Iconography

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Holbein's The Ambassadors (1533) is a complex work whose iconography remains the subject of debate. Hans Holbein the Younger - The Ambassadors - Google Art Project.jpg
Holbein's The Ambassadors (1533) is a complex work whose iconography remains the subject of debate.

Iconography, as a branch of art history, studies the identification, description and interpretation of the content of images: the subjects depicted, the particular compositions and details used to do so, and other elements that are distinct from artistic style. The word iconography comes from the Greek εἰκών ("image") and γράφειν ("to write" or to draw).

Contents

A secondary meaning (based on a non-standard translation of the Greek and Russian equivalent terms) is the production or study of the religious images, called "icons", in the Byzantine and Orthodox Christian tradition. This usage is mostly found in works translated from languages such as Greek or Russian, with the correct term being "icon painting".

In art history, "an iconography" may also mean a particular depiction of a subject in terms of the content of the image, such as the number of figures used, their placing and gestures. The term is also used in many academic fields other than art history, for example semiotics, media studies, and archaeology, [1] and in general usage, for the content of images, the typical depiction in images of a subject, and related senses. Sometimes distinctions have been made between iconology and iconography, [2] [3] although the definitions, and so the distinction made, varies. When referring to movies, genres are immediately recognizable through their iconography, motifs that become associated with a specific genre through repetition. [4]

Scholarship

Foundations

Early Western writers who took special note of the content of images include Giorgio Vasari, whose Ragionamenti interpreted the paintings in the Palazzo Vecchio in Florence. Ragionamenti reassuringly demonstrates that such works were difficult to understand even for well-informed contemporaries. Lesser known, though it had informed poets, painters and sculptors for over two centuries after its 1593 publication, was Cesare Ripa's emblem book Iconologia. [5] Gian Pietro Bellori, a 17th-century biographer of artists of his own time, describes and analyses, not always correctly, many works. Lessing's study (1796) of the classical figure Amor with an inverted torch was an early attempt to use a study of a type of image to explain the culture it originated in, rather than the other way round. [6]

A painting with complex iconography: Hans Memling's so-called Seven Joys of the Virgin - in fact this is a later title for a Life of the Virgin cycle on a single panel. Altogether 25 scenes, not all involving the Virgin, are depicted. 1480, Alte Pinakothek, Munich. Hans Memling 056.jpg
A painting with complex iconography: Hans Memling's so-called Seven Joys of the Virgin – in fact this is a later title for a Life of the Virgin cycle on a single panel. Altogether 25 scenes, not all involving the Virgin, are depicted. 1480, Alte Pinakothek, Munich.

Iconography as an academic art historical discipline developed in the nineteenth-century in the works of scholars such as Adolphe Napoleon Didron (1806–1867), Anton Heinrich Springer (1825–1891), and Émile Mâle (1862–1954) [8] all specialists in Christian religious art, which was the main focus of study in this period, in which French scholars were especially prominent. [6] They looked back to earlier attempts to classify and organise subjects encyclopedically like Cesare Ripa and Anne Claude Philippe de Caylus's Recueil d'antiquités égyptiennes, étrusques, grècques, romaines et gauloises as guides to understanding works of art, both religious and profane, in a more scientific manner than the popular aesthetic approach of the time. [8] These early contributions paved the way for encyclopedias, manuals, and other publications useful in identifying the content of art. Mâle's l'Art religieux du XIIIe siècle en France (originally 1899, with revised editions) translated into English as The Gothic Image, Religious Art in France of the Thirteenth Century has remained continuously in print.

Twentieth-century

In the early-twentieth century Germany, Aby Warburg (1866–1929) and his followers Fritz Saxl (1890–1948) and Erwin Panofsky (1892–1968) elaborated the practice of identification and classification of motifs in images to using iconography as a means to understanding meaning. [8] Panofsky codified an influential approach to iconography in his 1939 Studies in Iconology, where he defined it as "the branch of the history of art which concerns itself with the subject matter or meaning of works of art, as opposed to form," [8] although the distinction he and other scholars drew between particular definitions of "iconography" (put simply, the identification of visual content) and "iconology" (the analysis of the meaning of that content), has not been generally accepted, though it is still used by some writers. [9]

In the United States, to which Panofsky immigrated in 1931, students such as Frederick Hartt, and Meyer Schapiro continued under his influence in the discipline. [8] In an influential article of 1942, Introduction to an "Iconography of Mediaeval Architecture", [10] Richard Krautheimer, a specialist on early medieval churches and another German émigré, extended iconographical analysis to architectural forms.

