International Journal of Advanced Biotechnology and Research (IJBR)
ISSN 0976-2612, Online ISSN 2278–599X,
Vol-7, Special Issue-Number2-April, 2016, pp1409-1418
http://www.bipublication.com
Research Article
Iconology analysis of "Procession to Calvary" painting and
"The Mill and the Cross" film
1
Zahra Rasta and 2Abolghasem Dadvar
1
Master's student Faculty of Arts and Architecture,
Islamic Azad University of Yazd, Iran
Email ([email protected])
2
Department of Art and Architecture management,
yazd Branch, Islamic Azad university, yazd, Iran
Email: [email protected]
ABSTRACT:
We encounter countless images of great artists while turning the pages of art history and great Western painters'
books. These beautiful and various images have different combinations and styles. Some of them, which are called
the iconography, show Mary and her son, Jesus's life of and have depicted different periods. Search icon image is
of such research studies. Its history dates back to the Renaissance, started as a systematic tendency for examining
image can be linked to the early twentieth century and Warburg school. Figure this school, Erwin Panofsky and
his studies as a way of iconography and icon is steady. Iconological look at the videos on the theme of Christ
leads to the creation of beautiful images. This view before seen in paintings and churches.The cinematic works of
contemporary filmmakers to introduce the character of Christ to a variety of factors iconological interest.Icons to
become part of the scene. Time is the icon of your way to cinematic art has opened.Icons are used in various
aspects of their elemental composition or Views and scenes to run some kind of law has become. Using
combination of new icons, using a variety of layout stage with images, concept, concept and aesthetics as well as
complete the picture. This means that the new headings for the application icon in the creation of films with
religious themes (Jesus) have come in the modern era. This research represents the Iconographic analysis on
Procession to Calvary painting by Pieter Bruegel the Elder of Christ. This study investigates the film based on the
story of this painting called "the Mill and the Cross" directed by Lech Majewski in terms of iconography. This
paper has descriptive-analytical method. Finally, the applied icons in both artworks and their roles are interpreted
in creating content and meaning.
Keywords: Iconology, Procession to Calvary painting, Bruegel, The Mill and the Cross film, Majewski
INTRODUCTION:
The iconography and iconology are among the
approaches to image study, and despite the fact
that they are dated from the Renaissance, they
belong to the beginning of twentieth century and
Warburg school as a documented study trend in
the field of image. Erwin Panofsky is the famous
person in the field Warburg school and his study
history is tied with iconography and iconology.
The essential definitions of icon are presented
and then the differences between iconographic
and iconological studies are discussed at the
beginning of study, and then Erwin Panofsky's
ideas about reading image and three target levels
are noted. Panofsky calls these three levels the
"Pre-iconographical description'', "Iconographic
analysis" and "Iconographical interpretation".
Afterwards, this study compares and analyzes
the selected case studies, Procession to Calvary
Painting by Pieter Bruegel and the Mill and the
Cross film directed by Lech Majewski, from
iconological perspective, and compares the
icons of both works and studies differences and
similarities between two artworks. Finally, it
analyzes and interprets these two works in
achieve the target result. Definitions: iconology,
iconography (vocabulary). In facing with an
artwork, this question usually raises: "What is
the theme or content of this artwork?" The
Iconology analysis of "Procession to Calvary" painting and "The Mill and the Cross" film
iconography can be considered as one of art
history study areas trying to answer this
common question. In this regard, the
iconography can be considered as a domain of
art history which refers to visual arts and their
meaning and content. But, before a more
detailed discussion on this subject, it is
necessary to distinguish between two terms the
"icon" and "iconography". The difference
between them is often ignored. However, it
should be borne in mind that there is a careful
separation between them and one of them cannot
be replaced by the other. Therefore, we first
represent a brief discussion of this difference,
and then investigate the definition of
"iconography". The "icon" term particularly
belonged to Eastern or Byzantine Christianity
and continued in art of Russian Orthodox after
the collapse of Byzantine Empire, but it have
never belonged to the whole of Christianity in
particular meaning. Therefore, the Christian
West religious paintings cannot be classified as
"Icons". Furthermore, different religious
traditions have used the "icon" term. (Nasri,
2009, Chapter 2)
According to definition of iconography, it does
not belong to a particular art, religion or ritual.
