| 106學年第1學期課程綱要 |
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| 一、課程基本資料 |
| 開課序號 | 2975 | 課程學制 | |
| 科目代碼 | AHM0020 | 課程名稱 | 圖像學 |
| 英文名稱 | Iconography | ||
| 全/半年 | 半 | 必/選修 | 選修 |
| 學分數 | 3.0 | 每週授課時數 | 正課時數: 3 小時 |
| 開課系級 | 藝史所（碩） | ||
| 先修課程 | |||
| 課程簡介 | The core discipline of iconography delves into the meaning of subject matters and motifs in artworks, prioritizing this aspect over formal and stylistic considerations. However, this does not imply a mere decoding of themes or symbols in an artifact. Instead, it entails the reconstruction of the intellectual background of a work to comprehend its intricate meaning. In our course, we will explore both common formulas and visual traditions, as well as specific developments and intentionally hidden subjects, to strive for a comprehensive understanding of a work’s substance. In the first step, an introduction will be given to explain the field’s development as it evolved into a major discipline within art history. It will be necessary to define what ‘iconography’—and the closely related term ‘iconology’—means and to learn about the field’s diverse strategies. This will be achieved by discussing a couple of seminal texts on methodology—by Erwin Panofsky (1892–1968), Aby Warburg (1866–1929), Jan Białostocki (1921–88), and other scholars—that were formative for the field. Concerning Erwin Panofsky’s approach, whose introductory article Iconography and Iconology (1939) will be analyzed, we shall also ask for the difference between ‘iconography’ and ‘iconology.’ In addition, we shall follow the development of iconographic studies until nowadays and ask the question, of how relevant this branch of art historical research still is. In the more practically oriented second part of the course, it will be asked which subject matters were represented by artists and which literary sources were used. We shall deal with common as well as extraordinary sources for Western religious and secular art. Furthermore, important manuals and emblem books, which were especially popular during the sixteenth and seventeenth centuries, will be explored. The course encompasses two primary objectives: Firstly, to equip students with the skills to comprehend the fundamental content of artworks; and secondly, to enable them to approach more complex subject matters once they have acquired knowledge of sources and research techniques. Students are asked to apply iconographic methods themselves in presentations and term papers to train research methods and the use of respective literature. Particular attention will be given to writing skills and research techniques. This seminar is an EMI course using English as a Medium of Instruction. This means that it will be fully taught in English. Special attention will be given to everyone’s needs to learn and improve the language. | ||
| 課程目標 | 對應系所核心能力 | ||
| 1. For students to acquire a knowledge of the historical origins of iconography in the field of art history | 碩士: 1-1 知識/認知:具備作品分析與文獻資料蒐集的能力 2-1 職能導向:具備藝術鑑賞的基礎能力。 2-2 職能導向: 具備應用藝術史專門知?從事相關實務工作(講解、教導、傳播、寫作、編輯等等)的能力。 |
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| 2. For students to acquire skills in iconographic analysis | 碩士: 1-1 知識/認知:具備作品分析與文獻資料蒐集的能力 2-1 職能導向:具備藝術鑑賞的基礎能力。 2-2 職能導向: 具備應用藝術史專門知?從事相關實務工作(講解、教導、傳播、寫作、編輯等等)的能力。 3-1 個人特質: 具備審美能力與人文關懷。 3-2 個人特質: 具備獨立思考與批判反省的能力。 |
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| 3. For students to be able to discern when iconographic analyses of a work of art by various scholars are independent, complementary, or competing. | 碩士: 2-1 職能導向:具備藝術鑑賞的基礎能力。 2-2 職能導向: 具備應用藝術史專門知?從事相關實務工作(講解、教導、傳播、寫作、編輯等等)的能力。 3-2 個人特質: 具備獨立思考與批判反省的能力。 |
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| 4. For students to be able to verify, question, or reject evidence presented in support of iconographic interpretations in the literature. | 碩士: 1-1 知識/認知:具備作品分析與文獻資料蒐集的能力 2-2 職能導向: 具備應用藝術史專門知?從事相關實務工作(講解、教導、傳播、寫作、編輯等等)的能力。 3-2 個人特質: 具備獨立思考與批判反省的能力。 |
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| 5. For students to be able to present their own iconographic analyses, orally and in writing, following common academic conventions of form and content. | 碩士: 2-2 職能導向: 具備應用藝術史專門知?從事相關實務工作(講解、教導、傳播、寫作、編輯等等)的能力。 3-2 個人特質: 具備獨立思考與批判反省的能力。 |
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| 6. For students to recognize the areas in the study of art in which the application of iconographic analysis is conventional, and those in which it is less applicable. | 碩士: 1-1 知識/認知:具備作品分析與文獻資料蒐集的能力 2-1 職能導向:具備藝術鑑賞的基礎能力。 3-2 個人特質: 具備獨立思考與批判反省的能力。 4-2 價值/倫理: 具備宏觀的國際視野，尊重藝術文化的多元與差異。 |
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| 二、教學大綱 |
| 授課教師 | Candida Syndikus | ||
| 教學進度與主題 | |||
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1. Introduction to the topic.—Question: What is iconography?—Discussion of the schedule and of topics for presentations and term papers.
