Winners and Losers: The Analysis of a Contemporary Tattoo in Light of Aby Warburg’s Work^†

Round 1

Reviewer 1 Report

Comments and Suggestions for Authors

General point: This is a very interesting, thoroughly researched and argued essay. The text needs more information about the images - i.e. actual title, date, medium, location. Unless this information will be present elsewhere in the published article.

Specifics:

Re Fig 4, lines 224-228. I found it difficult to discern the rider on the poncho...

Lines 235-245. It is a pity the portraits discusses are not illustrated.

Line 339 - Fig 6 surely?

Author Response

1.The text needs more information about the images - i.e. actual title, date, medium, location. Unless this information will be present elsewhere in the published article.

I agree. I am providing the requested information about images in the attached word document

2.

Specifics:

Re Fig 4, lines 224-228. I found it difficult to discern the rider on the poncho...

Maybe the designer can provide a zoom of the image

Lines 235-245. It is a pity the portraits discusses are not illustrated.

I could not get the permissions

Line 339 - Fig 6 surely?

You are absolutely right. Here needs to be FIGURE 6. Thanks for this

Author Response File: Author Response.pdf

Reviewer 2 Report

Comments and Suggestions for Authors

The topic of the article is most interesting as it deals with the iconography of St James in tattoo art in Chile. The Chilean St James tattoo version and its evolution within Chilean society is well described and the discussion brings new information and insights. However, the background of St James (Iakobos, Yaʿqōḇ) in different church traditions could be presented and analyzed better to explain how Chilean St James and his tattoo iconography stands apart from other depictions of him and other relevant figures, such as military saints. Since St James is the patron saint of Spain that already adds a dimension that apparently is relevant to Chile. Meanwhile, the iconography of horseman murdering enemies has a long history and is particularly strong in Christian art having good examples, for instance, in Roman imperial coins during the Constantine era and continued both in the Orthodox Christian iconography (especially icons of military saints) and (medieval and later) Catholic Church art. The political/ ethnic replacements of the Other are common in such art. For instance, in modern Greece St George is still often depicted spearing Turks instead of dragons.  Tattoo art is special case, indeed, and its social roles and social recognition often influence what kind if impact is being sought. In other words, it would be interesting to know more about the people who want these tattoos in Chile and how they themselves perceive their meanings and significance, and, for instance, how they relate to the violence and politics depicted in this kind of art. So, adding a bot more about the general background could easily connect the article to broader art history and help to analyze deeper the meanings of this art.

Author Response

The topic of the article is most interesting as it deals with the iconography of St James in tattoo art in Chile. The Chilean St James tattoo version and its evolution within Chilean society is well described and the discussion brings new information and insights. However, the background of St James (Iakobos, Yaʿqōḇ) in different church traditions could be presented and analyzed better to explain how Chilean St James and his tattoo iconography stands apart from other depictions of him and other relevant figures, such as military saints. Since St James is the patron saint of Spain that already adds a dimension that apparently is relevant to Chile. Meanwhile, the iconography of horseman murdering enemies has a long history and is particularly strong in Christian art having good examples, for instance, in Roman imperial coins during the Constantine era and continued both in the Orthodox Christian iconography (especially icons of military saints) and (medieval and later) Catholic Church art. The political/ ethnic replacements of the Other are common in such art. For instance, in modern Greece St George is still often depicted spearing Turks instead of dragons.  Tattoo art is special case, indeed, and its social roles and social recognition often influence what kind if impact is being sought. In other words, it would be interesting to know more about the people who want these tattoos in Chile and how they themselves perceive their meanings and significance, and, for instance, how they relate to the violence and politics depicted in this kind of art. So, adding a bot more about the general background could easily connect the article to broader art history and help to analyze deeper the meanings of this art.

 

Response

I agree that the Spanish Saint James Mooreslayer needs to be introduced in order to understand the whole chronology. I have included that information in footnote number 7. Thanks for this

Regarding the rest of this comment, I think that the final thoughts try to answer those questions. Nevertheless, as we are dealing with recent facts, I chose to give an open answer and not a conclusion.

Author Response File: Author Response.pdf

Reviewer 3 Report

Comments and Suggestions for Authors

Figures must have a title and caption, and not just be numbered. 

References to the authors—theoretical basis, indexing—must be presented in full; reference works, chapters, and pages should be provided to reference the ideas and concepts evoked - Aby Warburg; Erwin Panofsky...

Regarding "2. The Context of the Conquest and the Creation of the ‘Other’":

Historical references, events, and occurrences, as well as mythological and mythical references, should be cited to reach a wider audience, considering the relevance of the topic under discussion. For example, the approach to understanding that "the horse is a symbol of military power..." could be better referenced connecting with the iconography of tattoos.

Author Response

1. Figures must have a title and caption, and not just be numbered. 

Yes, You are absolutely right, I am attaching the whokle required information

2. References to the authors—theoretical basis, indexing—must be presented in full; reference works, chapters, and pages should be provided to reference the ideas and concepts evoked - Aby Warburg; Erwin Panofsky...

Thanks for this. I am doing so every time it is a precise. Nevertheless, in the case of Warburg and Panofsky, I am refering to the their general ideas.

3. Regarding "2. The Context of the Conquest and the Creation of the ‘Other’":

Historical references, events, and occurrences, as well as mythological and mythical references, should be cited to reach a wider audience, considering the relevance of the topic under discussion. For example, the approach to understanding that "the horse is a symbol of military power..." could be better referenced connecting with the iconography of tattoos.

Thanks you very much for this important comment. I included information in footnote 4

Thank you very much

Author Response File: Author Response.pdf