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Available in 27 languages" > <label id="p-lang-btn-label" for="p-lang-btn-checkbox" class="vector-dropdown-label cdx-button cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--weight-quiet cdx-button--action-progressive mw-portlet-lang-heading-27" aria-hidden="true" ><span class="vector-icon mw-ui-icon-language-progressive mw-ui-icon-wikimedia-language-progressive"></span> <span class="vector-dropdown-label-text">27 languages</span> </label> <div class="vector-dropdown-content"> <div class="vector-menu-content"> <ul class="vector-menu-content-list"> <li class="interlanguage-link interwiki-ar mw-list-item"><a href="https://ar.wikipedia.org/wiki/%D8%B9%D9%84%D9%85_%D8%A7%D9%84%D8%A3%D9%8A%D9%82%D9%88%D9%86%D8%A7%D8%AA" title="علم الأيقونات – Arabic" lang="ar" hreflang="ar" data-title="علم الأيقونات" data-language-autonym="العربية" data-language-local-name="Arabic" class="interlanguage-link-target"><span>العربية</span></a></li><li class="interlanguage-link interwiki-ca mw-list-item"><a href="https://ca.wikipedia.org/wiki/Iconologia" title="Iconologia – Catalan" lang="ca" hreflang="ca" data-title="Iconologia" data-language-autonym="Català" data-language-local-name="Catalan" class="interlanguage-link-target"><span>Català</span></a></li><li class="interlanguage-link interwiki-de mw-list-item"><a href="https://de.wikipedia.org/wiki/Ikonologie" title="Ikonologie – German" lang="de" hreflang="de" data-title="Ikonologie" data-language-autonym="Deutsch" data-language-local-name="German" class="interlanguage-link-target"><span>Deutsch</span></a></li><li class="interlanguage-link interwiki-es mw-list-item"><a href="https://es.wikipedia.org/wiki/Iconolog%C3%ADa" title="Iconología – Spanish" lang="es" hreflang="es" data-title="Iconología" data-language-autonym="Español" data-language-local-name="Spanish" class="interlanguage-link-target"><span>Español</span></a></li><li class="interlanguage-link interwiki-fa mw-list-item"><a href="https://fa.wikipedia.org/wiki/%D8%B4%D9%85%D8%A7%DB%8C%D9%84%E2%80%8C%D8%B4%D9%86%D8%A7%D8%B3%DB%8C" title="شمایل‌شناسی – Persian" lang="fa" hreflang="fa" data-title="شمایل‌شناسی" data-language-autonym="فارسی" data-language-local-name="Persian" class="interlanguage-link-target"><span>فارسی</span></a></li><li class="interlanguage-link interwiki-fr mw-list-item"><a href="https://fr.wikipedia.org/wiki/Iconologie" title="Iconologie – French" lang="fr" hreflang="fr" data-title="Iconologie" data-language-autonym="Français" data-language-local-name="French" class="interlanguage-link-target"><span>Français</span></a></li><li class="interlanguage-link interwiki-gl mw-list-item"><a href="https://gl.wikipedia.org/wiki/Iconolox%C3%ADa" title="Iconoloxía – Galician" lang="gl" hreflang="gl" data-title="Iconoloxía" data-language-autonym="Galego" data-language-local-name="Galician" class="interlanguage-link-target"><span>Galego</span></a></li><li class="interlanguage-link interwiki-hy mw-list-item"><a href="https://hy.wikipedia.org/wiki/%D5%8A%D5%A1%D5%BF%D5%AF%D5%A5%D6%80%D5%A1%D5%A3%D5%AB%D5%BF%D5%B8%D6%82%D5%A9%D5%B5%D5%B8%D6%82%D5%B6" title="Պատկերագիտություն – Armenian" lang="hy" hreflang="hy" data-title="Պատկերագիտություն" data-language-autonym="Հայերեն" data-language-local-name="Armenian" class="interlanguage-link-target"><span>Հայերեն</span></a></li><li class="interlanguage-link interwiki-hr mw-list-item"><a href="https://hr.wikipedia.org/wiki/Ikonologija" title="Ikonologija – Croatian" lang="hr" hreflang="hr" data-title="Ikonologija" data-language-autonym="Hrvatski" data-language-local-name="Croatian" class="interlanguage-link-target"><span>Hrvatski</span></a></li><li class="interlanguage-link interwiki-it mw-list-item"><a href="https://it.wikipedia.org/wiki/Iconologia" title="Iconologia – Italian" lang="it" hreflang="it" data-title="Iconologia" data-language-autonym="Italiano" data-language-local-name="Italian" class="interlanguage-link-target"><span>Italiano</span></a></li><li class="interlanguage-link interwiki-he mw-list-item"><a href="https://he.wikipedia.org/wiki/%D7%90%D7%99%D7%A7%D7%95%D7%A0%D7%95%D7%9C%D7%95%D7%92%D7%99%D7%94" title="איקונולוגיה – Hebrew" lang="he" hreflang="he" data-title="איקונולוגיה" data-language-autonym="עברית" data-language-local-name="Hebrew" class="interlanguage-link-target"><span>עברית</span></a></li><li class="interlanguage-link interwiki-hu mw-list-item"><a href="https://hu.wikipedia.org/wiki/Ikonol%C3%B3gia" title="Ikonológia – Hungarian" lang="hu" hreflang="hu" data-title="Ikonológia" data-language-autonym="Magyar" data-language-local-name="Hungarian" class="interlanguage-link-target"><span>Magyar</span></a></li><li class="interlanguage-link interwiki-nl mw-list-item"><a href="https://nl.wikipedia.org/wiki/Iconologie" title="Iconologie – Dutch" lang="nl" hreflang="nl" data-title="Iconologie" data-language-autonym="Nederlands" data-language-local-name="Dutch" class="interlanguage-link-target"><span>Nederlands</span></a></li><li class="interlanguage-link interwiki-ja mw-list-item"><a href="https://ja.wikipedia.org/wiki/%E3%82%A4%E3%82%B3%E3%83%8E%E3%83%AD%E3%82%B8%E3%83%BC" title="イコノロジー – Japanese" lang="ja" hreflang="ja" data-title="イコノロジー" data-language-autonym="日本語" data-language-local-name="Japanese" class="interlanguage-link-target"><span>日本語</span></a></li><li class="interlanguage-link interwiki-no mw-list-item"><a href="https://no.wikipedia.org/wiki/Ikonologi" title="Ikonologi – Norwegian Bokmål" lang="nb" hreflang="nb" data-title="Ikonologi" data-language-autonym="Norsk bokmål" data-language-local-name="Norwegian Bokmål" class="interlanguage-link-target"><span>Norsk bokmål</span></a></li><li class="interlanguage-link interwiki-pa mw-list-item"><a href="https://pa.wikipedia.org/wiki/%E0%A8%AE%E0%A9%82%E0%A8%B0%E0%A8%A4%E0%A9%80-%E0%A8%B5%E0%A8%BF%E0%A8%97%E0%A8%BF%E0%A8%86%E0%A8%A8" title="ਮੂਰਤੀ-ਵਿਗਿਆਨ – Punjabi" lang="pa" hreflang="pa" data-title="ਮੂਰਤੀ-ਵਿਗਿਆਨ" data-language-autonym="ਪੰਜਾਬੀ" data-language-local-name="Punjabi" class="interlanguage-link-target"><span>ਪੰਜਾਬੀ</span></a></li><li class="interlanguage-link interwiki-pl mw-list-item"><a href="https://pl.wikipedia.org/wiki/Ikonologia" title="Ikonologia – Polish" lang="pl" hreflang="pl" data-title="Ikonologia" data-language-autonym="Polski" data-language-local-name="Polish" class="interlanguage-link-target"><span>Polski</span></a></li><li class="interlanguage-link interwiki-pt mw-list-item"><a href="https://pt.wikipedia.org/wiki/Iconologia" title="Iconologia – Portuguese" lang="pt" hreflang="pt" data-title="Iconologia" data-language-autonym="Português" data-language-local-name="Portuguese" class="interlanguage-link-target"><span>Português</span></a></li><li class="interlanguage-link interwiki-ru mw-list-item"><a href="https://ru.wikipedia.org/wiki/%D0%98%D0%BA%D0%BE%D0%BD%D0%BE%D0%BB%D0%BE%D0%B3%D0%B8%D1%8F" title="Иконология – Russian" lang="ru" hreflang="ru" data-title="Иконология" data-language-autonym="Русский" data-language-local-name="Russian" class="interlanguage-link-target"><span>Русский</span></a></li><li class="interlanguage-link interwiki-sk mw-list-item"><a href="https://sk.wikipedia.org/wiki/Ikonol%C3%B3gia" title="Ikonológia – Slovak" lang="sk" hreflang="sk" data-title="Ikonológia" data-language-autonym="Slovenčina" data-language-local-name="Slovak" class="interlanguage-link-target"><span>Slovenčina</span></a></li><li class="interlanguage-link interwiki-sl mw-list-item"><a href="https://sl.wikipedia.org/wiki/Ikonologija" title="Ikonologija – Slovenian" lang="sl" hreflang="sl" data-title="Ikonologija" data-language-autonym="Slovenščina" data-language-local-name="Slovenian" class="interlanguage-link-target"><span>Slovenščina</span></a></li><li class="interlanguage-link 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class="interlanguage-link interwiki-tr mw-list-item"><a href="https://tr.wikipedia.org/wiki/%C4%B0konoloji" title="İkonoloji – Turkish" lang="tr" hreflang="tr" data-title="İkonoloji" data-language-autonym="Türkçe" data-language-local-name="Turkish" class="interlanguage-link-target"><span>Türkçe</span></a></li><li class="interlanguage-link interwiki-uk mw-list-item"><a href="https://uk.wikipedia.org/wiki/%D0%86%D0%BA%D0%BE%D0%BD%D0%BE%D0%BB%D0%BE%D0%B3%D1%96%D1%8F" title="Іконологія – Ukrainian" lang="uk" hreflang="uk" data-title="Іконологія" data-language-autonym="Українська" data-language-local-name="Ukrainian" class="interlanguage-link-target"><span>Українська</span></a></li><li class="interlanguage-link interwiki-zh mw-list-item"><a href="https://zh.wikipedia.org/wiki/%E5%9C%96%E5%83%8F%E5%AD%B8" title="圖像學 – Chinese" lang="zh" hreflang="zh" data-title="圖像學" data-language-autonym="中文" data-language-local-name="Chinese" class="interlanguage-link-target"><span>中文</span></a></li> </ul> 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id="mw-content-text" class="mw-body-content"><div class="mw-content-ltr mw-parser-output" lang="en" dir="ltr"><div class="shortdescription nomobile noexcerpt noprint searchaux" style="display:none">Method of interpretation in cultural history</div> <style data-mw-deduplicate="TemplateStyles:r1236090951">.mw-parser-output .hatnote{font-style:italic}.mw-parser-output div.hatnote{padding-left:1.6em;margin-bottom:0.5em}.mw-parser-output .hatnote i{font-style:normal}.mw-parser-output .hatnote+link+.hatnote{margin-top:-0.5em}@media print{body.ns-0 .mw-parser-output .hatnote{display:none!important}}</style><div role="note" class="hatnote navigation-not-searchable">For the Missy Elliott EP, see <a href="/wiki/Iconology_(EP)" title="Iconology (EP)">Iconology (EP)</a>.