Search Results (30)

This preliminary iconological inquiry aims to show that the Machiavellian image of the centaur Chiron—which was to enjoy extraordinary fortune in Western political thought—must be situated within Medicean ideology, where it had already assumed a highly significant role as early as the time of Cosimo the Elder. The figure of the centaur governed by Pallas—armed yet pacific Wisdom, whose very epithet alludes to the palle of the Medici coat of arms—may be taken to encapsulate the characteristic Renaissance impulse to recast the classical in Christian terms, an impulse that reached its apex in the ideological glorification of the Medici family as rulers of a new Athens coextensive with the new messianic Jerusalem. It was only with the elevation to the papacy of Lorenzo the Magnificent’s son, however, that the centaur acquired its fullest duplicity and symbolic potency—openly invoked in The Prince and displayed on the frontispiece of the first printed edition of La Mandragola. The paradigmatic twofold prince—at once humane, devout, and merciful, yet also libidinous, deceitful, and violent—is none other than Leo X: the pontiff in whom sacral and temporal power, Roman libido dominandi and Christian redemptive charisma, coexist in a dialectical tension, ceaselessly hybridizing one another. It is through the mediation of this papal centaur that the prince is secularized. Full article

This experimental study examines how generative AI reshapes the balance between perceptual fluency and cultural semiosis in children’s picture-book illustration by using a corpus derived from The Monkey King picture-book series, adapted from the classical Chinese novel Journey to the West. The study compares 224 handcrafted illustrations with 224 AI images generated by the Doubao platform (Seedream-3.0). Computational visual metrics, edge curvature and color entropy were calculated using OpenCV, while iconographic features were manually annotated with the UAM Image Tool (Mick O’Donnell, Universidad Autónoma de Madrid, Madrid, Spain). Quantitative analysis reveals statistically significant formal divergences between the two illustration modes. AI images generated by the Doubao platform exhibit a shift toward more outwardly convex contours and reduced color entropy, indicating smoother contours and chromatic homogenization that enhance perceptual accessibility. Iconographic analysis, however, demonstrates an attenuation of culturally specific symbols. High-frequency, contour-salient attributes are largely preserved, whereas low-frequency, ritualized, and hierarchically organized elements are frequently omitted or simplified. The findings reveal a tension between perceptual fluency and cultural–semantic stability in AI images generated by Doubao (ByteDance, Beijing, China), employing the Seedream 3.0 model. They support a framework of conditional applicability, with implications for picture-book illustration, cultural adaptation, and children’s visual-literacy education. Full article

This article analyzes the symbolism of the phytomorphic motif of the mountain vine in the traditional embroidery of Cuetzalan, made by the Nahua women of the Masehual Siuamej Mosenyolchicauani collective. From the iconological approach, the pre-iconographic, iconographic and iconological levels of the motif will be examined, with the support of ethnography. The study identifies that the vine, a recurring plant element in traditional blouses, not only fulfills an ornamental function, but also constitutes a symbol of vital continuity, union and regeneration. Its visual representation alludes to the movement of life and the relationship between the natural and spiritual planes within the Nahua worldview. Through embroidery, the artisans express their connection to the land and the transmission of ancestral textile knowledge, reaffirming their cultural identity in a community context. Full article

The plant’s representation had, in the past, a great symbolic relevance, which is now often neglected. The presence and significance of mullein (Verbascum sp.) in Euro-Mediterranean art have been investigated, but despite its iconographic importance, a wide analysis of its value and recurrence is lacking. Through a survey of over 5000 artworks, from ancient to modern age, combining digital museum collections and fieldwork, we identified about hundred depictions of Verbascum, 64 of which are here reported for the first time. Based on key morphological traits, V. thapsus and V. sinuatum emerged as the most frequently depicted species, particularly through their basal leaves and inflorescences (especially in modern ages). In archaeological contexts, Verbascum overall appears as a symbol of Athena/Minerva, bringers of light, and in funerary settings, such as Apulian vases and tombs, symbolizing new life in the afterlife. After its absence during the Middle Ages, the plant reappeared in the Renaissance, carefully portrayed by notable artists, such as Leonardo, Correggio, Bellini, Dürer, Caravaggio, and Bernini. During this period, mullein is often associated with Christ and St. John the Baptist, reinforcing its symbolism of light and spiritual elevation. Other representations also occurred in the subsequent centuries, but in a renovated vision of the natural world. Full article