The period from 1940 can be seen as one where iconography was especially prominent in art history. [11] Whereas most iconographical scholarship remains highly dense and specialized, some analyses began to attract a much wider audience, for example Panofsky's theory (now generally out of favour with specialists) that the writing on the rear wall in the Arnolfini Portrait by Jan van Eyck turned the painting into the record of a marriage contract. Holbein's The Ambassadors has been the subject of books for a general market with new theories as to its iconography, [12] and the best-sellers of Dan Brown include theories, disowned by most art historians, on the iconography of works by Leonardo da Vinci.

Technological advances allowed the building-up of huge collections of photographs, with an iconographic arrangement or index, which include those of the Warburg Institute and the Index of Medieval Art [13] (formerly Index of Christian Art) at Princeton (which has made a specialism of iconography since its early days in America). [14] These are now being digitised and made available online, usually on a restricted basis.

With the arrival of computing, the Iconclass system, a highly complex way of classifying the content of images, with 28,000 classification types, and 14,000 keywords, was developed in the Netherlands as a standard classification for recording collections, with the idea of assembling huge databases that will allow the retrieval of images featuring particular details, subjects or other common factors. For example, the Iconclass code "71H7131" is for the subject of "Bathsheba (alone) with David's letter", whereas "71" is the whole "Old Testament" and "71H" the "story of David". A number of collections of different types have been classified using Iconclass, notably many types of old master print, the collections of the Gemäldegalerie, Berlin and the German Marburger Index. These are available, usually on-line or on DVD. [15] [16] The system can also be used outside pure art history, for example on sites like Flickr. [17]

Brief survey of iconography

A 17th century Central Tibetan thanka of Guhyasamaja Akshobhyavajra. 17th century Central Tibeten thanka of Guhyasamaja Akshobhyavajra, Rubin Museum of Art.jpg
A 17th century Central Tibetan thanka of Guhyasamaja Akshobhyavajra.

Religious images are used to some extent by all major religions, including both Indian and Abrahamic faiths, and often contain highly complex iconography, which reflects centuries of accumulated tradition. Secular Western iconography later drew upon these themes.

Indian religious iconography

Central to the iconography and hagiography of Indian religions are mudra or gestures with specific meanings. Other features include the aureola and halo, also found in Christian and Islamic art, and divine qualities and attributes represented by asana and ritual tools such as the dharmachakra, vajra, chhatra, sauwastika, phurba and danda. The symbolic use of colour to denote the Classical Elements or Mahabhuta and letters and bija syllables from sacred alphabetic scripts are other features. Under the influence of tantra art developed esoteric meanings, accessible only to initiates; this is an especially strong feature of Tibetan art. The art of Indian Religions esp. Hindus in its numerous sectoral divisions is governed by sacred texts called the Aagama which describes the ratio and proportion of the icon, called taalmaana as well as mood of the central figure in a context. For example, Narasimha an incarnation of Vishnu though considered a wrathful deity but in few contexts is depicted in pacified mood.

Although iconic depictions of, or concentrating on, a single figure are the dominant type of Buddhist image, large stone relief or fresco narrative cycles of the Life of the Buddha, or tales of his previous lives, are found at major sites like Sarnath, Ajanta, and Borobudor, especially in earlier periods. Conversely, in Hindu art, narrative scenes have become rather more common in recent centuries, especially in miniature paintings of the lives of Krishna and Rama.