</div> <p><b>Iconology</b> is a method of interpretation in cultural history and the history of the <a href="/wiki/Visual_arts" title="Visual arts">visual arts</a> used by <a href="/wiki/Aby_Warburg" title="Aby Warburg">Aby Warburg</a>, <a href="/wiki/Erwin_Panofsky" title="Erwin Panofsky">Erwin Panofsky</a> and their followers that uncovers the cultural, social, and historical background of themes and subjects in the visual arts.<sup id="cite_ref-1" class="reference"><a href="#cite_note-1"><span class="cite-bracket">[</span>1<span class="cite-bracket">]</span></a></sup> Though Panofsky differentiated between iconology and <a href="/wiki/Iconography" title="Iconography">iconography</a>, the distinction is not very widely followed, "and they have never been given definitions accepted by all iconographers and iconologists".<sup id="cite_ref-2" class="reference"><a href="#cite_note-2"><span class="cite-bracket">[</span>2<span class="cite-bracket">]</span></a></sup> Few 21st-century authors continue to use the term "iconology" consistently, and instead use iconography to cover both areas of scholarship. </p><p>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<sup id="cite_ref-3" class="reference"><a href="#cite_note-3"><span class="cite-bracket">[</span>3<span class="cite-bracket">]</span></a></sup> – in contrast to the widely descriptive iconography, which, as 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.<sup id="cite_ref-4" class="reference"><a href="#cite_note-4"><span class="cite-bracket">[</span>4<span class="cite-bracket">]</span></a></sup> </p><p>Panofsky's "use of iconology as the principal tool of art analysis brought him critics." For instance, in 1946, <a href="/wiki/Jan_Gerrit_Van_Gelder" class="mw-redirect" title="Jan Gerrit Van Gelder">Jan Gerrit Van Gelder</a> "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."<sup id="cite_ref-5" class="reference"><a href="#cite_note-5"><span class="cite-bracket">[</span>5<span class="cite-bracket">]</span></a></sup> Furthermore, iconology is mostly avoided by social historians who do not accept the theoretical dogmaticism in the work of Panofsky.<sup id="cite_ref-6" class="reference"><a href="#cite_note-6"><span class="cite-bracket">[</span>6<span class="cite-bracket">]</span></a></sup> </p> <meta property="mw:PageProp/toc" /> <div class="mw-heading mw-heading2"><h2 id="In_contrast_to_iconography">In contrast to iconography</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Iconology&action=edit&section=1" title="Edit section: In contrast to iconography"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>Erwin Panofsky defines iconography as "a known principle in the known world", while iconology is "an iconography turned interpretive".<sup id="cite_ref-7" class="reference"><a href="#cite_note-7"><span class="cite-bracket">[</span>7<span class="cite-bracket">]</span></a></sup> 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 perspective, which is modulated by one personality and condensed into one work.<sup id="cite_ref-8" class="reference"><a href="#cite_note-8"><span class="cite-bracket">[</span>8<span class="cite-bracket">]</span></a></sup> 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."<sup id="cite_ref-9" class="reference"><a href="#cite_note-9"><span class="cite-bracket">[</span>9<span class="cite-bracket">]</span></a></sup> </p><p>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.<sup id="cite_ref-10" class="reference"><a href="#cite_note-10"><span class="cite-bracket">[</span>10<span class="cite-bracket">]</span></a></sup> In 1932, Panofsky published a seminal 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.<sup id="cite_ref-11" class="reference"><a href="#cite_note-11"><span class="cite-bracket">[</span>11<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-12" class="reference"><a href="#cite_note-12"><span class="cite-bracket">[</span>12<span class="cite-bracket">]</span></a></sup> 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.