MONGOLS "IMAGINARY HERALDIC" IN FRENCH MEDIEVAL MINIATURES

The study of images is the path leading to an understanding of the value system of medieval man. If in the study of Christian ideas about the Mongols, historical and literary works were given some attention, then iconographic documents were often used only as illustrations to the text and were considered as something secondary. One of the poorly studied topics is the study of «imaginary heraldry», which was given to the Mongols by French miniaturists of the XIV-XV centuries. The research is based on the approach of the American art critic, M. A. Camillus, which involves the study not of what was «really», but of what was brought into the situation described by medieval scribes. The model of our analysis of the content of miniatures is based on the methodology of the German researcher Erwin Panofsky, according to which the analysis of miniatures takes place in three stages: 1) pre-iconographic description; 2) iconographic analysis; 3) iconological interpretation. Our research is based on French manuscripts containing images of the Mongols with various heraldic symbols, written evidence, numismatic and cartographic sources. During the work, it was noted that the Mongolian heraldry is presented in the format of shields and banners. Each element has its own color – red, orange, blue, yellow. The following heraldic signs were identified: a dragon, a six-pointed star, a crescent, a two-pronged tamga, a «king's head», lilies, a «star of David», various geometric shapes of figures, etc. It was also determined that the image of heraldic symbols on the miniatures carries a certain symbolism – social and ethnic. With the help of «imaginary heraldry», Christian miniaturists defined the place of the Mongols in the social stratigraphy or emphasized ethnicity.

Cultural Elements In Kedah State Modern Painting

Kebudayaan adalah keseluruhan jalan hidup masyarakat atau segala aspek pemikiran dan perilaku manusia yang diwarisi dari satu generasi ke generasi lainnya melalui proses belajar. Gambaran tentang adaptasi unsur budaya dalam seni lukis tahun 1940-an hingga 2020. Kutipan akan dilakukan pada lukisan modern oleh pelukis sebagai kajian diskusi dengan menjelaskan gambaran bentuk fisiknya, menganalisis aspek formalistik dan menafsirkan kedua aspek tersebut. Terakhir, pembahasan kali ini akan melihat pengaruh unsur budaya terhadap keseluruhan lukisan Kedah modern. Beberapa seniman telah dipilih untuk menonjolkan lukisan bentuk budaya lokal ke dalam ruang seni saat ini. Ada empat unsur utama yang diekspresikan dalam pembentukan seni rupa, di antaranya terkait dengan konsep yang digunakan seniman seperti teknik, unsur formalistik, dan gagasan karya secara keseluruhan. Keseluruhan kajian terkait citra budaya negara Kedah berpedoman pada konsep nilai, pranata sosial, kebutuhan, dan lingkungan yang menjadi dasar hubungan dengan nilai budaya. Menggunakan pendekatan kualitatif dengan menggunakan teori Erwin Panofsky (1939). Pendekatan ini mengusulkan tiga tingkatan analisis: Prekonografi, ikonografi, dan ikonologi. Data yang diperoleh melalui hasil penelitian lisan, dokumen dan analisis karya yang secara signifikan akan melengkapi hubungan penelitian.

O(s) cartaz(es) da Campanha da Fraternidade Ecumênica 2021: uma leitura das suas narrativas visuais e textuais

Partindo de comentários iniciais a respeito das origens do cartaz moderno como gênero de comunicação criado aos meados do século XIX e de apontamentos referentes às polêmicas que essa nova mídia gerou, o artigo apresenta a narrativas visuais e textuais do cartaz da Campanha da Fraternidade Ecumênica 2021, documenta as expressões visuais da polêmica gerada ao redor dela e discute tudo na base de materiais de apoio à campanha, inspirado na metodologia iconográfica de Erwin Panofsky. Destacam-se a originalidade da escolha do tema, seu maior cristo e eclesiocentrismo, e seu caráter proléptico e ao mesmo tempo, utópico.

EKSPRESI PHILIP RICARDO BIJI TERHADAP MASYARAKAT DI SABAH MELALUI ARCA ‘TANPA TAJUK’