Christian iconography

Christian art features Christian iconography, prominently developed in the medieval era and renaissance, and is a prominent aspect of Christian media. [18] [19] Aniconism was rejected within Christian theology from the outset, and the development of early Christian art and architecture occurred within the first two centuries after Jesus. [20] [21] Small images in the Catacombs of Rome show orans figures, portraits of Christ and some saints, and a limited number of "abbreviated representations" of biblical episodes emphasizing deliverance. From the Constantinian period monumental art borrowed motifs from Roman Imperial imagery, classical Greek and Roman religion and popular art – the motif of Christ in Majesty owes something to both Imperial portraits and depictions of Zeus. In the Late Antique period iconography began to be standardized, and to relate more closely to Biblical texts, although many gaps in the canonical Gospel narratives were plugged with matter from the apocryphal gospels. Eventually, the Church would succeed in weeding most of these out, but some remain, like the ox and ass in the Nativity of Christ.

The Theotokos of Tikhvin of c. 1300, an example of the Hodegetria type of Madonna and Child. Tikhvinskaya.jpg
The Theotokos of Tikhvin of c.1300, an example of the Hodegetria type of Madonna and Child.

After the period of Byzantine iconoclasm iconographical innovation was regarded as unhealthy, if not heretical, in the Eastern Church, though it still continued at a glacial pace. More than in the West, traditional depictions were often considered to have authentic or miraculous origins, and the job of the artist was to copy them with as little deviation as possible. The Eastern church also never accepted the use of monumental high relief or free-standing sculpture, which it found too reminiscent of paganism. Most modern Eastern Orthodox icons are very close to their predecessors of a thousand years ago, though development, and some shifts in meaning, have occurred – for example, the old man wearing a fleece in conversation with Saint Joseph usually seen in Orthodox Nativities seems to have begun as one of the shepherds, or the prophet Isaiah, but is now usually understood as the "Tempter" (Satan). [22]

In both East and West, numerous iconic types of Christ, Mary and saints and other subjects were developed; the number of named types of icons of Mary, with or without the infant Christ, was especially large in the East, whereas Christ Pantocrator was much the commonest image of Christ. Especially important depictions of Mary include the Hodegetria and Panagia types. Traditional models evolved for narrative paintings, including large cycles covering the events of the Life of Christ, the Life of the Virgin, parts of the Old Testament, and, increasingly, the lives of popular saints. Especially in the West, a system of attributes developed for identifying individual figures of saints by a standard appearance and symbolic objects held by them; in the East they were more likely to identified by text labels.

From the Romanesque period sculpture on churches became increasingly important in Western art, and probably partly because of the lack of Byzantine models, became the location of much iconographic innovation, along with the illuminated manuscript, which had already taken a decisively different direction from Byzantine equivalents, under the influence of Insular art and other factors. Developments in theology and devotional practice produced innovations like the subject of the Coronation of the Virgin and the Assumption, Both associated with the Franciscans, as were many other developments. Most painters remained content to copy and slightly modify the works of others, and it is clear that the clergy, by whom or for whose churches most art was commissioned, often specified what they wanted shown in great detail.

The theory of typology, by which the meaning of most events of the Old Testament was understood as a "type" or pre-figuring of an event in the life of, or aspect of, Christ or Mary was often reflected in art, and in the later Middle Ages came to dominate the choice of Old Testament scenes in Western Christian art.

Robert Campin's Merode Altarpiece of 1425-28 has a highly complex iconography that is still debated. Is Joseph making a mousetrap, reflecting a remark of Saint Augustine that Christ's Incarnation was a trap to catch men's souls? Robert Campin - L' Annonciation - 1425.jpg
Robert Campin's Mérode Altarpiece of 1425-28 has a highly complex iconography that is still debated. Is Joseph making a mousetrap, reflecting a remark of Saint Augustine that Christ's Incarnation was a trap to catch men's souls?

Whereas in the Romanesque and Gothic periods the great majority of religious art was intended to convey often complex religious messages as clearly as possible, with the arrival of Early Netherlandish painting iconography became highly sophisticated, and in many cases appears to be deliberately enigmatic, even for a well-educated contemporary. The subtle layers of meaning uncovered by modern iconographical research in works of Robert Campin such as the Mérode Altarpiece, and of Jan van Eyck such as the Madonna of Chancellor Rolin and the Washington Annunciation lie in small details of what are on first viewing very conventional representations. When Italian painting developed a taste for enigma, considerably later, it most often showed in secular compositions influenced by Renaissance Neo-Platonism.