<sup id="cite_ref-13" class="reference"><a href="#cite_note-13"><span class="cite-bracket">[</span>13<span class="cite-bracket">]</span></a></sup> Panofsky emphasized that "iconology can be done when there are no originals to look at and nothing but artificial light to work in."<sup id="cite_ref-14" class="reference"><a href="#cite_note-14"><span class="cite-bracket">[</span>14<span class="cite-bracket">]</span></a></sup> </p><p>According to <a href="/wiki/Ernst_Gombrich" title="Ernst Gombrich">Ernst Gombrich</a>, "the emerging discipline of iconology ... must ultimately do for the image what linguistics has done for the word."<sup id="cite_ref-15" class="reference"><a href="#cite_note-15"><span class="cite-bracket">[</span>15<span class="cite-bracket">]</span></a></sup> However, <a href="/wiki/Michael_Camille" title="Michael Camille">Michael Camille</a> 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."<sup id="cite_ref-16" class="reference"><a href="#cite_note-16"><span class="cite-bracket">[</span>16<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading2"><h2 id="Nuances">Nuances</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Iconology&action=edit&section=2" title="Edit section: Nuances"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>In 1952, <a href="/w/index.php?title=Creighton_Gilbert&action=edit&redlink=1" class="new" title="Creighton Gilbert (page does not exist)">Creighton Gilbert</a> 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 <a href="/wiki/Hans_Sedlmayr" title="Hans Sedlmayr">Hans Sedlmayr</a> 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" iconology is the "integral iconography which accounts for the changes and development in the representations".<sup id="cite_ref-17" class="reference"><a href="#cite_note-17"><span class="cite-bracket">[</span>17<span class="cite-bracket">]</span></a></sup> In <i>Iconology: Images, Text, Ideology</i> (1986), <a href="/wiki/W.J.T._Mitchell" class="mw-redirect" title="W.J.T. Mitchell">W.J.T. Mitchell</a> 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.<sup id="cite_ref-18" class="reference"><a href="#cite_note-18"><span class="cite-bracket">[</span>18<span class="cite-bracket">]</span></a></sup> He pleads for a postlinguistic, postsemiotic "iconic turn", emphasizing the role of "non-linguistic symbol systems".<sup id="cite_ref-19" class="reference"><a href="#cite_note-19"><span class="cite-bracket">[</span>19<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-20" class="reference"><a href="#cite_note-20"><span class="cite-bracket">[</span>20<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-21" class="reference"><a href="#cite_note-21"><span class="cite-bracket">[</span>21<span class="cite-bracket">]</span></a></sup> 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".<sup id="cite_ref-22" class="reference"><a href="#cite_note-22"><span class="cite-bracket">[</span>22<span class="cite-bracket">]</span></a></sup> 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."<sup id="cite_ref-23" class="reference"><a href="#cite_note-23"><span class="cite-bracket">[</span>23<span class="cite-bracket">]</span></a></sup> </p><p>For several years, new approaches to iconology have developed in the theory of images. This is the case of what <a href="/w/index.php?title=Jean-Michel_Durafour&action=edit&redlink=1" class="new" title="Jean-Michel Durafour (page does not exist)">Jean-Michel Durafour</a>, 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 (<i>eikon</i>) self-speciates, that is to say, it self-iconicizes with others and eco-iconicizes with them its iconic habitat (<i>oikos</i>). The iconology, mainly Warburghian iconology, is thus merged with a conception of the relations between the beings of the nature inherited, among others (<a href="/wiki/Arne_N%C3%A6ss" title="Arne Næss">Arne Næss</a>, etc.) from the writings of <a href="/wiki/Kinji_Imanishi" title="Kinji Imanishi">Kinji Imanishi</a>. 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" (<i>Freedom in Evolution</i>). 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: <i>the images self-eco-iconicize their iconic environment</i>.