Street art increasingly reshapes aesthetic hierarchies by introducing previously marginalised media into the public sphere. A compelling example is the artistic practice of the Polish artist NeSpoon (Elżbieta Dymna), whose work merges the visual language of traditional lace with the communicative strategies of contemporary urban art. Active since the late 2000s, NeSpoon combines stencils, ceramic lace imprints, and large-scale murals to translate the intimacy of handcraft into the visibility of public space. Her works function as both aesthetic interventions and acts of civic pedagogy. This study employs a qualitative visual research design combining multi-site digital inquiry, iconological and semiotic analysis, and mini focus group (N = 22). Three purposefully selected cases: Łódź, Belorado, and Fundão, were examined to capture the site-specific and cultural variability of lace murals across Europe. The analysis demonstrates that lace functions as an agent of cultural negotiation and a medium of heritage literacy, understood here as embodied and place-based learning. In Łódź, it monumentalises textile memory and women’s labour embedded in the city’s industrial palimpsest. In Belorado, micro-scale responsiveness operates, strengthening the local semiosphere. In Fundão, lace enters an intermedial dialogue with azulejos, negotiating the boundary between craft and art while expanding local visual grammars. The study introduces the conceptualisation of the monumentalisation of intimacy in public art and frames heritage literacy as an embodied, dialogic, and community-oriented educational practice. Its implications extend to feminist art history, place-based pedagogy, urban cultural policy, and the preventive conservation of murals. The research elucidates how domestic craft once confined to the private interior operates in public space as a medium of memory, care, and inclusive aesthetics. Full article

In the context of rapid global digitalization and evolving media ecologies, sustainable cultural communication has become central to both museum transformation and the theoretical renewal of iconology. Images, as vital carriers of cultural memory and identity, are shifting from static, linear presentations to generative, interactive, and participatory modes enabled by digital platforms. This shift calls for a new paradigm in image communication—one that integrates meaning construction with technological and user-centered logics. This study adopts a “technology–culture–user” framework, drawing on constructivism, cultural memory theory, and symbolic interactionism to construct a digital-era iconological system. Through comparative analysis of the Chinese Palace Museum and the National Museum of Korea, the research reveals complementary approaches: the former emphasizes structured, authoritative knowledge dissemination, while the latter prioritizes immersive, user-driven interaction. These differences provide a basis for cross-cultural cooperation. Accordingly, the paper proposes five collaborative strategies: integrating advanced technologies, building shared image resource systems, enhancing user engagement mechanisms, expanding East Asian visual symbol networks, and adapting institutional frameworks to diverse cultural contexts. These strategies aim to support both theoretical innovation in iconology and sustainable regional cultural communication in the digital age. Full article

Private gardens during the Song Dynasty are an important component of classical Chinese garden design. However, existing research predominantly focuses on architectural forms and construction techniques, with insufficient systematic exploration of the overall spatial layout, the typological evolution of garden architecture, and the underlying driving forces behind these changes. Based on the 400 private garden records from the Complete Collection of Song, Song-era notes, poems, and paintings, this study employs methods from cliometrics and iconology to quantitatively analyse historical materials to systematically trace the evolution of spatial layouts, architectural types, architectural construction, and interior furnishings in Song private gardens while delving into the causes of these changes. The findings reveal a significant increase in the application of “elevated and terraced layouts” in Southern Song private gardens. The rise of unique architectural types, such as boat-shaped buildings, academies, and high buildings with a collection of books, is closely tied to the scholar-official culture, advancements in printing technology, the influence of Neo-Confucianism, and government support for private education. Southern Song architectural techniques saw significant advancements in response to climatic changes, featuring diversified roof forms, upturned eaves, detachable doors and windows, and elevated platforms. The invention of modular furniture, such as the Yanji table, exemplifies the ingenuity of Song designers in adapting to shrinking living spaces. This paper is the first to systematically reveal the evolution of private garden architecture in the Song Dynasty, particularly the emergence of unique architectural types. It offers a new perspective for understanding the influences of society, culture, and environment on landscape architecture in the Song Dynasty, providing valuable historical insights for the study of Ming–Qing garden architecture and contemporary landscape design practices. Full article

