the world of the pure signifiant as ‘Emptiness’(空) in full light, which ends up a sort of subject-epiphany.