Kajian ini menjalankan analisis terhadap karya arca Philip Ricardo Biji berjudul ‘Tanpa Tajuk’ untuk menyingkap ekspresi pengarca terhadap masyarakat di Sabah. Data-data pemerhatian terhadap bentuk dan makna arca dianalisis melalui gabungan teori Ikonografi oleh Erwin Panofsky dan teori kritikan psikoanalisis oleh Sigmund Freud. Teori ikonografi terbahagi kepada tiga tahap. Kajian ini mendapati bahawa arca Philip Ricardo Biji mempunyai ekspresi yang menyerap ke dalam perasaan masyarakat di Sabah. Representasi bentuk semula jadi yang dipaparkan adalah imej manusia, sungai dan tahi lalat. Imej-imej tersebut menggambarkan motif pada anyaman dan tatu etnik Murut di Sabah. Motif-motif yang dipaparkan merujuk makna tentang budaya masyarakat Murut yang sedang bermesyuarat, acara minum tapai, aktiviti di sungai dan kepercayaan tentang keselamatan dari serangan buaya. Dari segi kritikan psikoanalisis pula, penghasilan arca seramik lebih menekankan kepada makna tersirat yang menggambarkan pengalamannya sebagai pelukis, pendidik dan ahli kraf serta aktiviti sosialnya bersama masyarakat etnik Murut. Arca ‘Tanpa Tajuk’ oleh Philip Ricardo Biji memaparkan ekspresi dari segi pemikiran, perlakuan dan perasaannya terhadap masyarakat Murut di Sabah. The purpose of this study is to analyze Philip Ricardo Biji’s sculpture entitled ‘Tanpa Tajuk’ in order to ascertain the sculptor’s perception toward the Sabah culture. Observational data on the form and context of sculptures were examined using a combination of Erwin Panofsky’s Iconographic theory and Sigmund Freud’s psychoanalytic criticism theory. Three stages of iconographic theory occur. This research found that Philip Ricardo Biji’s sculpture carries an expression that resonates with the community’s emotions in Sabah. People, rivers and moles are all depicted as natural forms. The illustrations depict motifs found on Murut ethnic weavings and tattoos in Sabah. The motifs depicted are symbolic of the Murut society’s culture, including gatherings, tapai drinking events, river activities and beliefs about crocodile safety. In psychoanalytic critique the development of ceramic sculpture exemplifies the implicit meaning of his experience with the Murut ethnic group as a painter, educator and craftsperson. The sculpture titled ‘Tanpa Tajuk’ by Philip Ricardo Biji expresses his thoughts, behaviour and feelings toward the Murut group in Sabah.

Portrait Of The Japanese Colonial Period In The Wayang Kamasan Illustration Of Lintang Perau Pegat At The Klungkung Royal Palace

The Wayang Kamasan illustrations at the Klungkung Royal Palace store traces of the history of Bali during in the Japanese colonial period. This research analyzed one located in the Bale Kambang pavilion with the ‘Lintang Perau Pegat’ scene to discern representation in that era. An art historical method was used drawing from field observation and literature resources with an iconography and iconology analysis approach of Erwin Panofsky. Findings from a pre-iconography phase showed that this illustration present a scene about the splitting of Japan-flagged ship by large fish. An iconographic analysis was about themes and concepts regarding belief in the strength of nature (gods), which can influence human life and undermine the glory of human beings. Given the psychological atmosphere during the Japanese colonial period, hence, this illustration is the crystallization of a symbol from an attitude of resistance amidst helplessness towards a ruler (the Japanese occupation government), and hopes for the presence of the power of the gods to help eliminate oppression and misery that occurred during that era in Bali.

A paisagem como forma simbólica: uma análise da teoria da paisagem de Anne Cauquelin

No ensaio A invenção da paisagem, a filósofa Anne Cauquelin investiga possíveis relações entre a produção imagética ocidental no gênero paisagem e a percepção visual do espaço como paisagem. Compreendendo a paisagem como uma peculiar forma simbólica, a filósofa defende que sua percepção resulta de um perene processo de aprendizagem que cria tanto a existência da paisagem como objeto da sensibilidade quanto as condições específicas para sua identificação com a realidade. Este artigo procura apresentar como o conceito de forma simbólica aparece e se desdobra em A invenção da paisagem, destacando o recorte referencial e a articulação autoral de Cauquelin diante da origem neokantiana do conceito em Ernst Cassirer e de sua retomada na história da arte por Erwin Panofsky.

Análisis visual de la obra Creación de las aves de Remedios Varo

La comprensión de una obra artística puede ser entendida como la asimilación de un continuo diálogo entre dos (2) temporalidades: la que posee por sí misma la obra, frente a la temporalidad del espectador que la observa. Este proceso de asimilación define el significado de una representación artística en un momento determinado de la historia. Bajo este principio se presenta a continuación el análisis visual de la obra Creación de las aves (1957), realizada por la artista Remedios Varo. El ejercicio centra su interés por definir diversos niveles de significación de la obra, a través de la propuesta de Erwin Panofsky y Didi-Huberman, de quienes se retoma el valor del anacronismo histórico como modelo de comprensión de una imagen detenida en el tiempo.

A Tolnay–Panofsky-affér, avagy hűség az ifjúsághoz: A bécsi iskola, Max Dvořák és A Vasárnapi Kör

The conflict between Charles de Tolnay and Erwin Panofsky that grew unprecedentedly acrimonious in the history of the discipline – the so-called Tolnay–Panofsky affair – was more than mere personal bickering. The documents clearly reveal that the “affair”, which basically affected financial and professional positions, was based on embarrassingly ordinary, occasionally petty-minded questions instead of scientific arguments, and led to a break of relationship probably in spring 1943, also directs the attention to the science political consequences of the hierarchic establishment of American science financing and academia in general in the interwar years and the 1940s, and to differences between European and American scholarship. It can be gleaned that Tolnay’s efforts to be allotted raised stipends (often by a great degree, as the documents unanimously testify) and a confirmed position led to the deterioration of his relationship with the Princeton IAS leaders and community – in spite of the fact that the former leader of the Institute Flexner took Tolnay’s side, at times with threats to Panofsky and Oppenheimer and accusing Panofsky of professional jealousy. Though Tolnay received raised scholarship up to 4000 dollars for three years, the institute decided to part with Tolnay in 1948. In the background of the affair, however, one may discover conflicts based on the diverging views on art history by Panofsky and Tolnay rooted far deeper, in the elementary influences of the Vienna School of Art History and Max Dvořák on the one hand, and of the Sunday Circle and György Lukács, on the other. The art philosophical aspects and methodological consequences of these dissenting concepts of art history may bear significance for the practitioners of the discipline today as well.