From the 15th century religious painting gradually freed itself from the habit of following earlier compositional models, and by the 16th century ambitious artists were expected to find novel compositions for each subject, and direct borrowings from earlier artists are more often of the poses of individual figures than of whole compositions. The Reformation soon restricted most Protestant religious painting to Biblical scenes conceived along the lines of history painting, and after some decades the Catholic Council of Trent reined in somewhat the freedom of Catholic artists.

Roman Catholic monks painting icons on the wall of an Abbey in France. Inspiration Chretienne, ca. 1887-1888.jpg
Roman Catholic monks painting icons on the wall of an Abbey in France.

Secular Western iconography

Secular painting became far more common in the West from the Renaissance, and developed its own traditions and conventions of iconography, in history painting, which includes mythologies, portraits, genre scenes, and even landscapes, not to mention modern media and genres like photography, cinema, political cartoons, comic books and anime.

Renaissance mythological painting was in theory reviving the iconography of its Classical Antiquity, but in practice themes like Leda and the Swan developed on largely original lines, and for different purposes. Personal iconographies, where works appear to have significant meanings individual to, and perhaps only accessible by, the artist, go back at least as far as Hieronymous Bosch, but have become increasingly significant with artists like Goya, William Blake, Gauguin, Picasso, Frida Kahlo and Joseph Beuys.

Iconography in disciplines other than art history

Iconography, often of aspects of popular culture, is a concern of other academic disciplines including Semiotics, Anthropology, Sociology, Media Studies, Communication Studies, and Cultural Studies. These analyses in turn have affected conventional art history, especially concepts such as signs in semiotics. Discussing imagery as iconography in this way implies a critical "reading" of imagery that often attempts to explore social and cultural values. Iconography is also used within film studies to describe the visual language of cinema, particularly within the field of genre criticism. [23] In the age of Internet, the new global history of the visual production of Humanity (Histiconologia [24] ) includes History of Art and history of all kind of images or medias.

Contemporary iconography research often draws on theories of visual framing to address such diverse issues as the iconography of climate change created by different stakeholders, [25] the iconography that international organizations create about natural disasters, [26] the iconography of epidemics disseminated in the press, [27] and the iconography of suffering found in social media. [28]

An iconography study in communication science analyzed stock photos used in press reporting to depict the social issue of child sexual abuse. [29] Based on a sample of N=1,437 child sexual abuse (CSA) online press articles that included 419 stock photos, a CSA iconography (i.e. a set of typical image motifs for a topic) was revealed that relate to criminal reporting: The CSA iconography visualizes 1. crime contexts, 2. course of the crime and people involved, and 3. consequences of the crime for the people involved (e.g., image motif: perpetrator in handcuffs).

Articles with iconographical analysis of individual works

See also

Related Research Articles

Iconology is a method of interpretation in cultural history and the history of the visual arts used by Aby Warburg, Erwin Panofsky 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 iconography, 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.

<span class="mw-page-title-main">Madonna (art)</span> Artistic representation of Mary, either alone or with her child Jesus

In art, a Madonna is a representation of Mary, either alone or with her child Jesus. These images are central icons for both the Catholic and Orthodox churches. The word is from Italian ma donna 'my lady' (archaic). The Madonna and Child type is very prevalent in Christian iconography, divided into many traditional subtypes especially in Eastern Orthodox iconography, often known after the location of a notable icon of the type, such as the Theotokos of Vladimir, Agiosoritissa, Blachernitissa, etc., or descriptive of the depicted posture, as in Hodegetria, Eleusa, etc.

<span class="mw-page-title-main">Christian art</span> Art with subjects from Christianity

Christian art is sacred art which uses subjects, themes, and imagery from Christianity. Most Christian groups use or have used art to some extent, including early Christian art and architecture and Christian media.

<span class="mw-page-title-main">Erwin Panofsky</span> German art historian

Erwin Panofsky was a German-Jewish art historian, whose academic career was pursued mostly in the U.S. after the rise of the Nazi regime.

