80:
article, introducing a three-step method of visual interpretation dealing with (1) primary or natural subject matter; (2) secondary or conventional subject matter, i.e. iconography; (3) tertiary or intrinsic meaning or content, i.e. iconology. Whereas iconography analyses the world of images, stories and allegories and requires knowledge of literary sources, an understanding of the history of types and how themes and concepts were expressed by objects and events under different historical conditions, iconology interprets intrinsic meaning or content and the world of symbolical values by using "synthetic intuition". The interpreter is aware of the essential tendencies of the human mind as conditioned by psychology and world view; he analyses the history of cultural symptoms or symbols, or how tendencies of the human mind were expressed by specific themes due to different historical conditions. Moreover, when understanding the work of art as a document of a specific civilization, or of a certain religious attitude therein, the work of art becomes a symptom of something else, which expresses itself in a variety of other symptoms. Interpreting these symbolical values, which can be unknown to, or different from, the artist's intention, is the object of iconology. Panofsky emphasized that "iconology can be done when there are no originals to look at and nothing but artificial light to work in."
119:
postsemiotic "iconic turn", emphasizing the role of "non-linguistic symbol systems". Instead of just pointing out the difference between the material (pictorial or artistic) images, "he pays attention to the dialectic relationship between material images and mental images". According to
Dennise Bartelo and Robert Morton, the term "iconology" can also be used for characterizing "a movement toward seeing connections across all the language processes" and the idea about "multiple levels and forms used to communicate meaning" in order to get "the total picture” of learning. "Being both literate in the traditional sense and visually literate are the true mark of a well-educated human."
76:
perspective, which is modulated by one personality and condensed into one work. According to Roelof van
Straten, iconology "can explain why an artist or patron chose a particular subject at a specific location and time and represented it in a certain way. An iconological investigation should concentrate on the social-historical, not art-historical, influences and values that the artist might not have consciously brought into play but are nevertheless present. The artwork is primarily seen as a document of its time."
146:). As far as the images are concerned: "If the living species self-specify, the images self-iconicize. This is not a tautology. The images update some of their iconic virtualities. They live in the midst of other images, past or present, but also future (those are only human classifications), which they have relations with. They self-iconicize in an iconic environment which they interact with, and which in particular makes them the images they are. Or more precisely, insofar as images have an active part:
67:"criticized Panofsky's iconology as putting too much emphasis on the symbolic content of the work of art, neglecting its formal aspects and the work as a unity of form and content." Furthermore, iconology is mostly avoided by social historians who do not accept the theoretical dogmaticism in the work of Panofsky.
59:
To those who use the term, iconology is derived from synthesis rather than scattered analysis and examines symbolic meaning on more than its face value by reconciling it with its historical context and with the artist's body of work – in contrast to the widely descriptive iconography, which, as
118:
writes that iconology is a study of "what to say about images", concerned with the description and interpretation of visual art, and also a study of "what images say" – the ways in which they seem to speak for themselves by persuading, telling stories, or describing. He pleads for a postlinguistic,
109:
differentiated between "sachliche" and "methodische" iconology. "Sachliche" iconology refers to the "general meaning of an individual painting or of an artistic complex (church, palace, monument) as seen and explained with reference to the ideas which take shape in them." In contrast, "methodische"
75:
Erwin
Panofsky defines iconography as "a known principle in the known world", while iconology is "an iconography turned interpretive". According to his view, iconology tries to reveal the underlying principles that form the basic attitude of a nation, a period, a class, a religious or philosophical
79:
Warburg used the term "iconography" in his early research, replacing it in 1908 with "iconology" in his particular method of visual interpretation called "critical iconology", which focused on the tracing of motifs through different cultures and visual forms. In 1932, Panofsky published a seminal
60:
described by
Panofsky, is an approach to studying the content and meaning of works of art that is primarily focused on classifying, establishing dates, provenance and other necessary fundamental knowledge concerning the subject matter of an artwork that is needed for further interpretation.
56:, the distinction is not very widely followed, "and they have never been given definitions accepted by all iconographers and iconologists". Few 21st-century authors continue to use the term "iconology" consistently, and instead use iconography to cover both areas of scholarship.
91:
is of the opinion that "though
Panofsky's concept of iconology has been very influential in the humanities and is quite effective when applied to Renaissance art, it is still problematic when applied to art from periods before and after."