A IMAGEM DO CORPO KAINGANG NOS CORAN-BANG-RÊ NO SÉCULO XVIII

O presente trabalho provém dos resultados obtidos durante a pesquisa de dissertação, a qual se debruçou em compreender a constituição de uma série de documentações iconográficas que retrataram um dos primeiros contatos registrados entre as populações indígenas Kaingang com os colonizadores, as quais estão localizadas no atual estado do Paraná. Portanto, objetiva-se analisar os delineamentos compositivos do corpo Kaingang traçados na sequência de 40 iconografias atribuídas ao engenheiro militar Joaquim José de Miranda no século XVIII, encomendadas para retratar a décima expedição militar ao mando da Coroa de Portugal aos sertões do Campos de Guarapuava nos anos de 1771-1772, com o desígnio de levantar estratégias para ocupar esta região. Tendo em vista que na vasta produção iconográfica sobre os indígenas no Brasil há poucos materiais que apresentam o registro histórico sobre os Kaingang no processo de colonização do Estado do Paraná, as questões norteadoras do respectivo trabalho consistem: Quais os interesses políticos e econômicos da colônia que impulsionaram a construção iconográfica corporal desta população? De que maneira o fog (não indígena ruim na língua Kaingang) produziu a imagem do corpo Kaingang no século XVIII, como ponto de fronteira no centro da dinâmica do contato e quais de tantos ângulos da história as imagens contam? Para a compreensão de tais problematizações, realiza-se uma análise documental pautada nas determinações materiais historicamente situadas na condição de produção das iconografias, assim se busca o diálogo entre os conhecimentos da área de Artes Visuais e Educação Física, por meio de aproximações entre os estudos da imagem e da sociologia do corpo. Em diálogo com a hermenêutica, interpretam-se as ilustrações fundadas no método iconológico desenvolvido pelo historiador de arte Erwin Panofsky (1892-1968), com a proposta de reconstrução do modo de produção do contexto histórico das imagens em três níveis de análise. Com as investigações, foi possível constatar que o corpo indígena situado nas relações de poder recebeu uma atenção especial dos colonizadores, visando a suas características e potencialidades a seu favor desde os primeiros contatos entre estas populações no século XVI. Na dada conjuntura, o corpo Kaingang no século XVIII, além de ser ponto de fronteira das relações de contato entre militares e Kaingang, foi visualizado como ponto de estratégia bélica para ser utilizado conforme os interesses coloniais deste período. As imagens a respeito deste corpo foram produzidas a partir da lógica militar, no momento em que a imagem era concebida como um meio de se projetar algo, isto é, os traçados e os riscos eram designados a um intuito, ocorrendo uma estreita relação entre o desenho e os interesses políticos. Perante a estas considerações, esta pesquisa constitui uma parte da história iconográfica do corpo Kaingang, auxiliando na compreensão histórica e nas demandas educacionais a respeito desta conjuntura.

THE ANALYSIS OF KURT SCHWITTERS' "THE HITLER GANG" BASED ON ICONOGRAPHIC AND ICONOLOGICAL CRITICISM METHOD OF ERWIN PANOFSKY

In this study, the collage "The Hitler Gang" dated 1944 by Kurt Schwitters who is one of the Dadaism artists has been analyzed based on "iconographic and iconological criticism method" which was developed by an art historian, Erwin Panofsky, in 20th century. The said work has been examined under three stages which are natural subject matter (factual and expressive meaning), conventional subject matter (secondary meaning) and intrinsic subject matter (content) according to this method of Panofsky; it has been aimed to make the work more understandable by the viewer with this method. The positions and expressions of the visuals within the composition have been examined to find the natural subject matter; the relationships of the visuals with one another have been examined by addressing the points at which the work points to find the conventional subject matter and various resources have been employed to reveal this relationship; the life of the artist and the conditions of the period have been examined to find the intrinsic subject matter. Panofsky states that intrinsic subject matter provides the real meaning of the work. It can also be stated that the technique of the work is effective for expressing the period in which it was made. The collage technique employed by Schwitters corresponds to the destruction of the war. The collage "The Hitler Gang" emphasizes the dictator Adolf Hitler and his gang as can be understood from its name. In this regard, the study focuses on how policies applied by Hitler during First and Second World Wars changed the art and artistic perception through the work of Schwitters. Keywords: Erwin Panofsky, Art Criticism, Iconography, Iconology, Kurt Schwitters, The Hitler Gang