All arts and most of the religions and rituals
have taken the advantage of iconography since
the ancient ages, and even there are
iconographic approach in Judaism which has
prohibited the icons and iconoclasm. For
instance, the Jews' "seven-branched candlestick"
is an iconographic example of that religion. As
shown in this example, the iconography never
belongs to "figurative" aspect and includes the
semi-figurative and abstractive aspect of image.
In the following discussion, we determine the
ratio between "icon" and "iconography" and
then distinct between two terms, the
"iconography" and "iconology". The first
distinction between these two terms can be
found in their etymology. The "icon" term is
derived from Greek "eikon" term which means
image and includes any visual practice; hence, it
does not only belong to paintings, but also
covers the sculpturing and calligraphy (Straten,
2000: 3) and does not merely include the
figurative painting or arts. The "graphy" term
Zahra Rasta, et al.
also means carving, imaging, and drawing and is
derived from a Greek "graphein" term. It is used
with "logy" word which comes from Greek
term, "logos", that means getting to know
(Panofsky, 1955: 32). The best equivalent
terminology in Persian language comes from
their suffixes, "graphy" and "logy" as they
distinguish these two words. According to this
description on verbal structure of these two
words, it can be concluded that the
"iconography" refers to image describing, and
"Iconology" explains image. (Ibid: 18)
Objectives of iconography and iconology
Therefore, the iconography aims at describing
the subject and content of artwork. In
iconographic studies, the researchers seek to
encounter the objective reality of work and
reveal that what is depicted in the artwork.
Furthermore, they also seeking to identify the
direct and indirect sources (both literary and
visual sources) used by artists. Therefore, they
try to recognize deeper and more conscious
meanings which are applied by artist in artwork.
With respect to this fact, it can be concluded that
the iconography means exploring the visual
themes, their evolution, traditions and content
which have been transferred from different
centuries.Encountering the artworks, the
iconology asks this question, "Why this work is
being created? Or, more accurately, why this
work is created in such this way?" This stage of
investigating the artworks can be considered as a
branch of cultural history which includes
historical, social, and cultural background of
themes and motifs in visual arts. With regard to
this issue, the iconographical studies indicate
that why an art patron has chosen this particular
subject.
Warburg a primer
In this regard, the iconological research focuses
on social and historical values rather than just
the art history. These values are deliberately
used by artists, but they affect them. Therefore,
it is discussed how social changes are reflected
in visual arts. According to such this approach,
the artwork is considered as a document or
evidence of era. According to religious and
ritual literature, the French researchers
performed the iconographic analysis in the
1410
Iconology analysis of "Procession to Calvary" painting and "The Mill and the Cross" film
nineteenth century, while Aby Warburg
developed the iconographic perspective with a
focus on the mythology, literature, history, and
social and political life of a particular era in
Germany at the beginning of twentieth century.
With respect to these issues, he became the
founder of research method which was later
called the iconology. Warburg had numerous
followers and Erwin Panofsky was the most
notable one. (Ibid: 21) Warburg paid special
attention to iconology and iconography in his
studies, and gave the outcome of his studies to a
library at University of Hamburg. Afterwards,
University of Hamburg established an institute,
named Warburg, where different researchers
studied the iconography and iconology by the
beginning of World War II. This institute moved
to London during the Second World War and
researchers continued their studies there.
Warburg believed that each civilization has
different aspects and the art of each civilization
is related to its different aspects. Therefore, the
study on the art of a civilization is not only
based on the aesthetic and form values of that art
and we need to identify different aspects of art
in order to understand it. In this respect, when
we examine the artworks of a civilization, we
will become familiar with various areas of that
civilization and this familiarity requires an
approach.