3. Aby Warburg and the development of “critical iconology”—The Frescoes of the Salone dei Mesi at Palazzo Schifanoia, Ferrara 4. Fritz Saxl and Edgar Wind.—Jan Białostocki 5. Sacred imagery I: Old Testament 6. Sacred imagery II: New Testament and apocryphal narratives; typological juxtaposition (relationship between Old and New Testament) 7. Sacred imagery III: Representations of saints—The Golden Legend by Jacobus da Varagine (1260s) and other biographic literature. 8. Sacred imagery IV: Iconography of the Reformation 9. Sacred imagery V: Iconography of the Counter-Reformation 10. Sacred imagery VI: Changes—Enlightenment 11. Mythological imagery I: Greek gods 12. Mythological imagery II: Greek heroes 13. Greek history 14. Roman history 15. Genre 16. Emblematic literature: Andrea Alciato, Emblematum libellus (Paris, 1534) and Cesare Ripa, Iconologia (Rome, 1593; 1603 with ill.) 17. Architectural Iconography: Richard Krautheimer, Introduction to an Iconography of Mediaeval Architecture, 1942 |
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| 教學方法 | |||
| 方式 | 說明 | ||
| 講述法 | 30% Ex-cathedra-teaching | ||
| 討論法 | 35% Group discussion | ||
| 實地考察、參訪 | Field trip(s): Museums | ||
| 媒體融入教學 | Slideshows | ||
| 專題研究 | 35% case studies | ||
| 評量方法 | |||
| 方式 | 百分比 | 說明 | |
| 作業 | 15 % | Homework: preparation of topics, weekly reading. | |
| 課堂討論參與 | 15 % | Discussion of art works and texts. ca. 30 min. discussion after each presentation. | |
| 報告 | 20 % | 30–45 min. presentation with ppt about the topic of the term paper; ca. 30 min. discussion after each presentation. | |
| 專題 | 50 % | Term papers of ca. 15 pages to be submitted at the end of the semester | |
| 參考書目 |
General Works: Cassady, Brendan, ed., Iconography at the Crossroads: Papers from the Colloquium Sponsored by the Index of Christian Art, Princeton University, 23–24 March 1990, Princeton, NJ: Princeton University Press, 1993 Daly, Peter M., ed., Companion to Emblem Studies, New York: AMS Press, 2008 Elsner, Jaś, and Katharina Lorenz, “The Genesis of Iconology,” in: Critical Inquiry 38, No. 3, Spring 2012, pp. 483–512 Haskell, Francis, History and its images. Art and the Interpretation of the Past, 2nd edition, New Haven, NJ: Yale University Press, 1993 Howard, Seymour, “On Iconology, Intention, Imagos, and Myths of Meaning,” in: Artibus et Historiae 17, No. 34, 1996, pp. 83–94 Podro, Michael, The Critical Historians of Art, New Haven, NJ: Yale University Press 1982 Schiller, Gertrud, Iconography of Christian Art, 2 vols, London: Lund Humphries, 1971–72 (English trans. from German original ed.) Straten, Roelof von, An Introduction to Iconography, London: Taylor & Francis, 1994 (English trans. from German original ed.) Historical Texts: Bregman, Alvan, Emblemata: The Emblem Books of Andrea Alciato, Newtown, Pa: Bird & Bull Press, 2007 Maser, E. A., ed., Baroque and Rococo Pictorial Imagery: The 1758–60 Hertel Edition of Ripa's ‘Iconologia’, New York: Dover Pictorial Archives, 1971 Daly Peter M., ed., Andrea Alciato and the emblem tradition: essays in honor of Virginia Woods Callahan, New York: AMS Press, 1989 Phyllis Pray and Ruth Rubinstein, Renaissance artists & antique sculpture: a handbook of sources, London: H. Miller, 2010