<span class="mw-page-title-main">Early Netherlandish painting</span> Work of artists active in the Low Countries during the 15th- and 16th-century Northern Renaissance

Early Netherlandish painting is the body of work by artists active in the Burgundian and Habsburg Netherlands during the 15th- and 16th-century Northern Renaissance period, once known as the Flemish Primitives. It flourished especially in the cities of Bruges, Ghent, Mechelen, Leuven, Tournai and Brussels, all in present-day Belgium. The period begins approximately with Robert Campin and Jan van Eyck in the 1420s and lasts at least until the death of Gerard David in 1523, although many scholars extend it to the start of the Dutch Revolt in 1566 or 1568–Max J. Friedländer's acclaimed surveys run through Pieter Bruegel the Elder. Early Netherlandish painting coincides with the Early and High Italian Renaissance, but the early period is seen as an independent artistic evolution, separate from the Renaissance humanism that characterised developments in Italy. Beginning in the 1490s, as increasing numbers of Netherlandish and other Northern painters traveled to Italy, Renaissance ideals and painting styles were incorporated into northern painting. As a result, Early Netherlandish painters are often categorised as belonging to both the Northern Renaissance and the Late or International Gothic.

<span class="mw-page-title-main">Halo (religious iconography)</span> Religious symbol representing a ring of light

A halo (from Ancient Greek ἅλως 'threshing floor, disk'; also called a nimbus, aureole, glory, or gloriole is a crown of light rays, circle or disk of light that surrounds a person in works of art. The halo occurs in the iconography of many religions to indicate holy or sacred figures, and has at various periods also been used in images of rulers and heroes. In the religious art of Ancient Greece, Ancient Rome, Christianity, Hinduism, and Buddhism, sacred persons may be depicted with a halo in the form of a circular glow, or flames in Asian art, around the head or around the whole body—this last form is often called a mandorla. Halos may be shown as almost any colour or combination of colours, but are most often depicted as golden, yellow or white or as red.

<i>Allegory of Prudence</i> Painting by Titian

The Allegory of Prudence is an oil-on-canvas painting attributed to the Italian artist Titian and his assistants. The painting portrays three human heads, each facing in a different direction, above three animal heads. It is in the National Gallery, London.

<span class="mw-page-title-main">Nativity of Jesus in art</span> Artistic depictions of the Nativity or birth of Jesus, celebrated at Christmas

The Nativity of Jesus has been a major subject of Christian art since the 4th century.

A religious image is a work of visual art that is representational and has a religious purpose, subject or connection. All major historical religions have made some use of religious images, although their use is strictly controlled and often controversial in many religions, especially Abrahamic ones. General terms associated with religious images include cult image, a term for images, especially in sculpture which are or have been claimed to be the object of religious worship in their own right, and icon strictly a term for Eastern Orthodox religious images, but often used more widely, in and outside the area of religion.

<span class="mw-page-title-main">Catholic art</span> Art produced by or for members of the Catholic Church

Catholic art is art produced by or for members of the Catholic Church. This includes visual art (iconography), sculpture, decorative arts, applied arts, and architecture. In a broader sense, Catholic music and other art may be included as well. Expressions of art may or may not attempt to illustrate, supplement and portray in tangible form Catholic teaching. Catholic art has played a leading role in the history and development of Western art since at least the 4th century. The principal subject matter of Catholic art has been the life and times of Jesus Christ, along with people associated with him, including his disciples, the saints, and motifs from the Catholic Bible.

<span class="mw-page-title-main">Life of Christ in art</span> Set of subjects in art

The life of Christ as a narrative cycle in Christian art comprises a number of different subjects showing events from the life of Jesus on Earth. They are distinguished from the many other subjects in art showing the eternal life of Christ, such as Christ in Majesty, and also many types of portrait or devotional subjects without a narrative element.

<span class="mw-page-title-main">Virgin of Mercy</span> Depiction of the Virgin Mary sheltering a group using her outspread cloak

The Virgin of Mercy is a subject in Christian art, showing a group of people sheltering for protection under the outspread cloak, or pallium, of the Virgin Mary. It was especially popular in Italy from the 13th to 16th centuries, often as a specialised form of votive portrait; it is also found in other countries and later art, especially Spain and Latin America.

<i>The Allegory of Faith</i> Painting by Johannes Vermeer

The Allegory of Faith, also known as Allegory of the Catholic Faith, is a Dutch Golden Age painting by Johannes Vermeer from about 1670–1672. It has been in the Metropolitan Museum of Art in New York since 1931.