Erwin Panofsky's approach
The prospect of Warburg's activities can be seen
in approach by Erwin Panofsky who was one of
the researchers at this institute. Panofsky
believed three levels in reading images.
These three levels are as follows:
First level: Pre-iconographical description
Second level: Iconographic analysis
Third level: Iconographical interpretation
The first level, the pre-iconographical
description, explains that the work can be only
described while facing with an artwork
regardless of whether we have knowledge about
artworks or not. At this stage, we consider
tangible aspects of artworks such as line, color,
surface, Composition, and so on. In other words,
we deal with tangible matters. This level is
divided into two parts.
Zahra Rasta, et al.
1- Factual or objective meanings: In this
section, we describe the artwork regardless of
feeling we have about the artwork; and there is
equality between visual data and objects which
are recognized through experience.
2- Expressional meanings: They refer to
feelings and emotions in a work such as the
anger, madness, love, etc which belong to the
first level or objective and natural meanings.
Therefore, the first level refers to routine,
practical and everyday phenomena. The
meaning of this level cannot be taught through
education, but the meaning of this level will be
obtained from public understanding and our
everyday experiences. If we want to extend the
scope of discussion at this level to art history,
we should note that Panofsky have considered
the naturalistic approach in painting at the first
level, and the Renaissance art is particularly the
presumption of his art and he has limited his
observations to the art of this period. At this
level, the form of artwork is an evident which
refers to phenomena outside the artwork
(opposed to abstract painting). In this respect,
decryption of painting is obtained from
systematic ratio between motifs and nature. In
this regard, the style is also considered as the
intermediate between motif and nature
(Hasenmueller, 1978: 293).
Here this question arises whether all issues with
which we are faced in life are among the factual
and natural meanings or they are other
meanings. In this regard, Panofsky gives an
example: Removing the cap while encountering
a person is the sign of respect and politeness in
Western culture, so if we do not know the
Western culture, we will not understand the
removal of cap and cannot describe it. We are
dealing with other meanings in life as the
secondary or contract meanings. If only we
know the internal rules within the culture of a
country or are grown up in that culture, we can
understand them. Therefore, the contract
meanings are not conventional, but they exist as
a contract in some societies and thus we can find
a culture where the removal of cap is not a sign
of respect, but a sign of insult. Therefore, the
second level or iconographic analysis means the
analysis of secondary or contract meanings.
1411
Iconology analysis of "Procession to Calvary" painting and "The Mill and the Cross" film
Unlike the first level, the figures and events do
not directly and independently reveal their
meanings at this level. At the first level, the
ordinary objects and events are directly
represented and understood by usual ways.
However, when we look at some components of
pictures some at this level, these components
have meanings beyond what we see in the
outside world, and thus we do not consider them
as usual things in everyday life when we see
them in the picture. In this regard, the meaning
of image is not discovered by our usual
experience or considering their representative
form, but they will be revealed through
understanding the meaning contracts of a
tradition. For instance, if the Australian
Bushmen are familiar with meaning of cap
removal, they will become familiar not only
with conventional meanings, but also the
traditions and customs of a culture.
From this perspective, the second level of
meaning needs more individual contribution in
the process of making meaning. For instance, I
have acquired information about "shiny"
through books and other images. If I am not
familiar with it, in my opinion, the "shiny" is
just a normal animal, and accordingly I will not
be able to discover the meaning of image, and
my understanding just stays at the first level.
According to Panofsky, the artist should
deliberately use the symbols and allegories, for
instance, the holy aura is deliberately utilized by
artists. This aura has different meanings: the
individual's religious or political legitimacy
could be contractual which is referred to in that
community. For example, the holy aura may be
used for a villain in accordance with contract, so
we cannot use it only for sacred people, but its
meaning depends on the cultural contracts of
society. Another example of iconography is the
artist's
deliberate
use
of
hierarchical
composition because the artist is seeking to
show the individuals' hierarchy. This hierarchy
can be sorted according to rank, time and place
circumstances, and so on. For instance, the one
who is from another time is depicted in a
position away from other people in paintings.
