Chapter 1

Introduction

Pointon (Pointon 1994:19) states that the term Art History as a discipline examines the
history of art and artifacts. Art History as an academic discipline has another dimension
added that it seeks to reconstruct the past through the study of cultural artifacts, including
such media as painting, sculpture, and architecture. A careful analysis of the historical,
cultural and intellectual context of art objects allows reconstruction of past societies and
the worldviews.

The origins of Art History are variously located. Art History originates in nineteenth
century when assembling national collections of art in Germany and England began while
cataloguing and writing the histories of the artworks they were purchasing. It is
additionally appears to begin much prior, in the Renaissance, with Vasari's Lives of the
Artists, or significantly prior, in Roman times with Pliny's records of the craftsmen of days
of antiquity. As a calling, with its own particular systems and methodology, Art History
starts in Germany and Austria toward the end of the nineteenth century and the beginning
of the twentieth century. (Pointon 1994: 23-25) Visual Arts is the study of tangible forms
of arts for example painting, sculpture, Architecture, Graphics, prints, Jewelry. One of the
major and an important primary interpretative aspect of Art History is Visual Analysis
which also serves as a tool to study the visuals of varied nature comprehensively.

Visual analysis plays an important role in the study of Art history; in-fact it forms the basis
and also works as a backbone for the art historical writings. There are various methods for
the analysis of artworks and symbolism is one among the aspects applied in the methods
for the study of visual artworks. A critical reading of artworks using Symbolism as a
framework involves the analysis from multiple perspectives. So a thorough understanding
of the concept and its various aspects including symbolism in its multidisciplinary context
is required to challenge, establish and give due weight-age to symbolism as a strong tool to
analyse the artworks in the art historical methodology.

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Key Concepts
Symbolism: The term symbolism is used in this whole study and the etymology, concepts,
definitions and various approaches of symbolism in different disciplines have been
discussed at length in this research work.

Symbolism in Multidisciplinary Context: Symbols have different implications in the

different disciplines of studies. The advancement of representational limits and symbolic
expression has contributed basically to human thought, dialect, society and culture. There
are diverse symbolic procedures, and the symbolism and imagery especially portrayed and
deciphered, varies in numerous regards from what is assigned by the same term connecting
different sources.

Approach: An approach means dealing with something compared to a method which is a

particular way of doing. An approach is the perspective in contrast to understanding a
concept, which is an idea or abstract principle. But methodology and approach are related
and one cannot have one without the other. One’s approach is one's perspective, how one
will be studying the particular concept. Symbolism has to be approached by different
concepts and methods. The sources of Symbolism are drawn from other approaches such
as Historical Approach, Art Historical Approach, Aesthetical Approach, Philosophical
Approach, Socio-cultural Approach, Psychological Approach and Semiotic Approach as
discussed in the next chapter.

Multidisciplinary Approach: A multidisciplinary approach or methodology includes

drawing suitably from various disciplines to rethink issues outside of typical limits and
achieve arrangements in light of another comprehension of complex circumstances. The
usage of the expression "multidisciplinary" has as of late been surpassed by the expression
"interdisciplinary" for what is basically all encompassing working by another name. The
previous term has a tendency to identify with professional drove working while the recent
term tends to convey a more scholarly suggestion.

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Art Historical Studies: Art historical studies are the study of the discipline of art history.
And art history is an understanding of art objects together with the aesthetic experience in
a historical perspective with a scientific approach. It takes on broadly the aspects of
artefacts and the process behind the making of the artefacts across historical periods, which
contribute to our historical knowledge of art.

Visual Language: Visual Language is an arrangement of correspondence utilizing visual

components. These are the fundamental components and standards of the Visual Language
applied by the Artists to communicate their ideas and feelings.

Verbal Language: Verbal Language incorporates signs and images as the significant signs
of a verbal correspondence; here words go about as symbols and signs. In literary
discourse, the poetic function of language is the most appropriate artistic medium for an
aesthetic experience.