142:. For Imanishi, living beings are subjects. Or, more precisely, the environment and the living being are just one. One of the main consequences is that the "specity", the living individual, "self-eco-speciates its place of life" (
104:
added another suggestion for a useful meaning of the word "iconology". According to his view, iconology was not the actual investigation of the work of art but rather the result of this investigation. The
Austrian art historian
126:, French philosopher and theorist of cinema, proposed to call "econology", a biological approach to images as forms of life, crossing iconology, ecology and sciences of nature. In an econological regime, the image (
602:
Andreas Beyer: 78 Jahre danach - Bemerkungen zur
Geistes-Gegenwart der Ikonologie. In: Lena Bader, Johannes Grave, Markus Rath (Eds.): Die Kunst - zur Sprache gebracht. Wagenbach, Berlin 2017, pp. 135–145,
52:
and their followers that uncovers the cultural, social, and historical background of themes and subjects in the visual arts. Though
Panofsky differentiated between iconology and
165:
themes in the art of the
Renaissance, which was first published in 1939. It is also the name of a peer-reviewed series of books started in 2014 under the editorship of
173:, Belgium, addressing the deeper meaning of the visual medium throughout human history in the fields of philosophy, art history, theology and cultural anthropology.
123:
134:). The iconology, mainly Warburghian iconology, is thus merged with a conception of the relations between the beings of the nature inherited, among others (
101:
442:
W.J.T. Mitchell, "Iconology and
Ideology: Panofsky, Althusser, and the Scene of Recognition". In David B. Downing and Susan Bazargan, eds.,
644:
514:
659:
654:
202:
87:, "the emerging discipline of iconology ... must ultimately do for the image what linguistics has done for the word." However,
608:
596:
455:
486:
620:
396:
130:) self-speciates, that is to say, it self-iconicizes with others and eco-iconicizes with them its iconic habitat (
110:
iconology is the "integral iconography which accounts for the changes and development in the representations". In
122:
For several years, new approaches to iconology have developed in the theory of images. This is the case of what
63:
Panofsky's "use of iconology as the principal tool of art analysis brought him critics." For instance, in 1946,
591:
Andreas Beyer (Hrsg.): Die Lesbarkeit der Kunst: Zur Geistes-Gegenwart der Ikonologie. Wagenbach, Berlin 1992,
250:
Pictorial Cultures and Political Iconographies: Approaches, Perspectives, Case Studies from Europe and America
248:
Klaus von Beyme, "Why is there no Political Science of the Arts?" In Udo J. Hebel and Christoph Wagner, eds.,
674:
625:
17:
563:
Timothy Erwin, "Modern Iconology, Postmodern Iconologies". In David B. Downing and Susan Bazargan, eds.,
385:
348:
The Marriage Maker: The Pergamon Hermaphrodite as the God Hermaphroditos, Divine Ideal and Erotic Object
226:
The Marriage Maker: The Pergamon Hermaphrodite as the God Hermaphroditos, Divine Ideal and Erotic Object
664:
386:
Dominique E. Garcia, "Nationalistic Iconography and 'Anti-Iconology' of the Aztec Coatlicue Sculpture"
670:
Jane Davison. "Icon, iconography, iconology: Visual branding, banking and the case of the bowler hat"
318:
Erwin Panofsky, "Zum Problem der Beschreibung und Inhaltsdeutung von Werken der bildenden Kunst."
669:
64:
518:
694:
689:
466:
162:
8:
407:
649:
213:
604:
592:
482:
479:"L'Étrange Créature du lac noir" de Jack Arnold. Aubades pour une zoologie des images
665:
Richard Woodfield, "Ernst Gombrich: Iconology and the 'linguistics of the image.' "
635:
498:
331:
274:
574:
549:(Studies in the Art of the Renaissance, 2). London: Phaidon, 1972, pp. 1–25.
291:
An Introduction to Iconography: Symbols, Allusions and Meaning in the Visual Arts
191:
An Introduction to Iconography: Symbols, Allusions and Meaning in the Visual Arts
115:
88:
542:
139:
84:
49:
31:
660:
Maria-Irina Popescu, "Iconography Versus Iconology in Erwin Panofsky's Method"
683:
560:, Vol. 17, No. 2: Interpretation and Culture (Winter 1986), pp. 265–274.
