Indian Journal of Science and Technology, Vol 9(26), DOI: 10.17485/ijst/2016/v9i26/97327, July 2016 ISSN (Print) : 0974-6846 ISSN (Online) : 0974-5645 Analysis on the Semiotics for the Canvas of Frida Kahlo and Diego Rivera -Focus on the Icon·Index·Symbol of 3 classification Charles S. Peirce’s Semiotic Man-Ki Kim* Department of Ads and PR, Namseoul University, 91 Daehak-ro, Seonghwan-eup, Sebus-gu, Cheonan-si, Chungcheongnam-do, Korea; [email protected] Abstract Background and Objectives: This study is a semiotic analysis of paintings sublimated to art and love by Frida Kahlo, female genius artist rising from despair, and Diego Rivera, master of Mexican muralist movement. Methods and Statistical Analysis: For the subject and scope of analysis, we selected total 10 pieces of art. We interpreted the pieces based on Charles S. Peirce’s triadic model of semiotics such as icon, index and symbol. Their paintings and the hyperreality image of simulacra will present the standards for cultural meaning, social judgment and economic value as pop culture through practices of looking and way of seeing of visual language in signifying practices. Findings: The limitation of this study is that it added the emotions of researchers toward their paintings, as well as arbitrariness and polysemy felt in signification in the cultural sense. Improvements and Applications: This shows that there are limitations in subjective interpretant of a third party (researchers) to accurately capture the binomial relations of the différence in the extended sense of semiotics and infinite imagery and inspirations of artists with referents like connotative riddles in pictures (signs). Keywords: Icon/Index/Symbol, Image, Sign, Signification 1. Introduction This study analyzes the paintings sublimated to art and love by Frida Kahlo (1907~1954), female genius artist rising from despair, and Diego Rivera (1886~1957), master of Mexican muralist movement1. As Frida Kahlo said in 1939, “I couldn’t express the things in paintings that I also couldn’t with other means. This was all I wanted from painting.” Her life that was the more real than the real is reproduced today, by movie directors, composers, choreographers and fashion designers, through the image of hyperreality with destroyed aura via simulacra that is more original than the original in the process of simulation constantly recalled with her paintings. Frida Kahlo challenged the Western Caucasian male-oriented art world1 with her unmannered frankness and confidence by spiritualizing Western folk art and experience of personal pain, and her *Author for correspondence abundant paintings are symbols of her own unique styles. Symbolic interpretation is complicated. Nonetheless, we must focus on symbols because they are the semantic system than only humans can create and interpret. Even if we cannot interpret or explain the meaning of each symbolism, the symbols are signified deep in our consciousness and enable sufficient communication2,3. Components such as paintings, advertisements, images and films can also be classified into icons (similarity), indexes and symbols. In particular, paintings are depictions of the inner world in the artist’s environment. They visually cannot serve as symbols. Referents generally refer to natural objects out there. These are objects that will be symbolized in Peirce’s triadic model of semiotics(Table 1). In this model, referent is in a conflicting relationship with reference. The sign represents the referent, and the sign always points at the referent that it represents2,4. interpretant (ternary) Semantic process method is a semiotic analysis of the paintings attributes facts we interpret the paintings by substituting according Peirce‟s phenomenology (Table Know to by seeing Know by inference Analysis on the Semiotics for the Canvas of Frida Kahlo and Diego Rivera -Focus on the Icon·Index·Symbol of 3 classification Photos, maps, blueprints, Road signs, nose Charles S. Peirce’s Semiotic 3. Interpretants: Icon, Index, Symb Case etc. running-cold Table.1 Triadic classification of semiotics according to Peirce’s phenomenology Semiotic interpretation is the main agent tha Phenomenological existenceTriadic relational structure of signs Source: Kim Man-Ki, Pop Culture and Advert painting or the consumer of the product. The 1(possibility) 2(actual existence) 3(rule of existence) users according to the context of dealing By following the curious eyes under Frida Kahlo‟s signaturewit product intoalluring audience interpretation, we will be ablesigns to seeare herclassified colorful and lifeand and Sign itself (unary)-hierarchical Attribute sign (Quallsign) Only Fact sign (sinsign)Actual Rule sign (Legising) General Figure 1 and Figure 2 are Frida Kahlo‟s s order of sign occurrence attribute existence rule (language) show exotic and unique aspects of Kahlo. 