At some level art historical studies remains as examining the history of works of art, but
then, the study also deals with the art theories to address questions like why do we
categorise some works as art and others as not. Pointon (Pointon1994:31) points out that
this object-based study, also considers the function of an object whether it's of practical use
or of symbolic purpose. So the study involves analysis, criticism, appreciation as well as
interpretation which involves multiple meanings and where the viewer's perspective and
perceptions of art becomes important and is taken into consideration in interpreting the art.
Art historical studies in a historical context, originally dealt with exclusively European art
history; gradually a wider vision of art history developed in the course of 20th century. It
expanded to society from over the globe and endeavours were made to investigate artefacts
as far as the social and cultural qualities in which they were made and thus had broadened
the aspect of working in cultural context. Art historical studies earlier being only the study
of chronology of masterpieces and a vernacular expression referred to as folk art and craft,
is now closely framed under the forms of high as well as low culture. The works identified
under the low culture are the art historical narratives examined under visual culture or
material culture. Art historical studies as an area of scholarship and learning involves with

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the art business world where it is concerned with publishing and marketing of picture
books and sales of artworks in art business.

Symbolism in art historical studies originates in the same milieu as literary symbolism
from where it evolves and takes the tendency of ideology and spiritual. On the other hand
particularly in painting and graphics, symbolism describes by extreme diversity, as it lacks
an aesthetic program and stylistic unity. Amid the late 1880’s, symbolism entered a
subjectively new phase of advancement where Symbols were expressed not in subjects but
in structures and forms. Comprehensively talking, the inventive work of Gauguin, Cézanne
and Van Gogh, established the framework for the "symbolist" thinking at large for the later
arts of twentieth century.1

Art historian uses various methodologies in their exploration and research works into the
qualities, nature and history of artefacts. They examine work in the context of its time,
through an analysis of form, Iconographical analysis and many historians use critical
theory to frame their inquiries into art objects. Some of them are: Vasari’s Biographical
Approach, Panofsky’s Iconographical Approach, Heinrich Wolffin’s Scientific Approach -
using psychology, comparative study, ideas of nationhood, Aesthetic Approach, Michael
Buxandail’s method – Period’s Eye approach, Manfredo Tafuri method – Understanding of
Cultural and Social development, Griselda Pollock’s methodological approach where the
use of psychoanalysis, deconstruction and post-colonial theory are the tools for analysis.

Symbolism as a Concept
Etymologically the term Symbolism comes from Greek and Latin, later in English
etymology the term “Symbolism” coined from symbol and -ism between 1645 and 1655.
Symbolism can be plural symbolisms countable and uncountable. It’s a representation of
an idea through images and symbols or hidden and inner meanings of objects or qualities.
And in Art and literature, poet Jean Moréas coined the term Symbolism in his article 'Le
symbolisme' of September 18, in Le Figaro in 1886.

1
http://encyclopedia2.thefreedictionary.com/symbolic viewed as on 2010

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Originating from Greek word ‘sumballein’, the term Symbolism means the notion of
‘throwing or putting things together’ resulted in the notion of ‘contrast’, thus
sumballein came to be used for ‘compare’. This echo with George’s statement (Georges
1998:180) and his assertion of symbol that it means a solid sign or picture that speaks to
some other, more conceptual or abstract thing or thought by convention, similarity or
analogy.

In Oriental tradition the Sanskrit word for symbolism is Pratīkavāda which is a

“...compound word made of two Sanskrit words: Pratīka and Vāda. Pratīka stands for
symbol and Vāda for an ideology or set of concepts. The compound word Pratīkavāda thus
comes to signify an ideology of set of concepts signified by the use of symbols.
Pratīkavāda thus, can be translated into English as symbolism.” (Grover 1987:2)

The Indian traditional view on symbolism mainly derives from the writings of Rene
Guenon, A.K. Coomaraswamy and Mircea Eliade. Snodgrass observes as indicated by the
comprehension of the Traditions the thought of "symbol" alludes to a sensible element that
coordinates the comprehension from the physical towards the supra-physical levels of
reality. The Indian meaning of the term symbol according to Snodgrass (Snodgrass1992:2-
3) indicates beyond itself to the area that rises above the sensible and the discerning. Also
it has a referent that stands at a supra-empirical level, which cannot be known by any
means, whether sense perception or by thought but understood only by analogy. This
reference has two levels in Indian thought and iconography for example on one level the
lotus refers to the flower of sensible experience, while on the other it means the Waters of
All- Possibility, an idea that is absolutely unsusceptible to any immediate representation.
The concept of symbolism in the Contemporary thoughts is understood as having one level
of Reference. Many other interesting links to the meanings of symbolism can be derived,
for example in the Symbolism of Indian coinage, Spooner suggested a Zoroastrian
meaning of the symbols, while Durga Prasad brought out its Tantrika meaning. Swami
Sankaranand went a step ahead to state that the symbolism has phonetic value on the
punch-marked coins. Banerjee emphasized upon its Brahmanical character. (Sharma
1990:20)

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Many ideas and concepts on symbolism have developed and on that various definitions
have been given, wherein new ideas and aspects have been added in by various scholars of
different discipline to delve deeper to the core of the subject, and explain symbolism.
Exploring these definitions gives a base to a path of new understandings. There are many
interesting definitions given by the scholars in their respective fields, where the
interpretation of symbolism is paradoxical, which offers complexity and simplicity and can
be felt at times but cannot be comprehended.