<sup id="cite_ref-24" class="reference"><a href="#cite_note-24"><span class="cite-bracket">[</span>24<span class="cite-bracket">]</span></a></sup>" </p> <div class="mw-heading mw-heading2"><h2 id="Studies_in_iconology">Studies in iconology</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Iconology&action=edit&section=3" title="Edit section: Studies in iconology"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p><i>Studies in Iconology</i> is the title of a book by Erwin Panofsky on <a href="/wiki/Renaissance_humanism" title="Renaissance humanism">humanistic</a> themes in the art of the Renaissance, which was first published in 1939.<sup id="cite_ref-25" class="reference"><a href="#cite_note-25"><span class="cite-bracket">[</span>25<span class="cite-bracket">]</span></a></sup> It is also the name of a peer-reviewed series of books started in 2014 under the editorship of <a href="/wiki/Barbara_Baert" title="Barbara Baert">Barbara Baert</a> and published by Peeters international academic publishers, <a href="/wiki/Leuven" title="Leuven">Leuven</a>, Belgium, addressing the deeper meaning of the visual medium throughout human history in the fields of philosophy, art history, theology and cultural anthropology.<sup id="cite_ref-26" class="reference"><a href="#cite_note-26"><span class="cite-bracket">[</span>26<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading2"><h2 id="References">References</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Iconology&action=edit&section=4" title="Edit section: References"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <style data-mw-deduplicate="TemplateStyles:r1239543626">.mw-parser-output .reflist{margin-bottom:0.5em;list-style-type:decimal}@media screen{.mw-parser-output .reflist{font-size:90%}}.mw-parser-output .reflist .references{font-size:100%;margin-bottom:0;list-style-type:inherit}.mw-parser-output .reflist-columns-2{column-width:30em}.mw-parser-output .reflist-columns-3{column-width:25em}.mw-parser-output .reflist-columns{margin-top:0.3em}.mw-parser-output .reflist-columns ol{margin-top:0}.mw-parser-output .reflist-columns li{page-break-inside:avoid;break-inside:avoid-column}.mw-parser-output .reflist-upper-alpha{list-style-type:upper-alpha}.mw-parser-output .reflist-upper-roman{list-style-type:upper-roman}.mw-parser-output .reflist-lower-alpha{list-style-type:lower-alpha}.mw-parser-output .reflist-lower-greek{list-style-type:lower-greek}.mw-parser-output .reflist-lower-roman{list-style-type:lower-roman}</style><div class="reflist"> <div class="mw-references-wrap mw-references-columns"><ol class="references"> <li id="cite_note-1"><span class="mw-cite-backlink"><b><a href="#cite_ref-1">^</a></b></span> <span class="reference-text">Roelof van Straten, <i>An Introduction to Iconography: Symbols, Allusions and Meaning in the Visual Arts</i>. Abingdon and New York 1994, p.12.</span> </li> <li id="cite_note-2"><span class="mw-cite-backlink"><b><a href="#cite_ref-2">^</a></b></span> <span class="reference-text"><a rel="nofollow" class="external text" href="http://www.oxfordbibliographies.com/view/document/obo-9780195399301/obo-9780195399301-0161.xml">Oxford Bibliographies: Paul Taylor, "Iconology and Iconography"</a></span> </li> <li id="cite_note-3"><span class="mw-cite-backlink"><b><a href="#cite_ref-3">^</a></b></span> <span class="reference-text"><a rel="nofollow" class="external text" href="http://www.biddingtons.com/content/pedigreeicon.html">Iconography and Iconology</a></span> </li> <li id="cite_note-4"><span class="mw-cite-backlink"><b><a href="#cite_ref-4">^</a></b></span> <span class="reference-text">Victor Ljunggren Szepessy, "Panofsky - Iconology and Iconography". In <i>The Marriage Maker: The Pergamon Hermaphrodite as the God Hermaphroditos, Divine Ideal and Erotic Object</i>. MA thesis, University of Oslo 2014, p.16.</span> </li> <li id="cite_note-5"><span class="mw-cite-backlink"><b><a href="#cite_ref-5">^</a></b></span> <span class="reference-text"><a rel="nofollow" class="external text" href="http://www.arthistorians.info/panofskye">Dictionary of Art Historians: Panofsky, Erwin</a></span> </li> <li id="cite_note-6"><span class="mw-cite-backlink"><b><a href="#cite_ref-6">^</a></b></span> <span class="reference-text">Klaus von Beyme, "Why is there no Political Science of the Arts?" In Udo J. Hebel and Christoph Wagner, eds., <i>Pictorial Cultures and Political Iconographies: Approaches, Perspectives, Case Studies from Europe and America</i>. Berlin and New York 2011, p.16.</span> </li> <li id="cite_note-7"><span class="mw-cite-backlink"><b><a href="#cite_ref-7">^</a></b></span> <span class="reference-text">Andrew Tudor, <i>Image and Influence: Studies in the Sociology of Film</i>. New York 1974, p.115.