<span class="mw-page-title-main">God the Father in Western art</span> Artistic representations of God the Father

For about a thousand years, in obedience to interpretations of specific Bible passages, pictorial depictions of God in Western Christianity had been avoided by Christian artists. At first only the Hand of God, often emerging from a cloud, was portrayed. Gradually, portrayals of the head and later the whole figure were depicted, and by the time of the Renaissance artistic representations of God the Father were freely used in the Western Church.

<span class="mw-page-title-main">Hetoimasia</span> Christian symbol of the empty throne

The Hetoimasia, Etimasia, prepared throne, Preparation of the Throne, ready throne or Throne of the Second Coming is the Christian version of the symbolic subject of the empty throne found in the art of the ancient world, whose meaning has changed over the centuries. In Ancient Greece it represented Zeus, chief of the gods, and in early Buddhist art it represented the Buddha. In Early Christian art and Early Medieval art it is found in both the East and Western churches, and represents either Christ, or sometimes God the Father as part of the Trinity. In the Middle Byzantine period, from about 1000, it came to represent more specifically the throne prepared for the Second Coming of Christ, a meaning it has retained in Eastern Orthodox art to the present.

<span class="mw-page-title-main">Aleksey Lidov</span> Russian art historian (born 1959)

Alexei Mikhailovich Lidov is a Russian art historian and byzantinist, an author of the concepts hierotopy and spatial icon, member of the Russian Academy of Arts.

<span class="mw-page-title-main">Transfiguration of Jesus in Christian art</span>

The Transfiguration of Jesus has been an important subject in Christian art, above all in the Eastern church, some of whose most striking icons show the scene.

<i>Man of Sorrows</i> (Geertgen tot Sint Jans) Painting by Geertgen tot Sint Jans

Man of Sorrows is a small Early Netherlandish oil on wood panel painting completed c. 1485–1495. It is attributed to Geertgen tot Sint Jans and in the tradition of the devotional images of the "Man of Sorrows", which typically show Christ before his crucifixion, naked above the waist, bearing the wounds of his Passion. The panel has an unusually complex and suffocating spatial design, and depicts the mocking of Jesus, and his grieving mother. The panel is steeped in both complex iconography and deep pathos. Christ is in obvious pain and holds his wounds up for the viewer. He looks out while white robed weeping angels bear the Arma Christi -objects associated with his crucifixion and death- float around him. The attending saints include Mary and the Magdalene.

Craig S. Harbison was an American art historian specialising in 15th and 16th-century Flemish and Northern Renaissance painting. He was Professor Emeritus of Art History at the University of Massachusetts Amherst. While attending Princeton University in the early 1970s, he studied iconographic analysis under Erwin Panofsky and Wolfgang Stechow. He had previously studied at Oberlin College, Ohio.

<span class="mw-page-title-main">Jan Białostocki</span> Polish art historian (1921–1988)

Jan Białostocki was a Polish historian. He is considered to be one of the most renowned Polish art historians of the 20th century.

