This article focuses on the development of art throughout human evolution and the interpretation of artworks. It is emphasized that the symbols drawn on cave walls by early humans, combined with impressions derived from nature, formed the basis of art. The article highlights that artworks generate new meanings for viewers and critics, allowing them to establish an emotional and intellectual connection by interacting with the internal layers of the artwork. Erwin Panofsky's Iconographic analysis method suggests considering artworks within the cultural, historical, and religious context beyond their formal elements. Panofsky's approach aims to identify the natural, conventional, and intrinsic meanings of the artwork, providing viewers with a comprehensive understanding. In the second section of the article, the terms Iconography and Iconology are defined, elucidating their roles in the examination of artworks. Iconography is described as a discipline that examines the events, personalities, and motifs depicted in artworks, while Iconology is presented as an interpretive method focusing on understanding the social impacts and the artist's message inherent in art pieces. The methodology section of the article outlines the planned examination of Caravaggio's "Judith Beheading Holofernes" using Erwin Panofsky's Iconographic and Iconological Art Criticism Method. The findings section then elaborates on the preliminary iconographic analysis, iconographic interpretation, and iconological commentary of this artwork in detail. The overall emphasis of the article is on the importance of interpreting artworks not only through visual aesthetics but also by engaging with the internal meanings of the artwork to establish a profound connection with the audience.
Erwin Panofsky, iconology, iconographer, Caravaggio, Judith
| Author : | Seyhan MERCAN KALAYCI - |
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| Number of pages: | 278-287 |
| DOI: | http://dx.doi.org/10.29228/usved.77131 |
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