</span> </li> <li id="cite_note-8"><span class="mw-cite-backlink"><b><a href="#cite_ref-8">^</a></b></span> <span class="reference-text"><a rel="nofollow" class="external text" href="http://tems.umn.edu/pdf/Panofsky_iconology2.pdf">Erwin Panofsky, <i>Studies in Iconology: Humanistic Themes in the Art of the Renaissance</i>. Oxford 1939.</a></span> </li> <li id="cite_note-9"><span class="mw-cite-backlink"><b><a href="#cite_ref-9">^</a></b></span> <span class="reference-text">Roelof van Straten, <i>An Introduction to Iconography: Symbols, Allusions and Meaning in the Visual Arts</i>. Abingdon and New York 1994, p. 12.</span> </li> <li id="cite_note-10"><span class="mw-cite-backlink"><b><a href="#cite_ref-10">^</a></b></span> <span class="reference-text"><a href="/wiki/Michael_Hatt" title="Michael Hatt">Michael Hatt</a> and Charlotte Klonk, "Iconography - iconology: Erwin Panofsky". In <i>Art History: A Critical Introduction to Its Methods</i>. Manchester University Press, 2006, p. 98.</span> </li> <li id="cite_note-11"><span class="mw-cite-backlink"><b><a href="#cite_ref-11">^</a></b></span> <span class="reference-text">Erwin Panofsky, "Zum Problem der Beschreibung und Inhaltsdeutung von Werken der bildenden Kunst." <i>Logos</i>, Vol. 21 (1932), pp. 103-119.</span> </li> <li id="cite_note-12"><span class="mw-cite-backlink"><b><a href="#cite_ref-12">^</a></b></span> <span class="reference-text"><a rel="nofollow" class="external text" href="http://tems.umn.edu/pdf/Panofsky_iconology2.pdf">Erwin Panofsky, <i>Studies in Iconology: Humanistic Themes in the Art of the Renaissance</i>. Oxford 1939.</a></span> </li> <li id="cite_note-13"><span class="mw-cite-backlink"><b><a href="#cite_ref-13">^</a></b></span> <span class="reference-text">Victor Ljunggren Szepessy, "Panofsky - Iconology and Iconography". In <i>The Marriage Maker: The Pergamon Hermaphrodite as the God Hermaphroditos, Divine Ideal and Erotic Object</i>. MA thesis, University of Oslo 2014, pp.13, 16.</span> </li> <li id="cite_note-14"><span class="mw-cite-backlink"><b><a href="#cite_ref-14">^</a></b></span> <span class="reference-text">Michael Ann Holly, <i>Panofsky and the Foundations of Art History</i>. Ithaca and London: Cornell University Press, 1984, p.14.</span> </li> <li id="cite_note-15"><span class="mw-cite-backlink"><b><a href="#cite_ref-15">^</a></b></span> <span class="reference-text">E.H. Gombrich, <i>Reflections on the History of Art: Views and Reviews</i>, ed. Richard Woodfield. Oxford 1987, p.246.</span> </li> <li id="cite_note-16"><span class="mw-cite-backlink"><b><a href="#cite_ref-16">^</a></b></span> <span class="reference-text"><a rel="nofollow" class="external text" href="http://art.arizona.edu/downloads/Garcia,_Dominique_Writing_Sample.pdf">Dominique E. Garcia, "Nationalistic Iconography and 'Anti-Iconology' of the Aztec Coatlicue Sculpture"</a></span> </li> <li id="cite_note-17"><span class="mw-cite-backlink"><b><a href="#cite_ref-17">^</a></b></span> <span class="reference-text"><a rel="nofollow" class="external text" href="http://www.encyclopedia.com/article-1G2-3407705539/iconology-and-iconography.html">Encyclopedia.com: Iconology and Iconography</a></span> </li> <li id="cite_note-18"><span class="mw-cite-backlink"><b><a href="#cite_ref-18">^</a></b></span> <span class="reference-text"><a rel="nofollow" class="external text" href="http://iconictheory.blogspot.de/2010/05/iconology.html">Karen Hope, The Iconic Image: Iconology</a></span> </li> <li id="cite_note-19"><span class="mw-cite-backlink"><b><a href="#cite_ref-19">^</a></b></span> <span class="reference-text">W.J.T. Mitchell, <i>Iconology: Images, Text, Ideology</i>. University of Chicago Press, 1986.</span> </li> <li id="cite_note-20"><span class="mw-cite-backlink"><b><a href="#cite_ref-20">^</a></b></span> <span class="reference-text"><a rel="nofollow" class="external text" href="http://d-sites.net/english/mitchell.htm">w.j.t. mitchell and the image (review)</a></span> </li> <li id="cite_note-21"><span class="mw-cite-backlink"><b><a href="#cite_ref-21">^</a></b></span> <span class="reference-text">W.J.T. Mitchell, "Iconology and Ideology: Panofsky, Althusser, and the Scene of Recognition". In David B. Downing and Susan Bazargan, eds., <i>Image and Ideology in Modern/Postmodern Discourse</i>. New York 1991, pp.321-329.