2. Research Subject and Method Semantic relationship with Physical proximity Causal Symbol Relationship TheIndex research subjects are 10Inpaintings bypainting, Fridaaccording Kahlo andportraye Diego Rivera. the first Kahlo Icon Sharing the same attributes subject (binary) relation (Cause /effect to customs and rules method is a semioticgrapevine analysis ofcovering the paintings. To analyze binary her naked bodythe with leav Relationship with interpretant Rheme Interpretant substitutes Dicent Argument Interpretant we interpret the paintings by substituting them to icon, index an symbol of eternal life and a garment of hea (ternary) attributes Interpretant substitutes facts substitutes rules according to Peirce‟sleaves phenomenology (Table 1). are a metaphor of Diego Rivera. He Semantic process Know by seeing Know by inference Must learn meaning of wanting help. It also connotes e 3. Interpretants:symbolizes Icon, Index, Symbol Languages, national eternity, and the flags, grape leaves sym Case Photos, maps, blueprints, etc. Road signs, nose running-cold mathematical formulas Semiotic interpretation is the main agent that interprets a painting old stones, conch shells and pebbles shapedo 1 Source: Kim Man-Ki, Pop Culture and Advertisements, Lyceum, . painting or the consumer of5-7the product. The viewers and consumer Rivera . The long stone symbolizes that Fri users according to the context of dealing with the products, and th b 4 By following the curious eyes under Frida Kahlo’sproduct signs are classified into audience and customers . signature thick eyebrows with the joy of semiotic inter-Figure 1 and Figure 2 are Frida Kahlo‟s self-portraits with fancyd pretation, we will be able to see her colorful and alluringshow exotic and unique aspects of Kahlo. These paintings were i life and arts. Rivera. In the first painting, Kahlo portrayed herself as naked andh grapevine covering her naked body with leaves. Grape leaves are a s 2. Research Subject and Method symbol of eternal life and a garment of heaven along with figure Al The research subjects are 10 paintings by Frida Kahlo andleaves are a metaphor of Diego Rivera. Her naked self symbolizec Diego Rivera (7 by Kahlo and 3 by Rivera). The method ismeaning of wanting help. It also connotes eternity and that she is rs a semiotic analysis of the paintings. To analyze the binarysymbolizes eternity, and the grape leaves symbolize eternal life, „expo relationship between the subjects and signs, we interpretold stones, conch shells and pebbles shaped like a man‟s head symb Figurewith 1. Self-Portrait with Braid, Frida a 5-7 the paintings by substituting them to icon, index andRiveraFigure 1. long Self-Portrait Braid, Frida Kahlo,and 1941(left) . The stone symbolizes that Frida Kahlo, 1941(left) Diego could notf symbol, the triadic model of semiotic according to Peirce’s them, but thats Figure 2. Self-Portraitbetween with Monkeys phenomenology (Table 1). Frida Kahlo distinctive 1943(right)hairstyle, wh interesting in that the w hair. The hair ornament symbol of eternity in According to Peirce‟s Semiotic interpretation is the main agent that interprets a painting or product sign, indicating the viewer of the custom, rule or regulat painting or the consumer of the product. The viewers and referent is arbitrary2,8. ex consumers are categorized into audience, buyers and users of interpretant in an exa according to the context of dealing with the products, and 1. Self-Portrait with Braid, Frida a lemniscate curve that those repeatedly viewing and consuming the productFigureFigure 2. Self-Portrait with Monkeys Frida Kahlo found that is similar to t Kahlo, 1941(left) signs are classified into audience and customers4. 