References

Citations

  1. Eiland, Murray (2023-04-30). Picturing Roman Belief Systems: The iconography of coins in the Republic and Empire. British Archaeological Reports (Oxford) Ltd. doi:10.30861/9781407360713. ISBN   978-1-4073-6071-3.
  2. Oxford Bibliographies: Paul Taylor, "Iconology and Iconography"
  3. Erwin Panofsky, Studies in Iconology: Humanistic Themes in the Art of the Renaissance. Oxford 1939.
  4. Giannetti, Louis (2008). Understanding Movies. Toronto: Person Prentice Hall. p. 52.
  5. Ripa's full title, rarely used, was Iconologia overo Descrittione Dell’imagini Universali cavate dall’Antichità et da altri luoghi; English Translations and Adaptations of Cesare Ripa's Iconologia: From the 17th to the 19th Century by Hans-Joachim Zimmermann
  6. 1 2 Białostocki:535
  7. Alte Pinakotek, Munich; (Summary Catalogue – various authors), pp. 348-51, 1986, Edition Lipp, ISBN   3-87490-701-5
  8. 1 2 3 4 5 W. Eugene Kleinbauer and Thomas P. Slavens, Research Guide to the History of Western Art, Sources of information in the humanities, no. 2. Chicago: American Library Association (1982): 60-72.
  9. For example by Anne D'Alleva in her Methods and Theories of Art History, pp. 20-28, 2005, Laurence King Publishing, ISBN   1-85669-417-8
  10. Richard Krautheimer, Introduction to an "Iconography of Mediaeval Architecture", Journal of the Warburg and Courtauld Institutes, Vol. 5. (1942), pp. 1-33.Online text Archived April 8, 2008, at the Wayback Machine
  11. Białostocki:537
  12. Most recently: North, John (September, 2004). The Ambassador's Secret: Holbein and the World of the Renaissance. Orion Books
  13. Index of Medieval Art website
  14. Białostocki:538-39
  15. "Iconclass website". Iconclass.nl. Retrieved 2014-03-31.
  16. Illuminated manuscripts from the Dutch royal Library, browsable by ICONCLASS classification Archived 2008-02-20 at the Wayback Machine and Ross Publishing - examples of databases for sale
  17. website Iconclass for Flickr
  18. Freeman, Evan. "The life of Christ in medieval and Renaissance art – Smarthistory". Smarthistory – art history. Retrieved March 2, 2022.
  19. Taylor, Justin (July 18, 2013). "All the Known Audio of C.S. Lewis Speaking". The Gospel Coalition. Retrieved March 2, 2022.
  20. Kitzinger, Ernst, "The Cult of Images in the Age before Iconoclasm", Dumbarton Oaks Papers, Vol. 8, (1954), pp. 83–150, Dumbarton Oaks, Trustees for Harvard University, JSTOR
  21. "The Early Church on the Aniconic Spectrum". The Westminster Theological Journal. 83 (1): 35–47. ISSN   0043-4388 . Retrieved March 2, 2022.
  22. Schiller:66
  23. Cook and Bernink (1999, 138-140).
  24. The first World Dictionary of Images: Laurent Gervereau (ed.), "Dictionnaire mondial des images", Paris, Nouveau monde, 2006, 1120p, ISBN   978-2-84736-185-8. (with 275 specialists from all continents, all specialities, all periods from Prehistory to nowadays); Laurent Gervereau, "Images, une histoire mondiale", Paris, Nouveau monde, 2008, 272p., ISBN   978-2-84736-362-3
  25. Wozniak, Antal (2020). "Stakeholders Visual Representations of Climate Change". In Holmes, David C.; Richardson, Lucy M. (eds.). Research Handbook on Communicating Climate Change. Cheltenham, Gloucestershire: Edward Elgar Publishing. pp. 131–143. ISBN   978-1-78990-040-8. OCLC   1226584969.
  26. Revet, Sandrine (2020). "Disaster Iconography: Victims, Rescue Workers, and Hazards". Disasterland. Cham: Palgrave Macmillan. pp. 53–80. doi:10.1007/978-3-030-41582-2_3. ISBN   978-3-030-41581-5. OCLC   1153066230. S2CID   219010604.
  27. King, Nicholas B. (2015). "Mediating Panic: The Iconography of New Infectious Threats, 1936-2009". In Peckham, Robert (ed.). Empires of Panic: Epidemics and Colonial Anxieties. Hong Kong: Hong Kong University Press. pp. 181–203. ISBN   978-988-8208-44-9. OCLC   904372902.
  28. Johansson, Anna; Sternudd, Hans T. (2015). "Iconography of Suffering in Social Media: Images of Sitting Girls". In Anderson, R. (ed.). World Suffering and Quality of Life. Social Indicators Research Series. Vol. 56. Dordrecht: Springer. pp. 341–355. doi:10.1007/978-94-017-9670-5_26. ISBN   978-94-017-9670-5. OCLC   902846595.
  29. Döring, Nicola; Walter, Roberto (2021). "Ikonografien des sexuellen Kindesmissbrauchs: Symbolbilder in Presseartikeln und Präventionsmaterialien". Studies in Communication and Media. 10 (3): 362–405. doi: 10.5771/2192-4007-2021-3-362 . ISSN   2192-4007. S2CID   242216019.

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