This question arises: How can the artwork
observer find out that the artist has used this
Zahra Rasta, et al.
style deliberately? Some of these symptoms
such as the holy aura are prevalent in different
places and times. But, there are numerous cases
which do not have this time and place inclusion.
For example, there are primitive artworks where
the writings on people bodies indicate repelling
the evil forces, but an audience who does not
know the contracts of that art may have quite
different perceptions from them. These issues
are among the iconographic analyses. Therefore,
we should know the cultural, political, religious,
and social background of that nation in
iconography.
The third level refers to iconological
interpretation. We are not faced with mere
analysis at this level, but we also interpret the
work. For example, if we say "Today is rainy"
we describe the weather, but if we perform a
value judgment on weather conditions, we have
taken the advantage of interpretation. However,
it should be noted that it is impossible to have an
impartial description of assumption; hence, it is
impossible to have an accurate boundary
between description and interpretation. For
instance, we can never talk about the neutral
weather conditions. When we have such an
approach to natural phenomena, there will be
such these issues in the field of artworks.
However, we are not seeking for deliberate
symbols in iconological interpretation, but we
are looking for those available unconsciously
and inadvertently in a work.
At the third level or Iconology, our approach is
combined when we are not looking for
conscious symbols. In this approach, we
separate various data from artwork and put this
data together in order to be able to interpret it,
while our approach has been fully analytical at
the second level or iconography. It should be
noted that such an interpretation should be
consistency and none of the personal
interpretation will be accepted. In other words,
we should show the desired components to
audience in interpreting the artwork and these
components prove the validity of our
interpretation. According to Panofsky, we will
be faced with Weltanschauung of that era in this
case (Panofsky, 1955: 38).
Pieter Bruegel (1525-1569)
1412
Iconology analysis of "Procession to Calvary" painting and "The Mill and the Cross" film
He was a Flemish painter and drawer in the
sixteenth century and one of the greatest comic
artists, but his art approach is beyond the comic
scope. Focusing on Bruegel's works, most of the
scientific books and articles have provided
different perspectives and interpretations about
depicting the scenes of peasant life and
celebration during the sixteenth century. They
include the theoretical concepts such as
grotesque, satire and comedy, which have been
utilized for interpreting and understanding
Bruegel's works in different periods, as well as
definitions of these concepts which have been
evolved and maintained their relationship with
Bruegel's art over time. In the sixteenth century,
Bruegel's country (Flanders) was under the
dominance of Spain. The foreign rule fueled
extreme chaos in country and the new followers
of Protestant religion strongly struggled for
footholds in the adjacent Catholic land.
Therefore, the Protestant movement was
strengthened and the empire state measures to
suppress it had no result, but a public revolt. The
Spanish assassination was done for Protestants
and other heretics for decades. Most likely,
Bruegel was active as a Protestant at the time of
Spanish inquisition in his country. (Stewart,
1993:
310)
Name of work: "Procession to Calvary", Production year: 1564
Theme of painting:
Crucified Christ at the center of image; the cliff
and windmill on the back left; the Spanish
troops on the front left; the people on the back
right; Jesus's mother (Mary) on the front
rightIcons:
Blue sky; golden aura dominating the painting;
birds (crows); sheep; cross; skull; golden dress;
horse
Painting theme analysis:
This painting, "Procession to Calvary", is a work
by Pieter Bruegel (the Elder of Christ) who was
a famous Flemish painter. This work is a kind of
protest against the current situation in Flemish
community, the Spanish attack and their
Zahra Rasta, et al.
domination. Probably, we easily do not miss the
Christ's image among 500 people who have
gathered in a broad perspective. The rest of
people have their daily lives. There is a deeper
inner meaning in Bruegel's work. The cavalry is
not the Romans persecuting the Jews, but the
Spanish Catholics are oppressing the Flemish
Protestants. In the middle ages, the tales were
painted in a way that they are understood by
audiences. In this painting, the Christ carries his
cross to another land where is occupied by
foreigners because of sectarian disputes.