Dongba painting is an ancient art form created by the ancestors of the Naxi people. As a masterpiece of Dongba scroll painting, The Road to Heaven, exemplifies the simplicity and beauty of the primitive Dongba religion and stands as a unique treasure within Naxi painting, possessing significant value for both art and religious research. The Road to Heaven serves as an essential religious ritual artifact in the Dongba religion of the Naxi people. Utilizing the format of a long scroll painting, it depicts the Naxi people’s reflections on the origins of life; the relationships between humans, nature, and society; and the exploration of life’s ultimate destiny, thereby presenting a distinctive worldview. This article constructs a theoretical analysis framework based on an iconographic study of The Road to Heaven, exploring the unique artistic representation, aesthetic spirit, worldview, and religious origins of the Naxi people to gain a deeper understanding of the construction of their spiritual homeland. At the level of pre-iconographic description, this article primarily analyzes the subject matter and contents of The Road to Heaven, the materials employed in the painting, and its artistic features. The iconographic analysis examines the thematic elements of The Road to Heaven; the virtual world structure of the Dongba religion’s imagined realms of gods, humans, and spirits; and its simple, natural, vivid, and imaginative aesthetic style. At the level of iconological interpretation, in this article, the characteristics of the religious beliefs shown in The Road to Heaven and the main factors influencing its aesthetic spirit are analyzed. We reveal that although the Dongba religion intersects and integrates with Tibetan Buddhism, Mahayana Buddhism, Daoism, and other ideologies and cultures, ancestor worship remains a dominant force guiding Naxi behavior. The unique natural environment, historical migrations, and multicultural exchanges of the Naxi people are the primary factors shaping their aesthetic spirit. By systematically analyzing The Road to Heaven from the perspective of iconology, this study provides evidence of its profound connections with Naxi social history, offering a more comprehensive view of the Naxi people’s aesthetic spirit and cultural connotations while presenting new approaches for researching The Road to Heaven. Full article

Much scholarly attention has been paid to The Visitation group housed at The Metropolitan Museum of Art. The sculpture, dated between 1310 and 1320 and attributed to Master Heinrich of Constance, comes from the Dominican convent of St. Katherinental, in present-day Switzerland, and is notable for its two rock crystal cabochons embedded in the wombs of the Virgin Mary and Elizabeth. In this paper, I support and substantiate the original inclusion of the two stones in the artwork, arguing that it was conceived in close connection with the mystical doctrine on inner vision and the Eternal Birth of God within the soul, as theorized by the Dominican theologian Meister Eckhart (1260–1328). Considering the role of vision in medieval spirituality, the rock crystals, as symbols of purity and divine illumination, functioned as pivotal tools in the mystical experience of Katherinental nuns, fostering their profound spiritual connection with the divine. This article provides a fresh and in-depth analysis of the iconological essence of The Visitation in the Met, incorporating notions established in the field of sensory studies together with methods developed in visual and material culture studies. Full article

This article discusses the œuvre of Artemisia Gentileschi, a prominent Baroque painter who was rediscovered by art historian Roberto Longhi in the 1910s. Today, her art is interpreted through various lenses, including art theory, women’s studies, and psychoanalysis. Gentileschi’s paintings are often “read” in close reference to her painful biography, with a focus on the “chiaroscuro” of trauma and its overcoming. Significantly, such biography-oriented approaches seem to be predominant in scholarship on art created by women. The argument presented is that Gentileschi’s works require a thorough re-reading free of “compulsive biographism”, as postulated by Salomon. The focus should shift from an empathic Einfühlung (or empathic projection) towards an objective analysis based purely on art-historical or sociological criteria. This article also explores the presence of the socially mediated and mediatised figure of the artist in fine literature (novels by Banti, Lapierre and Vreeland), cinematic biographies (Artemisia, directed by Merlet, documentaries (Artemisia Gentileschi: Warrior Painter, directed by River), anime (a series titled Arte, directed by Takayuki Hamana), and graphic novels (Ferlut and Baudouin; Siciliano). In this artistic constellation Artemisia is labelled as an art/feminist “icon”, a female genius, and as in numerous scholarly texts dedicated to her, “a victim”. I propose that the discussed literary and visual texts related to Gentileschi be interpreted as symptomatic (in line with Panofsky’s concept of ‘iconology’) of the contemporary mentality, which is filtered through feminist and subaltern thought. Full article