In art historical studies, each aspect of art elements comes under the umbrella of
symbolism. Some of the examples are the falling of a drapery along with the body
movements in dance, the subtle anatomy in Indian sculptures as codified in the Shilpa
Shastras, the Agamas and their philosophy. These aspects remain inseparable as they are
interconnected and interwoven. Experiencing symbolism together with a visual image sets
and establishes an un-definable world which is beyond explanation and is infinite and
absolute. Symbolism is beyond reference and representation.

Symbolism has been studied, defined, and conceptualized by many scholars and thinkers.
Some of them have been reviewed in this context. Many important, interesting and relevant
definitions on symbolism are given by Indian scholars in the context of Indian Art. For
example Ananda Coomaraswamy while describing in his essay The Aims of Indian Art
feels that the representation of ideal and symbolic forms through which there is a
transformation in the being itself should be the aim of Indian art and not imitation. The
thoughts and concepts of metaphysics and cosmos are expressed through Symbolism and
this then becomes the direct expression of the cultural facets of a given society. Thus if we
are thinking of the cultural values of art “...The what of art is far more important than the
how; it should, indeed, be the what that determines the how, as form determines shape”
(Coomaraswamy, Why exhibit works of art? Para.6) Here he is mentioning/focusing on the
inner meanings of art which are the abstract ideas conveyed in indirect or direct
expression. The inner meaning of art will determine and influence the making of art.
While highlighting on the concept of symbolism another scholar, Stella Kramrish’s
thoughts and approach towards symbolism and her application in the visual analysis

22
process becomes very significant in art historical studies and its methods. As Miller (Miller
1983) observes Kramrisch expedition grows with the interpretation of Indian art and its
religious contexts. She gave a lucid exposition of her basic ideas on Indian religious art,
defining and emphasizing the characteristics of regional styles of sculpture and her visual
analyzes each and every specific individual objects. She concentrated more on the
symbolic and cultural aspects of Indian art, for example “The subtle Body” based on her
own term for the form that underlies solid shapes, incorporates investigations of scholarly
and visual imagery and symbolism. The temple sculptures and paintings can be studied for
the analysis of symbolic meaning combined with the technical and formal qualities.
Scholars from Warburg Institute, London also support the idea that Stella’s primary
concern was with the symbolic function, discovered through the study of poetic, religious,
philosophical and political documents and not with the style or iconography of a work. To
get the symbolic meaning, Stella emphasizes more on the functioning of the symbolism in
art, through poetic, religious, philosophical and political concern and emphasizes on both
the verbal and the visual aspects of symbolism.

The concept of symbolism becomes interesting when it comes to the approach of Kapila
Vatsyanyan, an Indian Scholar. She regards metaphors itself as strong symbols in the
Indian arts and thus metaphors become significant in the concept of symbolism. In her
essay on Metaphors of the Indian Arts (Vatsyanyan & Chattopadhyaya 2008:281) she says
that “Indian Art employs the metaphor over many centuries. It is concretized as symbol
and motif from early sunga art to contemporary practice.” The metaphor is carried further
from the dimension of the physical body to the mind. The vegetative, biological and
psychical levels coalesce, and the metaphor acquires symbolic significance at the level of
ritual.

E.H. Gombrich, Carl Jung and Susanne Langer are the few among the Western scholars
who have done serious study on symbolism and contributed the most in the field of visual
arts. The Indian and the Western thinking on symbolism have established how significant
the concept of symbolism in the art historical studies is. From Gombrich’s (Gombrich
2000:292) point of view the whole history of art may be summed up as the history of the

23
gradual discovery of appearance. As primitive art starts with symbols of concepts bit by bit
the symbolism approximates more to real appearance, however the conceptions, important
to life, make it exceptionally troublesome, to find what things look like to a fair-minded
eye. It has taken the journey from Neolithic times till the nineteenth century, indeed to
perfect this discovery. Fontana (Fontana 1994:1) speaks about symbols as the significant
articulations of human instinct in all societies at all times. In tune with Gombrich she also
says that the symbol’s presence is felt from their first appearance in the cave paintings of
Palaeolithic period and from then on they have accompanied the development of
civilization in the form of the concept of symbolism.