Erwin Panofsky: Emmens, J. A., “Erwin Panofsky as a Humanist,” in: Simiolus 2, 1967–68, pp. 109–113 Ferretti, Silvia, Cassirer, Panofsky, and Warburg: Symbol, Art and History, New Haven, NJ: Yale University Press, 1989 (Ital. original ed. 1984) Holly, Michael Ann, Panofsky and the Foundations of Art History, Ithaca and London: Cornell University Press, 1984 Lavin, Irwin, ed., Meaning in the Visual Arts: Views from the Outside; A Centennial Commemoration of Erwin Panofsky (1892–1968), Princeton, NJ: Princeton University Press, 1995 Moxey, Keith, “Panofsky’s Concept of ‘Iconology’ and the Problem of Interpretation in the History of Art,” in: New Literary History 17, No. 2, Interpretation and Culture, 1986, pp. 265–274 Panofsky, Erwin, “Jan van Eyck’s Arnolfini Portrait,” in: The Burlington Magazine for Connoisseurs 64, No. 372, 1934, pp. 117–119 Panofsky, Erwin, “Iconography and Iconology: an Introduction to the Study of Renaissance Art,” in: Erwin Panofsky, Meaning in the Visual Arts, Garden City, NY: Doubleday, 1955, pp. 26–54 Panofsky, Erwin, Studies in Iconology: Humanist Themes in the Art of the Renaissance, New York 1939 (reprint 1962) Van Straten, Roelof, “Panofsky and ICONCLASS,” in: Artibus et Historiae 7, No. 13, 1986, pp. 165–181
Aby Warburg: Warburg, Aby, “Italian Art and International Astrology in the Palazzo Schifanoia,” in: The Renewal of Pagan Antiquity: Contributions to the Cultural History of the European Renaissance, Los Angeles, CA 1999, pp. 732–757 (German original: “Italienische Kunst und Internationale Astrologie im Palazzo Schifanoja zu Ferrara,” in: Gesammelte Schriften, vol. 2, Leipzig 1932, pp. 459–481) —, The Renewal of Pagan Antiquity: Contributions to the Cultural History of the European Renaissance, Los Angeles, CA 1999 Ginzburg, Carlo, “From Aby Warburg to E. H. Gombrich: A Problem of Method,” in: Clues, Myths, and the Historical Method, Baltimore 1986, pp. 17–59 Gombrich, Ernst, “Aby Warburg: His Aims and Methods: An Anniversary Lecture,” in: Journal of the Warburg and Courtauld Institutes 62, 1999, pp. 268–282 —, Aby Warburg. An Intellectual Biography, London 1970 Levine, Emily J., “The Other Weimar: The Warburg Circle as Hamburg School,” in: Journal of the History of Ideas 74, No. 2, 2013, pp. 307–330 Russell, Mark A., Between Tradition and Modernity: Aby Warburg and the Public Purposes of Art in Hamburg, 1896-1918, New York and Oxford 2007 Jan Białostocki: —, “The Renaissance concept of nature and antiquity,” in: Millard Meiss (ed.), Studies in Western art: acts of the Twentieth International Congress of the History of Art, [held in New York City, September 7–12, 1961], Princeton, N.J. 1963, vol. 2, pp. 19–30 Bernabei, Franco, “Jan Białostocki, Formalism, and Iconology,” in: Artibus et Historiae 11, No. 22, 1990, pp. 9–21 Ernst H. Gombrich: Edgar Wind: Rudolf Wittkower: Architectural Iconography: Carver McCurrach, Catherine, “‘Renovatio’ Reconsidered: Richard Krautheimer and the Iconography of Architecture,” in: Gesta 50, No. 1, 2011, pp. 41–69 Crossley, Paul, “Medieval Architecture and Meaning: The Limits of Iconography,” in: The Burlington Magazine 130, No. 1019, Special Issue on English Gothic Art, 1988, pp. 116–121 Krautheimer, Richard, “Introduction to an ‘Iconography of Mediaeval Architecture’,” in: Journal of the Warburg and Courtauld Institutes 5, 1942, pp. 1–33 |
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