Iconological analysis of painting:
1413
Iconology analysis of "Procession to Calvary" painting and "The Mill and the Cross" film
In this work, Bruegel has skillfully used the
icons to create beauty in composition of its
work. Despite depicting several subjects in a
population of nearly five hundred people all
around the image, none of these subjects are
depicted repetitious. The crowd of work is also
quite deliberate and does not confuse the viewer.
Using the popular icons in story, Bruegel tells
the viewer that this is not a normal space. The
use of icons in his work not only helps the
beauty of images, but also has enhanced the
beauty of work. Blue sky suggests that a divine
story is being told for people on the earth. The
cross refers to a story about Christ and his
suffering at the first moment. Virgin Mary's
golden dress in the youth indicates selecting her
as the mother of a child like Christ as she only
has merit to have him. The presence of an
almost young lamb indicates the young Christ's
innocence. The birds flying in the sky especially
crows show the expectation of death. The horselike animal skull also refers to the presence or
imminent occurrence of death. The presence of
riders sporadically or in groups also refers to
enemies and their attack. Despite the fact that
the presence of each of these icons is perfectly
normal in a rural space, it carries the artist's
background as if Bruegel knows all formulas of
iconography for creating the aesthetic factors.
Bruegel offers a series of conflicting factors
with specific skill. He depicts the bright blue sky
versus dark ominous clouds, Mary's grief versus
people's joy and bustle, the shadow of death
Zahra Rasta, et al.
versus life expectancy, riders versus the
pedestrians, poverty versus wealth, and such
these contradictions as the same level existed in
normal life. The windmill for making the bread
and its great blades in the form of a cross at the
top of a massive and magnificent church on a
huge and inaccessible cliff are among the hidden
meanings in this painting and in fact indicate
that the Christ's heritage is immortal and eternal
and has been unaffected over time, and all of
people cannot access to it. Christ is indeed a
man who is killed by enemies or lost apparently,
but he has remained immortal and eternal like a
Superman. By simple images with rural
appearance, Bruegel has been able to hide huge
implications in his work. Transferring the codes
to audiences by icons, he gives an understanding
of his era, people and their confabulation years
by pulling out the meanings of icons. Therefore,
this outstanding artwork can tell the hidden
secrets in his heart for today's people after
leaving the history behind. Keeping its ancient
values and transferring its message to the next
generation, it can remain innovative over time
and does not lose its luster.
The Mill and the Cross film
Director: Lech Majewski; Running time: 92
minutes; Year of production: 2011; Language:
English, Spanish; Author:Michael Francis
Gibson; Genre: Drama, historical; Age group: (17)Starring: RutgerHauer (painter or Pieter
Bruegel), Charlotte Rampling (Holy Mary), and
Michael York (patron or rich man)
1414
Iconology analysis of "Procession to Calvary" painting and "The Mill and the Cross" film
Analysis of film story:
Here, we are faced with a film that words are
silent in front of him. "The Mill and the Cross"
has a few dialogues which seem enough for this
thought-provoking film. This film enters the
world of a painting and a man who depicts that
painting. Film begins by showing a famous
painting and suddenly moves inside the people's
painting and begins to walk out. During the film,
we will become more familiar with these
people's details of life. Film composition reflects
the painter's characteristics and coloring has the
same style as Bruegel's work. Only three film
characters have names, Bruegel (played by
RutgerHauer), his patron NicolaesJonghelinck
(played by Michael York) and his mother, Mary
(played by Charlotte Rampling) who became
Bruegel's model for "Virgin Mary" painting at
two different ages. But the rest of characters are
more memorable. We see the most miserable
people in a rural house: A man with his wife
living with their lovely calf in their small room.