In the words of Carl Jung (Jung 1964:257-258) The historical backdrop of symbolism
demonstrates that everything can accept symbolic importance: natural articles (like stones,
plants, creatures, men, mountains and valleys, sun and moon, wind, water, and fire), or
man-made things (houses, boats, or automotive), or even dynamic structures (like numbers,
or the triangle, the square, and the circle). Indeed, the entire universe is a potential symbol.
Here Jung says that in the history of symbolism, the whole cosmos is a potential symbol,
everything can assume symbolic significance from natural objects to man-made things and
even to the abstract forms like numbers, square or circle. These have highly symbolic
meaning for ancient and primitive societies, used in primitive cultures as objects of
religious veneration and also as form in artworks. From Jung’s definition of symbolism
one further understands that a study of symbol ranges across general classes as religious,
psychological, anthropological, literary, artistic, linguistic, socio-cultural and related fields.
It all depends on how an individual is using the term within the intellectual discipline. 2 A
French sociologist Durkheim(Lewis 2002:48)applies the concept of symbolism as an
arrangement of complex affiliations where religious, customs, symbols, icons and art
objects were translated by individuals of social groups. Meaning, in this way, was a matter
of cooperation and interaction between the symbol and the group of individuals. This
interpretive definition and concept of symbolism recommends an open, relative and
adaptable relationship between the artefacts, its meaning and its significance. Thus one can

2
http://www2.fiu.edu/~morriss/bookword/symbols/symbolism1.html viewed on January 2015

24
observe that the sociologist’s definition interprets symbolic meaning based on the
interactions with society and the symbolism thus creates an open and flexible relationship
between cultural artefacts and its meaning. Another point to be observation here that the
meanings in symbolism are very definate, as they are not only interpretative but the
interpretations are based on the socio-cultural interection within the soicety.

Susanne Langer an American philosopher with the perspective of significant form as her
base develops the understanding of logical expression to symbolic expression and finally
develops the theory of symbolism. There was a noteworthy movement in Susanne Langer's
inquiry from formal logic to a broader hypothesis of the human limit for what she called
“symbolic transformation,” an idea that was impacted by Cassirer. With the improvement
of the hypothesis of symbolic transformation, Langer could treat the discursive uses of
language as one and only among a wide assortment of social assets – myth, custom, and
arts of the human experience that were vital to the constitution of human experience.
According to her, symbols might be discursive and the essential case of an arrangement of
discursive symbols was language, further she brings up that language could embody a
wonder just on consecutive expressions, not in concurrent ones. For her symbolism is the
'new key' to seeing how the human personality changed the primal need to communicate.
All types of human movement, including ‘speech and gesture, song and sacrifice’ were
seen as expressive. The mental work of symbolic transformation dwelled in abstracting a
signal or an object from reality.3

Symbolism is a language4 and an expression in continuation, which is utilized to pass on

the meaning through the usage of symbols. The term symbolism may allude to
symbolic meaning or the act of contributing things with a symbolic meaning or character.
Symbolism is not just restricted to imagery; symbolism when utilized as a part of
connection, particular words, thoughts or objects additionally gets to be symbolic. While
deciphering the original meaning of symbols, symbolism recounts the story from their
3
http://www.anthonyflood.com/langerroutledge.htm viewed as on November 4, 2014
4
"What is Symbolism." http://www.thethoughts.co.uk/thoughts/what-is-symbolism/. March 25, 2008. Viewed
on February 2, 2012.

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context and place in history. Symbolism once understood can untangle many unfold hidden
meanings it carries and it is possible to uncover a world history very different from the
known one. J.C. Cooper (Cooper 1990) explains that the symbol the image is a key to a
domain more prominent than itself and more noteworthy than the man who utilizes it. It
depends on the human perceiving power, observation on the intellect, how man from his
surroundings develops the understanding of the multiplicity of meaning and collects the
essence, and how he can relate or take an object as symbol which signifies what he extracts
from the philosophies of life, in the perceived and experienced world. The above ideology
is supported in the words of Guenon (Guenon 1995:29) “it is the ‘intellectual horizon’ of
each person that makes all the difference.” Guenon here stands strong by pointing that
“Symbolism is an exact science and not a day dream in which individual fantasies can have
a free run.” In other words it opens up a wider horizon for a new and innovative power of
interpretation and expression that enhances the scope of Art History from its present status,
though the subject is acquiring new dimensions in 21st century.