1943(right) shape<signifier> above Figure 1 and Figure 2 are Frida Kahlo’s self-portraitsFigure 2. Self-Portrait with Monkeys Frida Kahlo 1943(right) with fancy hair accessories and braids. The paintings show The only thing protecting her is the grapevine covering 3. Interpretants: Icon, Index, Symbol exotic and unique aspects of Kahlo. These paintings were done immediately after she reunited with Rivera. In the first painting, Kahlo portrayed herself as naked and weak. 2 Vol 9 (26) | July 2016 | www.indjst.org her naked body with leaves. Grape leaves are a cultural custom that has been regarded as a symbol of eternal life and a garment of heaven along with figure leaves since Indian Journal of Science and Technology Man-Ki Kim the ancient times. Here, grape leaves are a metaphor of Diego Rivera. Her naked self symbolizes her weakness and implies a connotative meaning of wanting help. It also connotes eternity and that she is still in love. The number 8 above her head symbolizes eternity, and the grape leaves symbolize eternal life, ‘expressing eternal love.’ The necklace made of old stones, conch shells and pebbles shaped like a man’s head symbolizes the essence of her relationship with Rivera5-7. The long stone symbolizes that Frida and Diego could not communicate due to their blocked intimacy between them, but that there was signification. The fantastic and distinctive hairstyle, which led to the agenda setting of the title, is interesting in that the wool stick up without bending Frida’s stiff hair. The hair ornament is shaped like the number 8, which is a symbol of eternity in that it can be written in one stroke5-7. According to Peirce’s concept, symbol is made by a cultural custom, rule or regulation as the relationship between sign and referent is arbitrary2,8. expressed this hairstyle as a spiritual concept of interpretant in an exaggerated way. The shape of 8 on her hair is a lemniscate curve that signifies infinity. There is nothing to be found that is similar to the concept<signified> of <eight> in the 8-shape<signifier> above the head. It is just a custom and promise that comes down. When rotated by 90 degrees, the 8-shape is the sign for infinity ∞. In heraldry, such entangled rope is interpreted as a knot of love replaced by Peirce’s primary sign (rheme) interpretant(Table1).The two circles connected in the knot of love symbolizes the unity of lovers through marriage. Nonetheless, Frida Kahlo’s hair is too messily tangled up to be a bride, and the way it does not seem elaborately trimmed seems to show how something inside her refuses to declare such eternity. The hair standing up in spikes from the knot of love implies that the couple’s relationship has faced multiple difficulties. It is uncertain whether the second marriage will lead to true unity5-7. Kahlo’s anxiety is shown in the naked body that represents weakness and need for protection, where grape leaves represent the victim syndrome that someone is protecting oneself or inwardly seeking an underdog who can help 9. This is her reunited husband Diego Rivera.(Figure 2) This self-portrait with monkeys is painted in 1943. This piece is a representative painting by Kahlo, and the white dress, traditional costume of Mexico, is a symbol of authority. The painting includes bird of paradise, leaves, four monkeys and white dress missing wool. It is taken away on purpose. The black wool on hair makes her proud with a bachelor’s degree. The hair mixed with yarn symbolizes Vol 9 (26) | July 2016 | www.indjst.org her academic status like a graduation cap. She is a metaphor of queen, the bird of paradise is ‘flower of the queen,’ and the monkeys are her followers or her four students (Los Fridos). The monkeys have their mouths open, seeking Kahlo’s teachings. Their tails are symbols of the four creators in the legend of the inner wheels in the Aztec calendar, and having such students implies confidence, and her eyes that calmly gaze like a queen vaguely reveal the hidden irony that cannot be seen through. Kahlo mocks herself by enjoying the conventional order that she has mocked5-7. Kahlo’s painting after miscarriage(Figure 3) is solemn and beautiful, and the pure white dress seems to transcend tedious things of daily life. Her eyes look directly at the audience, and the face is young and fresh with dignity and no signs of concern, when in fact her heart is heavy. The heavy antique necklace represents the way she cannot easily let go of her daily life. The mustache and monobrow are the index of strong and mature women who can broadly love both men and women. The monobrow symbolizes freedom and passion, and Frida represents independence and distance from her husband, changed back from her old signature that missed one letter to match the number of letters in Diego’s name5-7. That is, it is an index symbol. This painting(Figure 4) is in the theme of a