They go to market with their calf. They are
young and carefree. Spanish troops attack the
man, flogged him and fasten him to wheels of a
cart and put him with wheel at the top of a tree,
while his wise cries under his legs. The buzzards
enjoy eating his face. We never find out why he
is punished. Later, they buried a woman alive.
This is the fate considered by Spanish for these
peasants. These events accounts for a large area
of painting. Somewhere else away from them,
the children are playing; people are travelling;
dogs are doing what they want, and there is an
amazing view at the top of image: A high cliff
with turning blades of a windmill over its top.
Miller and his wife live down the clutter stairs
which enters in a zigzag way into the shadows.
In some scenes of film, we see Bruegel who is
planning for his painting and discusses it with
his patron. There are certain lines which are
important for creating balance in his painting.
Mill is on the left foreground or the top of
Virgin Mary who is crying on the front right of
painting. Sometimes, Majewski (Director) holds
a part of painting, while other parts are moving
and alive. Therefore, life is transferred to a
larger artistic stability. We see a lot of events
from an angle: front view which the painting
Zahra Rasta, et al.
shows, but sometimes the camera comes into
play; much closer views of peasants who are
solemnly and sadly suffering. Their identity is
unknown like the animals. Others may be
involved in trivial pastime within that
framework. Christ's death is happening in the
center of image, but it is only a part of total
artwork. This film shows the beauty and rigor
and watching it is a sort of meditation.
Sometimes, the films take steps out of the
limited space of traditional storytelling and grant
the audience something to think about. This film
shows why sometimes the human is so cruel and
this leads people toward more thinking.
Initial analysis:
The first sconces introduce the characters,
Spanish troops, scattered people, a painter who
is preparing his workspace for drawing, a
woman dressed in white, a woman in a red
dress, a woman in a yellow dress, blue sky,
flying crows in the sky, a sconce of rocky
mountain with a mill at its top. The highest
place is dominating everything like a viewer.
The first sconces show gathered people who are
waiting in a queue. They want tell their stories
in turn. All of these stories are related to Jesus
and Mary. In fact, the filmmaker gives message
to audience to be ready to hear. Like Bruegel,
the filmmaker uses the icons. However, the
filmmaker is more trying to be faithful to
artwork which is Pieter Bruegel's painting, but it
should be noted that the director is not unaware
of background of this artwork. He takes efforts
to strengthen an artwork and expressing it by
animated image. Therefore, we first find out that
the icons are used as the tools: the gold dress,
flying crows, blue sky and blades of windmill
which has a large cross form. Here, we find that
the filmmaker has obliged himself to observe the
principles of iconology.
Content and iconological analysis of film:
In later scenes, an autumn forest has tall trees
and the woodcutters are walking among the trees
and looking for suitable trees for cutting by axes
in their hands. The trunks of these cut trees will
be used for building cross by carpenters or
sacrificing Protestants. Later, a group of Spanish
1415
Iconology analysis of "Procession to Calvary" painting and "The Mill and the Cross" film
soldiers are approaching the city in the fog and
mist like the predators. As if they are searching
for new hunting and considered prey for
themselves. The next images show a young
couple in their room while the shadow of death
has casted over their short happiness. The flying
crows, which have announced the tidings of
death, are well seen from their simple window.
The contrast of life and death icons is visible in
a single scene. In another place, which is inside
the mill, an elderly bored couple with a special
incentive becomes ready for grinding wheat in
order to survive. Helping by a young boy, they
become prepared to produce flour and then
bread which is the main food for rural and urban
people. There is a very beautiful shine of light
among the stairs. The light is dancing among the
gears of mill as the wheel of life. This scene
continues with a scene of cart turning by its
owner on the ground. The moments later, it
becomes as the young man's cart, and thus
challenges the proximity of death and life. In
this regard, different scenes of everyday life are
related to the main event as the crucifixion of
Jesus. Even on the large windmill blades, which
are similar to the cross icon, the cloths are
tattered and torn by the wind. This is the irony
of injured Christian heritage. People are moving
and wood-breakers are working. Their wives
and children are waking up and moving at home.