On the basis of these concepts given by thinkers, this research takes some of them as
primarily significant to pursue them further in drawing powerful insights. In addition to
this, while working on the model of symbolism as a method in the process of analysing the
artworks, all these insights emerge as part of model proposed in the sixth chapter of this
thesis. It is interesting to note that, more or less all the thinkers agree on one point that
symbolism is a language by itself. This can be sourced primarily from the visual and the
verbal language. By verbal language here we mean the semiotic concepts associated with
the forming of symbols and signs which have been used by generations of theoreticians.
The verbal language here we mean is drawn from metaphors which give inner meanings,
texts that explains the symbol clearly through words and verses in poetics. The visual
language, on the other hand is sourced from artistic, religious, mythical, ritual, cultural,
social and textual resources which are complimentary in the analysis. The visual language
has special significance in the study of artworks; they may be content, form, metaphor,
emotions, perspectives, understanding of the space and volume, which are symbolically
expressed. Thus both the verbal and the visual language are taken from the concepts that

26
are discussed in the areas of literature, sociology, anthropology, philosophy, economics,
political sciences, psychology, pure science and such other disciplines.

Operational definition of this research:

Symbols are derived from different sources such as social, cultural, political, religious,
philosophical, psychological, natural or man-made creations which convey symbolic
meaning. These when processed through verbal and visual languages through different
approaches and theories, they transforms into Symbolism. Thus Symbolism is a language,
and the symbolic form connects both the verbal and the visual language that widens the
scope of enquiry in art historical studies by adding to the existing documentation process
in visual art.

Objective of the study:

One of the main objectives of this research is that, by applying symbolism as a method of
analysis the lapses in analyzing and interpreting the visuals can be taken care; To propose a
model to use Symbolism as a tool for analyzing the visuals in art historical methodology;
To observe the visuals intensely for the purpose of analysis in art historical studies; To
make the analysis more scientific, logical, and an all comprehensive phenomenon; And to
contribute to the emerging trends in the art historical analysis.

Research Question:
The research questions formed during the survey into the realm of Symbolism are: What is
the significance of Symbolism in Art Historical Studies? What is the analytical approach to
Symbolism? Is there a need for giving an independent status to Symbolism as one of the
methods in the Visual Analysis, and is there a possibility of proposing a model for
Symbolism as a method for Art Historical Analysis?

Hypothesis
The Hypothesis formed as, Art History being the study of artworks, has a greater
importance in interpretative analysis. Several ways of interpretation exist in which
Symbolism has a special significance. Since an in-depth study on Symbolism from the

27
perspective of visual analysis has not taken place, there is a possibility to see symbolism
positioned as an independent method to widen the scope of art historical analysis. With this
study there is a clear possibility of proposing symbolism as a model for art historical
analysis.

Scope of the Research:

The scope of this research is wider when symbolism is considered as one of the ways to
address the emerging issues in the art historical analysis. It will provide another dimension
for interdisciplinary analysis in art historical studies. Symbolism will serve as a technique
in Art History as a field for analysis. It has not been given due weight-age as an
independent subject of art. It will have a greater importance and significance in Indian
context. Further research can be taken up on the usage of symbols and symbolism in Indian
architecture contextualising the textual sources.

Limitations:
Symbolism is a vast area of study with several approaches, from Humanities to Social
Sciences, Language Literature to Arts and Aesthetics, Pure Science to Psychology etc.
Some of these approaches are taken here with a limited perspective. Secondly, symbolism
is a fascinating enquiry in every philosopher’s career; thus there are several theories
propounded. This research has chosen the theories and philosophers relevant to symbolism
pertaining to art analysis. Thirdly, it is a herculean task to bring all art works under the
model proposed, so for the convenience of the study and considering the limited time
available, only some of the art works have been taken for analysis to support the basic
enquiry stated.

Work done in the area of Research

In the field of symbolism, various theories have been established of Symbolism by Art
Historians, Philosophers, Iconographers, like Erwin Panofsky, E.H. Gombrich, René
Guénon, Ananda Coomaraswamy, Heinrich Zimmer, Susanne Langer, Alice Boner, Kapila
Vatsyayan, and in psychoanalytical studies a prominent name C. G. Jung and throughout

28
the centuries both Indian and Western art has emerged and employed their theories that
have expanded the scope of symbolism.

Among the methodological aspects of Art History, the application of iconographical

methodologies of Erwin Panofsky is employed. There is a similarity between Iconography
and symbolism and both the terms are used interchangeably many times by art historians.
Panofsky's work remains exceptionally compelling in the current scholastic investigation
of iconography Studies in Iconology: Humanist Themes in the Art of the
Renaissance (1939).