</span> </li> <li id="cite_note-22"><span class="mw-cite-backlink"><b><a href="#cite_ref-22">^</a></b></span> <span class="reference-text"><a rel="nofollow" class="external text" href="https://ksangmin.wordpress.com/2009/11/19/w-j-t-mitchell-iconology-and-picture-theory/">W. J. T. Mitchell's Iconology and Picture Theory</a></span> </li> <li id="cite_note-23"><span class="mw-cite-backlink"><b><a href="#cite_ref-23">^</a></b></span> <span class="reference-text"><a rel="nofollow" class="external text" href="http://wac.colostate.edu/journal/vol8/bartelo_morton.pdf">Dennise Bartelo and Robert Morton, "Iconology: An Alternate Form of Writing"</a></span> </li> <li id="cite_note-24"><span class="mw-cite-backlink"><b><a href="#cite_ref-24">^</a></b></span> <span class="reference-text">Jean-Michel Durafour, <i>"L'Étrange Créature du lac noir" de Jack Arnold. Aubades pour une zoologie des images</i>, Aix-en-Provence, Rouge profond, 2017, 200 p. (<style data-mw-deduplicate="TemplateStyles:r1238218222">.mw-parser-output cite.citation{font-style:inherit;word-wrap:break-word}.mw-parser-output .citation q{quotes:"\"""\"""'""'"}.mw-parser-output .citation:target{background-color:rgba(0,127,255,0.133)}.mw-parser-output .id-lock-free.id-lock-free a{background:url("//upload.wikimedia.org/wikipedia/commons/6/65/Lock-green.svg")right 0.1em center/9px no-repeat}.mw-parser-output .id-lock-limited.id-lock-limited a,.mw-parser-output .id-lock-registration.id-lock-registration a{background:url("//upload.wikimedia.org/wikipedia/commons/d/d6/Lock-gray-alt-2.svg")right 0.1em center/9px no-repeat}.mw-parser-output .id-lock-subscription.id-lock-subscription a{background:url("//upload.wikimedia.org/wikipedia/commons/a/aa/Lock-red-alt-2.svg")right 0.1em center/9px no-repeat}.mw-parser-output .cs1-ws-icon a{background:url("//upload.wikimedia.org/wikipedia/commons/4/4c/Wikisource-logo.svg")right 0.1em center/12px no-repeat}body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-free a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-limited a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-registration a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-subscription a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .cs1-ws-icon a{background-size:contain;padding:0 1em 0 0}.mw-parser-output .cs1-code{color:inherit;background:inherit;border:none;padding:inherit}.mw-parser-output .cs1-hidden-error{display:none;color:var(--color-error,#d33)}.mw-parser-output .cs1-visible-error{color:var(--color-error,#d33)}.mw-parser-output .cs1-maint{display:none;color:#085;margin-left:0.3em}.mw-parser-output .cs1-kern-left{padding-left:0.2em}.mw-parser-output .cs1-kern-right{padding-right:0.2em}.mw-parser-output .citation .mw-selflink{font-weight:inherit}@media screen{.mw-parser-output .cs1-format{font-size:95%}html.skin-theme-clientpref-night .mw-parser-output .cs1-maint{color:#18911f}}@media screen and (prefers-color-scheme:dark){html.skin-theme-clientpref-os .mw-parser-output .cs1-maint{color:#18911f}}</style><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-2915083910" title="Special:BookSources/978-2915083910">978-2915083910</a>), p. 13</span> </li> <li id="cite_note-25"><span class="mw-cite-backlink"><b><a href="#cite_ref-25">^</a></b></span> <span class="reference-text"><a rel="nofollow" class="external text" href="http://tems.umn.edu/pdf/Panofsky_iconology2.pdf">Erwin Panofsky, <i>Studies in Iconology: Humanistic Themes in the Art of the Renaissance</i>. Oxford 1939.</a></span> </li> <li id="cite_note-26"><span class="mw-cite-backlink"><b><a href="#cite_ref-26">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://web.archive.org/web/20160617045720/http://www.peeters-leuven.be/search_serie_book.asp?nr=284">"Peeters Publishers: Studies in Iconology"</a>. Archived from <a rel="nofollow" class="external text" href="http://www.peeters-leuven.be/search_serie_book.asp?nr=284">the original</a> on 2016-06-17<span class="reference-accessdate">. Retrieved <span class="nowrap">2015-04-19</span></span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=Peeters+Publishers%3A+Studies+in+Iconology&rft_id=http%3A%2F%2Fwww.peeters-leuven.be%2Fsearch_serie_book.asp%3Fnr%3D284&rfr_id=info%3Asid%2Fen.wikipedia.org%3AIconology" class="Z3988"></span></span> </li> </ol></div></div> <div class="mw-heading mw-heading2"><h2 id="Further_reading">Further reading</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Iconology&action=edit&section=5" title="Edit section: Further reading"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <ul><li><a href="/wiki/Ernst_Gombrich" title="Ernst Gombrich">Ernst Gombrich</a>, "Aims and Limits of Iconology." In <i>Symbolic Images</i> (Studies in the Art of the Renaissance, 2). London: Phaidon, 1972, pp. 1–25.