166:
106:
467:
Dennise Bartelo and Robert Morton, "Iconology: An Alternate Form of Writing"
570:
302:
431:
237:
135:
53:
45:
41:
40:
is a method of interpretation in cultural history and the history of the
675:
Ian Verstegen, "A Plea for a Cognitive Iconology within Visual Culture"
630:
346:
Victor Ljunggren Szepessy, "Panofsky - Iconology and Iconography". In
224:
Victor Ljunggren Szepessy, "Panofsky - Iconology and Iconography". In
638:
Studies in Iconology: Humanistic Themes in the Art of the Renaissance
501:
Studies in Iconology: Humanistic Themes in the Art of the Renaissance
334:
Studies in Iconology: Humanistic Themes in the Art of the Renaissance
277:
Studies in Iconology: Humanistic Themes in the Art of the Renaissance
305:
and Charlotte Klonk, "Iconography - iconology: Erwin Panofsky". In
203:
Oxford Bibliographies: Paul Taylor, "Iconology and Iconography"
170:
169:
and published by Peeters international academic publishers,
556:
and the Problem of Interpretation in the History of Art."
363:. Ithaca and London: Cornell University Press, 1984, p.14.
148:
the images self-eco-iconicize their iconic environment
581:. Manchester University Press, 2006, pp. 96–119.
263:
Image and Influence: Studies in the Sociology of Film
655:
Lorenzo Giulini, "A Cryptic Dimension in Visual Art"
374:
Reflections on the History of Art: Views and Reviews
579:
Art History: A Critical Introduction to Its Methods
307:
Art History: A Critical Introduction to Its Methods
588:. London: Warburg Institute, 2008, pp. 1–10.
565:Image and Ideology in Modern/Postmodern Discourse
444:Image and Ideology in Modern/Postmodern Discourse
681:
626:Worldmuseum Ikonography: ICONOGRAPHY - ICONOLOGY
577:, "Iconography - iconology: Erwin Panofsky". In
481:, Aix-en-Provence, Rouge profond, 2017, 200 p. (
456:W. J. T. Mitchell's Iconology and Picture Theory
350:. MA thesis, University of Oslo 2014, pp.13, 16.
631:Dictionary of Art Historians: Panofsky, Erwin
238:Dictionary of Art Historians: Panofsky, Erwin
70:
376:, ed. Richard Woodfield. Oxford 1987, p.246.
161:is the title of a book by Erwin Panofsky on
27:Method of interpretation in cultural history
621:Encyclopedia.com: Iconology and Iconography
397:Encyclopedia.com: Iconology and Iconography
361:Panofsky and the Foundations of Art History
309:. Manchester University Press, 2006, p. 98.
228:. MA thesis, University of Oslo 2014, p.16.
645:Ross Woodrow, "Erwin Panofsky's Iconology"
515:"Peeters Publishers: Studies in Iconology"
408:Karen Hope, The Iconic Image: Iconology
153:
14:
682:
432:w.j.t. mitchell and the image (review)
545:, "Aims and Limits of Iconology." In
552:Keith Moxey, "Panofsky's Concept of
422:. University of Chicago Press, 1986.
293:. Abingdon and New York 1994, p. 12.
193:. Abingdon and New York 1994, p.12.
24:
567:. New York 1991, pp. 309–320.
536:
25:
706:
614:
420:Iconology: Images, Text, Ideology
252:. Berlin and New York 2011, p.16.
112:Iconology: Images, Text, Ideology
584:Paul Taylor, "Introduction." In
507:
492:
471:
460:
449:
436:
425:
412:
401:
390:
379:
366:
353:
340:
325:
312:
296:
322:, Vol. 21 (1932), pp. 103-119.
283:
268:
255:
242:
231:
218:
207:
196:
183:
30:For the Missy Elliott EP, see
13:
1:
176:
138:, etc.) from the writings of
446:. New York 1991, pp.321-329.
7:
10:
711:
95:
71:In contrast to iconography
29:
650:Iconography and Iconology
586:Iconography without Texts
214:Iconography and Iconology
265:. New York 1974, p.115.