"What lies behind the symbol is something hidden and can thus be a question of
psychoanalysis whether the interest is in the history of a work or that of the artist."
(Weibel2005:7) by E.H. Gombrich an art historian studies the philosophical implications
of visual symbolism in the Renaissance and uncovers the links of the potent ideas with
Freud's and Jung's theories of symbolism. The four-volume series Studies in the Art of the
Renaissance (1966) comprises the volumes: Norm and Form; Symbolic Images; The
Heritage of Apelles; New Light on Old Masters have made a noteworthy commitment to
the investigation of symbolism in the work of this period.

Indologist and historian of South Asian art, Heinrich Robert Zimmer was most known for
his works, Myths and Symbols in Indian Art and Civilization The Art of Indian Asia, its
Mythology and Transformations were a great contribution to understand symbolism in
Indian Art.
Exploring India's Sacred Art, a book of selected Writings of Stella Kramrisch, an art
historian who studies visual and literary symbolism. Her writings focus on formal and
specialized parts of temple structure and painting in the connection of their symbolic
significance. Her essays concentrate on formal and technical aspects of temple structure
and painting in the context of their symbolic meaning.

C.G. Jung, a psychiatrist worked on dream analysis through symbolism which becomes a
major contribution in visual analysis in art history. His book Man and his Symbols (1964)

29
is meaningful towards the interpretations of artworks of the genre, where he explains his
enormously influential theory of symbolism as revealed in dreams.

Susanne Langer's published works Philosophy in a New Key: A study in the Symbolism of
Reason, Rite, And Art presents her theory of symbolism and serves as a prologue to her
later writings.

Ananda Coomaraswamy was profoundly included in investigating symbols in art from the
methodological perspective of symbolism and henceforth enhanced the feeling of
representation of these art objects with various layers of meanings. His essays "Rape of the
Nagi", "On Symbolism" and "On Traditional Symbolism" were published in What is
Civilization? and Coomaraswamy: Selected Papers, Traditional Art and Symbolism reveal
deeper insights to his approach of symbolism and art.

Concepts of Space Ancient and Modern, The Square and the Circle of the Indian Arts,
Kalatattvakosa A Lexicon of Fundamental Concepts of the Indian Arts, Gita Govinda, its
influence in Indian Art and Art as Integral Vision are the few major contributions by
Kapila Vatsyayan, art historian in Indian art history where a serious study of Indian art is
done from the perspective of symbolism.

J.C. Cooper an author of An Illustrated Encyclopaedia of Traditional Symbols points out

that the symbol does not just liken to a set definition but rather uncovers some vital part of
what is to be caught on.
"Symbolism is no mere idle fancy or corrupt degeneration; it is inherent in the very texture
of human life. Language itself is a symbolism." (Whitehead1927:61) a quotation by Alfred
North Whitehead, a mathematician and a philosopher from his book called Symbolism: Its
Meaning and Effect. A strong contribution to conceptualize and to philosophize the
symbols into Symbolism.

In my Masters degree in fine arts dissertation, I have studied both the abstract form that is
the Siva Linga, and the anthropomorphic forms of Siva, known as the iconographic

30
variations, where the subtle concept of Siva could be imaged only through symbolism.
Siva in the Linga form helps the devotee to understand the transcendental idea of them as
one and the same. The Abstract and the Anthropomorphic Forms of Śiva.(2000) An
unpublished Master degree in Fine Arts (MFA) dissertation submitted in the department of
Art History, Chitrakala Institute of Advanced Study, affiliated to Bangalore University,
Bangalore

The above are some of the primary sources that display the high academic calibre, in the
field of art history and symbolism. Studying these works in the field of Symbolism, has not
only provided basic foundation to commence the research but also provided an insightful
knowledge of discriminative in nature to work on the possible model, which is proposed in
the sixth chapter as the outcome of this research.

Significance of the Present Research

There is a vast scope, dimensions and challenge in researching this topic, which may be
taken up here for further research.

This study enhances understanding, depth and quality of Analysis and it will provide
another dimension for interdisciplinary analysis in art historical studies.

By adopting Symbolism as a tool, it will serve as a technique in art history as a field to

analyze it from Cultural Studies Perspective.
To set up a Structure or Model to explore the hidden meanings or hidden issues that have
higher and deeper values; through the Symbolist’s approach these meanings and values
will get cleared.