traditional still life painting of ‘memento mori’ that tells the audience to remember death, revealing the bride that is frightened when she sees life open. With various literary materials, the painting portrays complicated thoughts and emotions about sexual desires and love. The sensual arrangement of various fruits reveals the essence of all things. Two halves of watermelon and two coconuts morphologically form the sign of ‘yin and yang,’ and ‘yang’ that indicates male is symbolized with the bananas below, while ‘yin’ that repre- Figure 3. Self Portrait with Necklace Indian Journal of Science and Technology 3 Analysis on the Semiotics for the Canvas of Frida Kahlo and Diego Rivera -Focus on the Icon·Index·Symbol of 3 classification Charles S. Peirce’s Semiotic with yin and yang. The relationship between Frida and The reunited Love Embrace of the Universe, the materEarth Diego that after divorce became more like (Mexico), Myself, Diego and Senor Xolotl(Figure nal love, and Frida’s obsession over Diego grew bigger5-7. 5) is based on the two painted iconic motifs of Christianity Cruel Fate (Figure 6) was by Frida in July 1932. and Buddhism, with Virgin Mary as Mexico‟s Frida had to be hospitalized at the Henry Ford Hospital earth goddess flowing from the rich breasts. She is in Detroit due to miscarriage. Lying in bed with endless holding The petcords dog grow SenoroutXólotl is tears, red stringsRivera. like umbilical of Frida’s peacefully asleep in the arms of the universe that body, connected to shapes symbolizing miscarriage or embraces and protects Xólotl is on the other sexual symbols such as everything. snail or flower. knees of Virgin Mary, the of the eye‟ of With Frida as if floating inmyth the air the„third background The painting seeksthatsympathy and shows aShiva. desolate industrial complex more intensely 5-7 compassion, worship and mysterious reveals the despair and loneliness felt by Frida . Figure 4. The Bride Who Became Frightened Figure 4. The Bride WhoShe Became When She Kahlo, When SeesFrightened Life Open, Frida Sees Life Open, Frida Kahlo, 1943(Right) 1943(Right) Figure5.The Love Embrace of the Universe, the Earth(Mexico) Me and sents female is expressed as papaya cracked openSenor at theXólotl, top. Kahlo 1949(Right) Both sides complementFrida one another, but can never become 4 identification, power and will of the universe, request for help as well as sympathy and compassion. The sun and the moon are embracing LoveTheEmbrace of th hurt and lonely Kahlo with yin andThe yang. (Mexico), Myself, Diego a relationship between Frida and Diego that reunited one. This is dualism and binarity. The two halves of water5-7 5) is based on the two icon after divorce more piece like maternal and Frida‟s obsession over Diego grew bigger . melon in the painting arebecame not a single cut into love, halves, and Buddhism, with Virg Cruel Fate(Figure 6) was painted by Frida in July 1932. Frida had to be hospitalized at the Henry Ford Hospital thereby unable to become one. An owl is sitting in front of goddess in Detroit due to miscarriage. Lyingearth in bed with flowing from the fruits as if thinking carefully about the arrangement of Figure 4. The Bride Who Became Frightened holding Rivera. The pet endless tears, red strings umbilical When ShelikeSees Life cords Open, Frida Kahlo,of The grow Love Embrace the fruits. A katydid is trying to catch the owl’s attention. asleep in the ar out of Frida‟s 1943(Right) body, connected peacefully to shapes (Mexico), Myself, Diego This scene describes the story of the owl and katydid from embraces and protects ever symbolizing miscarriage or Embrace other sexual symbols Figure5.The Love of the Universe, the 5) is based on the two ic Aesop’s fables. In the fable, the owl invites the katydid that Earth(Mexico) Meknees and Senor Xólotl, such as snail or flower. Virgin Mary, the m andofBuddhism, with V cries loudly with annoying sounds and eats it up. The two Frida Kahlo With Frida as if floating in the 1949(Right) air theShiva. background The painting earth goddess flowing fr pieces of watermelon cracked open in a fan shapeFigure show 4. The Bride Who Became Frightened shows a desolate industrial complex that more compassion, worship 5. Life The Love Embrace ofKahlo, the Universe, the Earth holding Rivera. The po greedy lust and eternal desire for symbiotic mutuality, but When Figure She Sees Open, Frida after divorce became more like maternal love, and Frida‟s intensely reveals