Focusing on the innovation in the representation of the Lamentation, this study aims to present an iconographic and semiological dual reading in the context of an analysis of the layers of meaning in the scene.
📌 3 Key Takeaways
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Objective & Hypothesis:The narrative of the Lamentation over Dead Christ, recounted specifically in the late medieval religious literature and not mentioned in canonical Gospels, finds its most striking visual equivalent in Giotto’s frescoes in the Arena Chapel (1304-6), as the precursor of a new mode of representation in Western art.
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Key Findings & Data:The artist’s concept of depicting the subject announces a break from the preceding canon.
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Conclusion & Impact:Focusing on the innovation in the representation of the Lamentation, this study aims to present an iconographic and semiological dual reading in the context of an analysis of the layers of meaning in the scene.
🔬Design:Research Article
📍Scope:Comprehensive Sample
⚙️Variables:Domain Parameters
Abstract
The narrative of the Lamentation over Dead Christ, recounted specifically in the late medieval religious literature and not mentioned in canonical Gospels, finds its most striking visual equivalent in Giotto’s frescoes in the Arena Chapel (1304-6), as the precursor of a new mode of representation in Western art. The artist’s concept of depicting the subject announces a break from the preceding canon. Focusing on the innovation in the representation of the Lamentation, this study aims to present an iconographic and semiological dual reading in the context of an analysis of the layers of meaning in the scene.
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Cite This Article
Öztokat, N., Yüzgüller, S. (2014). An Iconographic and Semiological Reading of “Lamentation” by Giotto. Sanat Tarihi Yıllığı, Sayı: 23, 109–133. https://ajindex.com/articles/237259