Symbolism is an integral part in each and every form of art, from pre-historic to the
modern period of art history. It has not been given due weight-age as an independent
subject in art historical studies and so can be of an academic importance in art history.

31
While this research on symbolism will be of great value to the entire art world, it will have
a greater importance and significance in Indian context. India being a multi-religious
country various religious faiths, beliefs and myths can be explored and interpreted through
Symbolism.

Symbolism has significant applications in the field of architecture and India has ancient
past, vast and profound history of architecture. Further research can be taken up on
symbolism of Indian architecture.

Methodology
Since the research has to adopt a multi-disciplinary approach, several research methods are
to be employed for an effective analysis. In this research basically two methods are
followed:

Historical Method- The historical method is applied for the historical background of
symbolism in art history. How symbolism has been dealt with in art history which shows
its application and interpretation in various art movements.

Qualitative method - This research comes under qualitative method of research. The
qualitative approach is concerned with subjective assessment of attitudes, opinions and
behaviour. A theoretical perspective has been viewed as one perspective underpinning
qualitative research; here theoretical interpretative methods are used in this study as
different theories related to the subject are being explored. As symbolic interpretation is
one of the interesting methods of bringing clarity to the concept it has a rich intellectual
and historical heritage. One of the chapters of this thesis focuses on the various approaches
to symbolism drawn from multiple knowledge sources, forming the basis for proposing a
model that shows the significance of symbolism in art historical studies.

Data Analysis & Findings

The data is collected processed and analyzed chapter-wise on the basis of various aspects
of symbolism.

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By analyzing the various theories put forward by prominent philosophers, the concept and
the origin of symbolism have been affirmed.
By analyzing the historical background of symbolism in art and architecture, the
functioning, changing values of symbols, its social relevance have been assessed and
estimated.
By studying various approaches and theories a format is created to explore the significance
of symbolism as one of the art historical methods in analysing works of art.

Review of Literature
Primary Sources:
The following sources have been referred:
 The study of original theories and opinions of Western and Indian thinkers on
Symbolism.
 Among the Art theories, the Aesthetic theories, for example, the theory of
“Formalism” - by Roger Fry, Susanne Langer and Clive Bell. Formalism is an
approach to understand art. Formalism is the term given to the concept that
an artwork's aesthetic quality is altogether controlled by its structure; by
considering the way it is made, its visual perspectives, and it's medium. Formalism
stresses compositional components, for example, line, shape, texture and colour as
opposed to realism, context, and content. According to Bell, recognition of art as
representational of a thing was less significant than capturing the 'significant form',
or the inner nature, of a thing then mere outward appearance.
 Theory on Colour: Goethe’s theory of colours. The communicative properties of a
colour can be classified into two- natural associations and psychological or cultural
associations. For example, a delicate shade of blue triggers relationship with the
sky and a mental feeling of calmness.
 Theory of Iconography: Iconography is the branch of art history which studies the
identification, description, and the interpretation of the content of images. The
word iconography literally means "image writing", for example Shilpa texts are
there to understand Hindu iconography.
 Theories on Symbolism

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  Under Literary Theory, the theory of Semiotics- Semiotic doctrine focuses on the
morphology of sign, symbols and meaning. Sign and symbol compliments in
literary field rather than iconography which tries to distinguish meaning; semiotics
is concerned with how meaning is made.
 Theory of Deconstruction by Derrida: A technique for basic investigation of
philosophical and literary language that stresses the inner workings of dialect and
conceptual frameworks, the relational quality of meaning, and the assumptions
implicit in types of expression.
 Art Historians E.H. Gombrich, A.K. Coomaraswamy, Alice Boner, Stella
Kramrish, H. Zimmer, Kapila Vatsayan their Writings and Approach to Art and
Symbolism. Survey of all these theories serve as background literature on
Symbolism to further explore Symbolism as the art historical Method.
 Museum sources and original art works have been surveyed for the purpose of
analysis according to the relevance of the theories.
 Photographs- personally photographed, collected from museums, galleries and
historical sites.
 Interview with scholars, historians, artists, and appropriate experts to gather more
information about the topic.
 An in-depth study of relevant examples from Museums, Art Shows and Art
Galleries, dealing with the contemporary issues and the process involved in the
making of art to study symbolic form changing into individual metaphor.

Secondary Sources
The secondary sources are the following:
 Research papers, Journals, Periodicals, Articles, Art reviews, Catalogues and
Brochures, Booklets etc. are taken into account.
 Books- Relevant books from various sources.
 Journals- Kala, Marg, Sage, Journal of Aesthetics, Art India, Art and Deal, Art
Journal.
 Art reviews/Articles - collection from various journals and art magazines.