the despair and loneliness felt by identification, power and (Mexico) Me and Senor Xólotl, Frida Kahlo 1949 (Right) peacefully asleep in the 1943(Right) putting the two pieces together does not lead to actual harCruel Fate(Figure 6) was painted by Frida in July 1932. Fr Frida5-7 . request for help as w Figure5.The Love Embrace of the Universe, the mony or satisfaction. Like many other paintings done by embraces and protects e This painting(Figure 7) shows children playingThe sun and t compassion. Kahlo, this painting is 6. a symbol of her life in 1943. With Earth(Mexico) Me and Senor Xólotl, knees of Virgin Mary, th Figure Cruel Fate, Frida Kahlo,1932(Left) with big decorative sunflowers in the hurt background. and lonely Kahlo w Frida Kahlo 1949(Right) her energy andFigure spirit 7. exhausted by Rivera’s love, Kahlo Shiva. The painting Sunflowers, Diego Rivera,1943(Right) A boy is holding mask in his hands,relationship and a girl is between Frida Who BecameaFrightened desires to build a symbiotic relationship with him. AtFigure the 4. The Bride compassion, worshi looking at the broken leg of the doll in her arms after divorce became more like maternal love, and Frida‟s obsession over Diego grew big When She Sees Life Open, Frida Kahlo, identification, power a same time, with she suffers from great inferiority complex. The sad eyes. In the middle of this monumental painting, therepainted is Rivera planting the 1932. tree ofFrida life with actress Cruel Fate(Figure 6) was by Frida in July had to be hospitalized at t 1943(Right) request for help as katydid in the painting to attract owl’s attention, Figure5.The Love thethere Universe, the and girl Goddard. On tries one side, Fridathe is standing with an easel, while onEmbrace the other of side is the boy watching in Detroit due to miscarri compassion. The sun an 5-7 but the attempt is not very successful. But if the owl recogMe and Senor Xólotl, of conflicting this scene . The characters and similar children inEarth(Mexico) this painting symbolize the harmony endlessthings tears, red strings lik hurt and lonely Kahlo Frida Kahlo 1949(Right) nizes the katydid at one point, the result be Vendor(Figure fatal like in and promising future. Callawill Lily 8) shows „lingam and yoni‟ in Buddhism (symbolizing out of Frida‟s body, 5-7 relationship between Fri Aesop’s fable, because death is the only possible ending . reproductive organs of male and female in Hinduism), and the sensuality of rich and abundant nature filled with miscarriage symbolizing o after divorce became more like maternal love, and Frida‟s obsession over Diego grew 5-7Universe, the Earth (Mexico), The Love Embrace of the such as snail or flower. countless petals . Figure Fate, Kahlo,1932(Left) Figure 6. Cruel Fate, Frida Kahlo,1932(Left) 6) 6. wasCruel painted by Frida Frida in July 1932. Frida had to be hospitalized a Myself, Diego and Senor Xolotl (Figure 5) is basedCruel on theFate(Figure With Frida as if floating in Landscape with Cacti(Figure 9) Diego Figure 7. Sunflowers, Rivera,1943(Right) in Detroit due to misca two iconic motifs of Christianity and Buddhism, with shows a desolate industr shows the love triangle endless tears, red strings Virgin Mary as Mexico’s earth goddess flowing from the intensely reveals the despa between Kahlo, Diego and out5-7 of Frida‟spainting body with sad eyes. In the middle ofFrida this monumental rich breasts. She is holding Rivera. The pet dog Senor . Nicholas Murray. One cactus is symbolizing Goddard. On one side, Frida is standing with anmiscarriage easel, 7) whis Xólotl is peacefully asleep in the arms of the universe that This painting(Figure shaped like breasts, with two 5-7 such as snail or flower. this scene . The characters and similar children in this p Figure 6. Cruel Fate, Frida Kahlo,1932(Left) embraces and protects everything. Xólotl is on the knees with big decorative sunflow other cacti seemingly shooting With Frida as if floating Figure 7. Sunflowers, Diego Rivera,1943(Right) and promising future. Calla Lily Vendor(Figure 8) sho of Virgin Mary, the myth of the ‘third eye’ of Shiva. The A boy is holding a mask in admiring and amorous glances. showsinaHinduism), desolate indu reproductive organs of male andlooking female and painting seeks sympathy and compassion, worship and at the broken leg Fulang-Chang and I(Figure 10) 5-7 intensely reveals the des countless petals . mysterious identification, power and will of thewith universe, sad eyes. In the middle