The children start the childish games. Soldiers
become closer in the fog and mist every
moment. A young couple becomes ready to sell
their calf in market of village. Young couple
buys a loaf of bread and hides it as a special
sanctity before arriving at market. Painter is
completing the initial drawing: mill, ordinary
people, and the man who brings the cast to
market. The crucified Christ is seen in painter's
drawing in the center of image as if all ordinary
people's life is worthless against it. Everything
ends in Christ and his crucifixion. Ordinary
people and possible events are all faded in front
of killing Christ. Christ is crucified for people to
whom he has granted life. There are not almost
any close-up scenes in closed image from
Christ. The filmmaker deliberately banned the
viewer's identification with character of Christ.
He wants respect the life sanctity given to
Zahra Rasta, et al.
people by God through Christ and dive the
rebirth to it by ignoring the images of Christ's
face. Before Christ sacrifice, the believers push
him to death. They separate the young man from
his wife and whip them out. They turn the young
man's cast wheel as a cast for his death. They
took them to death in front of his wife. Birds, as
crows, bring the death for him by attacking his
face. However, the painter and his wife become
the trustees of Bible. They are trying to maintain
this trust and transfer it to the next generation.
The painter tells all these stories and knows all
of them. He is the one who connects these ties
and is far from the accident. The images have
introduction dimensions and prepare the ground
for sacrificing the Christ. A young lamb is
sitting on the ground; he is innocent and
unaware of fate. Slaughterers sharpen their
swords. The miller prepares the flour for bread.
A young woman gives the holy bread to her
children like Christ among the apostles. Painter
reviews his drawing and gives them life. The
scenes show the glimpses of ordinary people's
lives, while everything underlie an important
happening event. The soldiers are burying a
Protestant woman alive. A Catholic priest comes
from a monastery and passes along the painter.
Moments indicate that these images are arisen
from painter's mind, but it should not be
forgotten that he reconstructs a historical reality.
Friar performs his religious duties. He is sad for
young man execution, or burying the young
woman alive, or even an event which is going to
happen. His eyes are full of these images and
scenes. He is peacefully sewing a shroud for
died young man. Following his activity, the
painter has the skull of an animal in his hands as
the icon of death. In the majority of frames, the
director has put the scene in the foreground,
middle and background as it emphasizes on the
icons. In the foreground, there is a man in the
middle of room as a place for protesters' torture
and execution, while crows are flying over it and
waiting for hunting. The background view
shows the people, city and rock. There is a man
repenting and confessing his sins in the
Monastery. He is Judas of his time, but sells
Christ to Spanish soldiers this time. This time,
Christ is sacrificed by fanatical Christians.
1416
Iconology analysis of "Procession to Calvary" painting and "The Mill and the Cross" film
Christ is washing the faithful apostles' feet. He
even washes traitor Judas' feet. Maybe one day
he will be forgiven by Christ for this sin. Christ
says farewell in the last supper with believers.
Holy water and bread are blessed by his hands
for the last time. Spanish soldiers drink the wine
which is Christ blood. They have come to
enthrall Christ. We can see a scene of angel and
a child with his hands directing to sky. Christ is
close to Ascension. Mary's face is peaceful and
thoughtful and displayed in large scene. Mary is
waiting for promised moment. He is ready to
grant Christ. She sacrifices him to human
repeated sins in order to get back their lost
identity. The windows of her room emphasizes
on the crows flying over the execution square.