The article explores the curious landing of the gazelle in Franz Marc’s pictorial text (1913) and Rainer Maria Rilke’s poem (1907). An analysis of the iconographic and pictorial apparatus sets the foundations for a comparison to the poetic restitution of the same zoomorphic trope. Concepts from Visual Studies and recent iconological-anthropological schools of thought support a hypothesis of migration across time and medium of the gazelle’s symbolism and iconicity. Further, the critical iconology method reveals the possibility of autonomous expression for the zoomorphic trope in the idiosyncrasy produced by her torsion and gaze direction. Consequently, the gazelle offers a new path for decoding a precise historical and artistic attitude beyond expressionist pantheism. The implications of her alienating Orphic gaze are clarified when considered in contextual works and concern the visual projection towards a necessary turning point regarding Rilke’s and Marc’s ontological-aesthetic position. Beyond traditional symbolism, the gazelle depicts a transition toward formal experimentalism in the face of the impending First World War. It outlines the capacity of animal physicality to describe its genesis. Moreover, it illustrates the modern attitudes held towards culturally constructed change by distancing herself from hermeneutic overwriting while moving between precise ontological-aesthetic coordinates. Full article

In the Illustrations in Roll and Codex (1947), Kurt Weitzmann developed a methodological apparatus for studying Byzantine and medieval narrative book illumination. His approach had two important features: an evolutionary narrative typology that paid attention to the narrative strategies the painter chose for presenting a story and a comparative narrative analysis that observed stories in illustrations in relation to their textual source. The focus of this paper is the personal and institutional background of this method, its context, dissemination, and legacy. Weitzmann advanced the study of pictorial storytelling through his pedagogical work and introduced it into the academic curriculum. Alongside stylistic analysis and iconography, it soon became an essential methodological tool in art history that constituted a link between the art of the Byzantine East and the Latin West. This approach also had a key influence on the style of his autobiographical writings. Weitzmann propagated the study of visual narratives through his extremely productive oeuvre and effective personal influence. In the dissemination of Weitzmann’s ideas, three institutions played a key role: Princeton University, Dumbarton Oaks, and the University of Chicago. Weitzmann’s circle made Byzantine studies the leading field for research into visual narratives over the period from around 1940 to 1980. Full article

Within the cultural integration of Indian Buddhist art and Chinese Buddhist art, standing Buddha statues carved in-the-round with thin, tight-fitting robes require special attention. Unlike other types of Buddha statues found in China, they are depicted wearing robes of a foreign style, while displaying the facial and body features of East Asians. These statues, which were excavated on the Shandong Peninsula in the last century, are believed to have been carved during the Northern Qi Dynasty (550–577). After years of academic exploration, the transmission route, transit point and reasons for their introduction into Shandong remain unclear, which are topics that this paper aims to address. According to typology analysis, the Buddha statues in question can be divided into three types, and their foreign counterparts have been identified through the iconology comparisons of Chinese and foreign Buddha statues. From this, in chronological order, the transmission route of three Buddha statue types can be inferred, namely from India to the Shandong Peninsula via the Malay Peninsula, the Mekong Delta and the southeastern coast of China. The route of contemporaneous Indian monks travelling from the east to the Northern Dynasties, as recorded in Chinese historical documents and the Buddhist Canon, verifies this conclusion. Along this route, the north-central Malay Peninsula is one of the main transit points where the Buddha statues were locally adapted and then spread further east. Full article

This work studies the iconography of Vicent Macip’s altarpiece dedicated to Saint Dionysius and Saint Margaret, which is found in the Cathedral of València. The main subject of the altarpiece is the presence of the Virgin Mary in salvation history. Iconographic categories have been described according to their possible relationship to the descriptions that appear in Francesc Eiximenis’s Vida de Jesucrist [Life of Jesus Christ, in Catalan] (Hereafter, this text will be referred to as VCE). or Isabel de Villena’s Vita Christi [Life of Christ, in Latin] (Hereafter, this text will be referred to as VCV), which are important works of 15th-century Valencian literature in the Catalan language that were read during the time the altarpiece was finished. Full article

This article aims to study the visual tradition of the Woman Clothed with the Sun from chapter 12 of the Book of Revelation in medieval times, in particular the formation, continuity and variations of the various iconographic types. For this purpose, we firstly approach the main sources, both the Book of Revelation and the exegesis or interpretation of the Church Fathers. Secondly, we analyse the first preserved representations (ninth to twelfth centuries) that correspond to examples of the Italian and French tradition and the Beatus from the Iberian tradition, works that, most likely, followed original models from the first centuries of Christianity that have now disappeared. This section is followed by the study of representations from between the thirteenth and fifteenth centuries and the importance of the Anglo-Norman Apocalypses. The article closes with an iconological section in which the importance of the mulier as an ecclesiological symbol and, subsequently, its Marian interpretation is pointed out. Full article