</li> <li>Keith Moxey, "Panofsky's Concept of <i>Iconology</i> and the Problem of Interpretation in the History of Art." <i>New Literary History</i>, Vol. 17, No. 2: Interpretation and Culture (Winter 1986), pp. 265–274.</li> <li>Timothy Erwin, "Modern Iconology, Postmodern Iconologies". In David B. Downing and Susan Bazargan, eds., <i>Image and Ideology in Modern/Postmodern Discourse</i>. New York 1991, pp. 309–320.</li> <li><a href="/wiki/Michael_Hatt" title="Michael Hatt">Michael Hatt</a> and <a href="/wiki/Charlotte_Klonk" title="Charlotte Klonk">Charlotte Klonk</a>, "Iconography - iconology: Erwin Panofsky". In <i>Art History: A Critical Introduction to Its Methods</i>. Manchester University Press, 2006, pp. 96–119.</li> <li>Paul Taylor, "Introduction." In <i>Iconography without Texts</i>. London: Warburg Institute, 2008, pp. 1–10.</li> <li>Andreas Beyer (Hrsg.): Die Lesbarkeit der Kunst: Zur Geistes-Gegenwart der Ikonologie. Wagenbach, Berlin 1992, <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-3-8031-5137-7" title="Special:BookSources/978-3-8031-5137-7">978-3-8031-5137-7</a>.</li> <li>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, <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-3-8031-2784-6" title="Special:BookSources/978-3-8031-2784-6">978-3-8031-2784-6</a></li></ul> <div class="mw-heading mw-heading2"><h2 id="External_links">External links</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Iconology&action=edit&section=6" title="Edit section: External links"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <ul><li><a rel="nofollow" class="external text" href="http://www.encyclopedia.com/article-1G2-3407705539/iconology-and-iconography.html">Encyclopedia.com: Iconology and Iconography</a></li> <li><a rel="nofollow" class="external text" href="http://www.historiasztuki.com.pl/strony/013-00-00-IKONOGRAFIA-LID-eng.html">Worldmuseum Ikonography: ICONOGRAPHY - ICONOLOGY</a></li> <li><a rel="nofollow" class="external text" href="http://arthistorians.info/panofskye">Dictionary of Art Historians: Panofsky, Erwin</a></li> <li><a rel="nofollow" class="external text" href="http://tems.umn.edu/pdf/Panofsky_iconology2.pdf">Erwin Panofsky, <i>Studies in Iconology: Humanistic Themes in the Art of the Renaissance</i>. Oxford 1939.</a></li> <li><a rel="nofollow" class="external text" href="https://archive.today/20130718064553/http://w3.gril.univ-tlse2.fr/Proimago/LogiCoursimage/panofsky.htm">Ross Woodrow, "Erwin Panofsky's Iconology"</a></li> <li><a rel="nofollow" class="external text" href="http://www.biddingtons.com/content/pedigreeicon.html">Iconography and Iconology</a></li> <li><a rel="nofollow" class="external text" href="http://mintwiki.pbworks.com/f/A+Cryptic+Dimension+in+Visual+Art+-+Iconography+adn+Iconology.pdf">Lorenzo Giulini, "A Cryptic Dimension in Visual Art"</a></li> <li><a rel="nofollow" class="external text" href="https://de.scribd.com/doc/257825443/Iconography-Versus-Iconology-in-Erwin-Panofsky-s-Method#scribd">Maria-Irina Popescu, "Iconography Versus Iconology in Erwin Panofsky's Method"</a></li> <li><a rel="nofollow" class="external text" href="https://arthistoriography.files.wordpress.com/2011/12/woodfield.pdf">Richard Woodfield, "Ernst Gombrich: Iconology and the 'linguistics of the image.' "</a></li> <li><a rel="nofollow" class="external text" href="http://media.accountingeducation.com/1233/AAAJ_22.6,_no2..pdf">Jane Davison. "Icon, iconography, iconology: Visual branding, banking and the case of the bowler hat"</a></li> <li><a rel="nofollow" class="external text" href="http://www.contempaesthetics.org/newvolume/pages/article.php?articleID=396">Ian Verstegen, "A Plea for a Cognitive Iconology within Visual Culture"</a></li></ul> <div class="navbox-styles"><style data-mw-deduplicate="TemplateStyles:r1129693374">.mw-parser-output .hlist dl,.mw-parser-output .hlist ol,.mw-parser-output .hlist ul{margin:0;padding:0}.mw-parser-output .hlist dd,.mw-parser-output .hlist dt,.mw-parser-output .hlist li{margin:0;display:inline}.mw-parser-output .hlist.inline,.mw-parser-output .hlist.inline dl,.mw-parser-output .hlist.inline ol,.mw-parser-output .hlist.inline ul,.mw-parser-output .hlist dl dl,.mw-parser-output .hlist dl ol,.mw-parser-output .hlist dl ul,.mw-parser-output .hlist ol dl,.mw-parser-output .hlist ol ol,.mw-parser-output .hlist ol ul,.mw-parser-output .hlist ul dl,.mw-parser-output .hlist ul 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