Mary's face is sorrowful and sad. There are the
scenes of ordinary people and soldiers. The
carpenters have prepared coffin. The
executioners are dressed in black and represent
death. Carpenters knock firm nails for preparing
large cross on the timbers. Mary's last look is
with grief. They pull out other men from dark
catacombs. This time, the men who are fettered
with Christ, are Christians not guilty ones. They
pour water over the Christ's face. Water was
blessed with Christ's hands. The news of Christ
crucifixion is sent to Mary. They put a crown of
thorns on his head. This time, the Christians
sacrifice their boss. The heavy whips on Christ
back are arduous. They take Christ through the
alleys and streets. People join the crowd behind
the soldiers as if they welcome the death
carnival. Like the ancient Greeks, who go to
altar to shout the slaves' sacrifice. Soldiers ring
the death kettledrum. The sound of kettledrum is
resonated. The miller, who is responsible for
supplying flour for bread, watches people from
the top of cliff. In a massive and magnificent
scene, the mill blades which resembles a big
church, seems like the Christ's heritage which
has remained in time eternity. They hold Christ
on the cross like the Spanish flag which is
hoisted up by soldiers on horseback. They put
the humans to death with the name of Christ and
Christianity. This time, they crucify the Christ in
the name of Christianity. The flying birds
become the icons of Christ ascension. The last
spear is hurled on Christ's side, while he has
Zahra Rasta, et al.
long gone the Ascension and become heavenly.
The soldiers pull down the Christ's lifeless body.
Mary embraces him for the last time. Mary and
Jesus's icons are repeated again. The Christ's
death ends and the population dispersed. The
soldiers go away. Black man hangs himself.
Golden light in the church punishes Judah and
imposes the death sentence for him. They hide
the Jesus's body inside a cave in the mountain.
The Christ's bloody legs are the icons of
washing the apostles' feet, but nobody can now
wash the Christ's tired, bloody and lifeless legs.
Everything is quiet the day after the event.
People are spending their routine life. The
repeated days start. Painter has completed its
drawings. Dancing rural men and women is
reminiscent of a kind of forgiveness. Christ is
sacrificed for people's sin. The feeling of
innocence ends for people with dancing and
rejoicing. The filmmaker's camera leaves the
public life like a narrator and shows great
painter's works, Pieter Bruegel, in Museum, and
leaves the frame after passing the pictures.
CONCLUSION:
Pieter Bruegel and Lech Majewski are the artists
who have tried not to sacrifice the content and
meaning for beauty despite the fact that their
created images are beautiful. The icons and
symbols have been used carefully. There is not
any story in Bruegel's work. The viewer should
know the history of this historic event to
understand it, but the story is read in Majewski's
film and thus the viewer becomes familiar with
event. If the viewer does not investigate the
history, he will not become suspicious after the
end of film. The viewer realizes that this story is
the painter's brainchild. He will not become sad
for Christ. Film progresses in line with praising
and admiration. In hidden meanings of film, the
viewer discovers the even Christ has been
sacrificed for surviving the life. However, the
filmmaker explains everything correctly
accurate use of icons. In fact, the icons are both
responsible for meaning and content of work
and sufficiently create the beauty. The film
composition and framing become complete by
icons. The icons significantly help the audience
to understand the meaning. Their repetition in
1417
Iconology analysis of "Procession to Calvary" painting and "The Mill and the Cross" film
scenes does not damage the viewer's
enthusiasm, but also prepares the viewer for
more events.
REFERENCES:
1. Nasri, Amir (2009) The Philosophy of
Christian
icons;
Tehran:
Cheshmeh
publication.
2. "Procession to Calvary" Painting, 1564.
3. "The Mill and the Cross" film, 2011.
4.
elting, Hans (2005), “Image, Medium,
Body: A New Approach to Iconology”,
Critical Inquiry, No 31.
5.
elting, Hans. (1996), Likeness and
Presence, ChicagoUniversity Press.
6. Didi – Huberman, G. (2005), Confronting
Images: Ques Questioning
7.
he End of Certian Art History,
Philadelphia:
Pennsylvania
State
University press.
8.
anofsky, Erwin. (1955), Meaning in the
Visual
Arts,
New
York
9.
Dobleday Anchor Books.
Zahra Rasta, et al.
1418
B