of this by monumental there is Rivera planting the was painted Frida in painting, the 5-7 Figure10. Frida . Figure 8. Calla Lily Vendor, Diego Rivera, request for help as well as sympathy and compassion. TheOn one side,year Goddard. Fridashe is standing an easel, on the other side there is th met Leo with Trotzki. The while Fulang-Chang This painting(Figure 7 5-7 sun and the moon are 1943(Right) embracing hurt and lonely Kahlo Figure 7. Sunflowers, Diego Rivera,1943(Right) this scene . The characters and similar children inorthis painting and I symbolize the harmo cactus shaped like a penis Figure 6. Cruel Fate, Frida Kahlo,1932(Left) Figure 9. Landscape with Cacti, Diego Rivera with big decorative sunf and promising Calla Diego Lily Vendor(Figure 8) shows „lingam and yoni‟ in B monkeys symbolizing Figure 7.future. Sunflowers, Rivera,1943(Right) 1931(left) A boy is holding a mask reproductive organs ofpromiscuous male and female in Hinduism), sensuality sexual relations and or the desires revealof rich and abu looking at the broken le 5-7 5-7 Vol 9 (26) | July 2016 | www.indjst.org countless petals . subtle eroticism . Indian Journal of Science and Technology with sad eyes. In the middle of this monumental painting, there is Rivera planting t Landscape with Cacti(Figur Goddard. On one side, Frida is standing with an easel, while on the other side there is shows the love trian this scene5-7. The characters and similar children in this painting symbolize the harm compassion. The sun and the moon are embracing Earth(Mexico) Me andand Senor Xólotl, with Virgin Buddhism, Mary as Mexico‟s hurt and lonely Kahlo with yin and yang. The Frida Kahlo 1949(Right) earth goddess flowing from the rich breasts. She is relationship between Frida and Diego that reunited holding Rivera. The pet dog Senor Xólotl is after divorce became more like maternal love, and Frida‟s obsession over Diego grew bigger 5-7. peacefully asleep in the arms of the universe that Man-Ki Kim Cruel Fate(Figure 6) was painted by Frida in July 1932. Frida had to be hospitalized at the Henry Ford Hospital embraces and protects everything. Xólotl is on the in Detroit due to miscarriage. Lying in bed with knees of Virgin Mary, the myth of tears, theand „third eye‟ of like endless red strings umbilical cords grow This painting (Figure 7) shows children playing with shooting admiring amorous glances. Fulang-Chang Shiva. The painting seeks sympathy andFrida out 10) of was Frida‟s body, connected tosheshapes big decorative sunflowers in the background. A boy and I (Figure painted by in the year met Figure 4. The Bride Who Became Frightened compassion, worship symbolizing and mysterious or other sexual symbols miscarriage is holding a mask in his hands, and a girl is looking at Leo Trotzki. The cactus shaped like a penis or m onkeys When She Sees Life Open, Frida Kahlo, identification, power andsuch willas of universe, snailtheor flower. the broken leg of the doll in her arms with sad eyes. In symbolizing promiscuous sexual relations or desires 1943(Right) for help as well as sympathy and in the air the background With Frida as5-7if. floating Figure5.The Love Embrace of the Universe, the thererequest the middle of this monumental painting, is Rivera reveal subtle eroticism compassion. The sun and the moon are embracing Earth(Mexico) Meofand shows a desolate industrial complex that more planting the tree lifeSenor with Xólotl, actress Goddard. On one hurt and lonely Kahlo with yin and yang. Frida Kahlo 1949(Right) intensely reveals the The despair and loneliness felt by side, Frida is standing with an easel, while on the other 4. Conclusion and Discussion relationship between FridaFrida and 5-7 Diego that reunited 5-7 . side there is the boy and girl watching this scene . The 5-7 after divorce became more like maternal love, and Frida‟s obsession over Diego grew bigger . painting(Figure children playing characters and similar children in this painting symbolize This studyThis semiotically analyzed7)theshows paintings sublimated Cruel Fate(Figure 6) was painted by Frida in July 1932. Frida had to be hospitalized at with the Henry Ford Hospital Figure 6. Cruel Fate, Frida Kahlo,1932(Left) big decorative sunflowers in the background. the harmony of conflicting things and promising future. to miscarriage. art and love Lying by Frida Kahlo, female genius artist, and Figure 7. Sunflowers, Diego Rivera,1943(Right) in Detroit due to in bed with A boy is holding a mask in his