477:Jean-Michel Durafour,
65:Jan Gerrit Van Gelder
558:New Literary History
289:Roelof van Straten,
189:Roelof van Straten,
159:Studies in Iconology
154:Studies in iconology
144:Freedom in Evolution
124:Jean-Michel Durafour
359:Michael Ann Holly,
609:978-3-8031-2784-6
597:978-3-8031-5137-7
418:W.J.T. Mitchell,
102:Creighton Gilbert
16:(Redirected from
702:
636:Erwin Panofsky,
530:
529:
527:
526:
517:. Archived from
511:
505:
499:Erwin Panofsky,
496:
490:
475:
469:
464:
458:
453:
447:
440:
434:
429:
423:
416:
410:
405:
399:
394:
388:
383:
377:
370:
364:
357:
351:
344:
338:
332:Erwin Panofsky,
329:
323:
316:
310:
300:
294:
287:
281:
275:Erwin Panofsky,
272:
266:
259:
253:
246:
240:
235:
229:
222:
216:
211:
205:
200:
194:
187:
21:
710:
709:
705:
704:
703:
701:
700:
699:
680:
679:
617:
575:Charlotte Klonk
547:Symbolic Images
539:
537:Further reading
534:
533:
524:
522:
513:
512:
508:
497:
493:
476:
472:
465:
461:
454:
450:
441:
437:
430:
426:
417:
413:
406:
402:
395:
391:
384:
380:
372:E.H. Gombrich,
371:
367:
358:
354:
345:
341:
330:
326:
317:
313:
301:
297:
288:
284:
273:
269:
260:
256:
247:
243:
236:
232:
223:
219:
212:
208:
201:
197:
188:
184:
179:
156:
116:W.J.T. Mitchell
98:
89:Michael Camille
73:
35:
28:
23:
22:
15:
12:
11:
5:
708:
698:
697:
692:
678:
677:
672:
667:
662:
657:
652:
647:
642:
640:. Oxford 1939.
633:
628:
623:
616:
615:External links
613:
612:
611:
600:
589:
582:
568:
561:
550:
543:Ernst Gombrich
538:
535:
532:
531:
506:
503:. Oxford 1939.
491:
487:978-2915083910
470:
459:
448:
435:
424:
411:
400:
389:
378:
365:
352:
339:
336:. Oxford 1939.
324:
311:
295:
282:
279:. Oxford 1939.
267:
261:Andrew Tudor,
254:
241:
230:
217:
206:
195:
181:
180:
178:
175:
155:
152:
140:Kinji Imanishi
97:
94:
85:Ernst Gombrich
72:
69:
50:Erwin Panofsky
32:Iconology (EP)
26:
9:
6:
4:
3:
2:
707:
696:
693:
691:
688:
687:
685:
676:
673:
671:
668:
666:
663:
661:
658:
656:
653:
651:
648:
646:
643:
641:
639:
634:
632:
629:
627:
624:
622:
619:
618:
610:
606:
601:
598:
594:
590:
587:
583:
580:
576:
572:
569:
566:
562:
559:
555:
551:
548:
544:
541:
540:
521:on 2016-06-17
520:
516:
510:
504:
502:
495:
488:
484:
480:
474:
468:
463:
457:
452:
445:
439:
433:
428:
421:
415:
409:
404:
398:
393:
387:
382:
375:
369:
362:
356:
349:
343:
337:
335:
328:
321:
315:
308:
304:
299:
292:
286:
280:
278:
271:
264:
258:
251:
245:
239:
234:
227:
221:
215:
210:
204:
199:
192:
186:
182:
174:
172:
168:
167:Barbara Baert
164:
160:
151:
149:
145:
141:
137:
133:
129:
125:
120:
117:
113:
108:
107:Hans Sedlmayr
103:
93:
90:
86:
83:According to
81:
77:
68:
66:
61:
57:
55:
51:
47:
43:
39:
33:
19:
637:
585:
578:
571:Michael Hatt
564:
557:
553:
546:
523:. Retrieved
519:the original
509:
500:
494:
478:
473:
462:
451:
443:
438:
427:
419:
414:
403:
392:
381:
373:
368:
360:
355:
347:
342:
333:
327:
319:
314:
306:
303:Michael Hatt
298:
290:
285:
276:
270:
262:
257:
249:
244:
233:
225:
220:
209:
198:
190:
185:
158:
157:
147:
143:
131:
127:
121:
111:
99:
82:
78:
74:
62:
58:
37:
36:
18:Iconographer
695:Iconography
690:Art history
54:iconography
46:Aby Warburg
42:visual arts
684:Categories
525:2015-04-19
177:References
163:humanistic
554:Iconology
136:Arne Næss
100:In 1952,
38:Iconology
489:), p. 13
114:(1986),
44:used by
96:Nuances
607:
595:
485:
171:Leuven
320:Logos
132:oikos
128:eikon
605:ISBN
593:ISBN
573:and
483:ISBN
150:."
686::
48:,
599:.
528:.
34:.
20:)
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.