hands, and a girl Calla Lily Vendor (Figure 8) shows ‘lingam and yoni’ in Diego Rivera, master ofcords Mexican muralist movement. Asis endless tears, red strings like umbilical grow looking at the broken leg of the doll in her arms Buddhism (symbolizing reproductive organs of male and shown in these paintings, Frida’s and Diego’s works are all out of Frida‟s body, connected shapes with sadand eyes. the middle this monumental painting, there is Rivera to planting the tree of life with actress female in Hinduism), theInsensuality of of rich and abunsymbols oforinner toward the two paintings such symbolizing miscarriage otheremotions sexual symbols Goddard. On one side, Frida 5-7 is standing with an easel, while on the other side there is the boy and girl watching dant nature filled with countless petals . as love, hate and pain. Thus, we found connotative and 5-7 such as snail orinflower. . The characters andlove similar children this painting symbolize the harmony of conflicting things Landscapethis withscene Cacti (Figure 9) shows the triangle implicative meanings of these paintings. With Frida as if floating in the air theand background andDiego promising future. Calla Lily Vendor(Figure 8) shows „lingam yoni‟ in Buddhism (symbolizing between Kahlo, and Nicholas Murray. One cactus This studycomplex is a hyperreality world of connotative shows a desolate industrial that moreabundant reproductive organs of male and female in Hinduism), and the sensuality of rich and nature filled with is shaped like breasts, with5-7two other cacti seemingly simulacrum about these paintings. This world is ‘a world intensely reveals the despair and loneliness felt by countless petals . more real than reality’ 10, 11. This is a cultural interpreFrida5-7. Landscape with Cacti(Figure 9) tation 7)and socialchildren judgment as pop culture through This painting(Figure shows playing shows the love triangle Figure 6. Cruel Fate, Frida Kahlo,1932(Left) practices of looking and way of seeing of visual lanwith big decorative sunflowers in the background. between Kahlo, Diego and Figure 7. Sunflowers, Diego Rivera,1943(Right) in in signifying A boy is holdingguage a mask his hands,practices. and a girlItisalso provides the clues Nicholas Murray. One cactus is to judge value. The limitation of this study is looking at the broken legeconomic of the doll in her arms shaped like breasts, with two that, as Frida said in the movie Frida, “women’s tears canwith sad eyes. In the middle of this monumental painting, there is Rivera planting the tree of life with actress other cacti 2,12 seemingly shooting be istrusted. ” and . As arbitrariness and polysemy Goddard. On one side, Frida is standing with an easel, while on the other sidenot there the boy girlsuch, watching admiring and amorous glances. the researchers’ emotions this scene5-7. The characters and similar children in this painting symbolize felt the in harmony of conflicting things and cultural interacFulang-Chang and I(Figure 10) their paintings must be added to this study, and promising future. Calla Lily Vendor(Figure 8) shows „lingam and tions yoni‟ toward in Buddhism (symbolizing was painted by Frida in the Figure10. which also a characteristic of semiotics and the artists’ reproductive organs of male Figure and female in Hinduism), and Diego the sensuality andisabundant nature filled with 8. Calla Lily Vendor, Rivera,of rich year she met Leo Trotzki. The Fulang-Chang 5-7 8. Calla Lily Vendor, Diego Rivera, 1943(Right) Figure paintings. 1943(Right) countless petals . and I cactus shaped like a penis or Figure 9. Landscape with Cacti, Diego Rivera Landscape with Cacti(Figure 9) monkeys symbolizing 1931(left) shows the love triangle promiscuous sexual relations or desires reveal 5. Acknowledgement between Kahlo, Diego subtle and eroticism5-7. Nicholas Murray.Funding One cactus foris this paper was provided by Namseoul shaped like breasts, with two University. other cacti seemingly shooting admiring and amorous glances. 6. References Fulang-Chang and I(Figure 10) was painted by 1. Frida the Seoulin Olympic Museum of Art. Frida Kahlo. Available Figure10. Figure 8. Calla Lily Vendor, Diego Rivera, year she met Leo Trotzki. The from: www.frida.kr., Date accessed: 2015. Fulang-Chang Figure 9. Landscape with Cacti, Diego Rivera 1931(left) 1943(Right) I 2. aPop Culture Advertisements. Lyceum. Available from: cactus shaped like penis or andand Figure 9. 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