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  Internet sources- Webpage, Online Art Journals, Research articles, Research
papers, galleries, museums, artists blogs, online art news, etc.
 Dissertations- published and unpublished, from various art institutions.

Chapter Scheme
While exploring the concept and the significance of symbolism in art historical studies,
many aspects of symbolism have been studied, where attempts are made to question, for
example a dichotomy between the terms 'symbol' and 'symbolism'; the approach and
perspective of different disciplines and thinkers towards the concept and origin of
symbolism; as well as in developing symbolism as an important method for visual analysis
in art historical methodology. This thesis also studies symbolism in terms of the
transformation of Visual into Text and vice versa that happens in the process of analysis
through the method of Symbolism. It has a special focus on developing a structure to use
Symbolism as a method for analyzing the Visual Arts and through the process analyzing to
explore the transformation that takes place of the Visuals that turn into Text and vice versa.
And accordingly the thesis is divided into seven chapters.

Chapter1. Introduction
This chapter makes a survey of the origin, meaning and the concept of symbolism.
Symbolism works as a reference to context and thus a symbol’s importance may be altered
by different elements including its usage, history, and context. Understanding symbols is
the initial step to conveying more profoundly than simply relating stale truths. As David
Fontana (Fontana1994:2)put it, symbols are more than simply cultural artefacts: in their
right setting, despite everything they talk effectively to us, all the while tending to our
intellect, feelings, emotions and the spirit. This is maybe what makes symbols so
important; they manage our entire individual, not only one perspective. Moreover, the
symbol becomes, in Jung’s words, “a perpetual challenge to our thoughts and feelings.
That probably explains why a symbolic work is so stimulating, why it grips us so
intensely” (Jung 1966:77) (Thompson 1990:161). To unfold the symbolic expressions and
revelation, the emergence of specific studies on symbols arises, and an academic discipline
and an area of research is formulated by putting all the concepts and developments related

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to the ‘Symbols’ under 'Symbology'. By defining, conceptualizing symbolism in a
multidisciplinary context by various scholars and thinkers and based on the Research
questions and objectives of this study, the operational definition of this research has been
arrived at.

Chapter2. Various Approaches of Symbolism

Symbols have different implications in the different disciplines of studies. The
development of representational limits and symbolic expression has contributed basically
to human thought, dialect, and society. There are diverse symbolic procedures, and the
symbolism especially portrayed and deciphered, varies in numerous regards from what is
assigned by the same term in different disciplines. To analyze the history and the
development, understanding, handling, and the interpretation of Symbolism in a
multidisciplinary context, this chapter therefore aims to explore and explain different
approaches of symbolism in Art history and other disciplines as well. Some of the
important disciplines which show the divergent strands of symbolism revealing its
different aspects are discussed at length. The approaches discussed here are Historical
Approach, Aesthetical Approach, Philosophical Approach, Socio-cultural Approach,
Psychological Approach, and Semiotic Approach.

Historical Approach: Here it stands for an attempt at understanding symbolism through a

historical account of symbolic thought of the past. To study the historian’s approach to the
concept of symbolism, the selection made here is Herodotus, the earliest historian and
Toynbee modern historian, whose 12 volume “A Study of History” was a combination of
world history which examined history from a global perspective.

Aesthetical Approach: Aesthetical approach is very close to art historical studies in

comparison to other approaches mentioned in the chapter. Aesthetic response or aesthetic
experience becomes relevant and significant while studying art objects. The understanding
and appreciation of art object needs reference of aesthetic concepts and theories and is the
only response to Art. In the aesthetical approach to symbolism I choose to discuss through
the formalist’s theories best-known and most widely studied attempt to dignify the arts in a

36
way that it gives artworks in Beardsley’s words “a value independent of their moral,
political, philosophical, or religious aspects” (Beardsley1981:xvii) and mention formalists
Clive Bell and Roger Fry for their theory and criticism which is historically very important
and their aesthetic ideas generated constructive discussion.

Philosophical Approach: Eastern philosophy and early Western theory are comparative
to their greatest advantage in matters of essential importance to human presence. On the
other hand, there are some critical, interrelated, contrasts in the ways to deal with adding to
the comprehension of "Reality". The Western way to deal with a more profound
comprehension includes the use of symbolic thought. In the Eastern way of thinking,
speculation moves us far from understanding reality. Our thoughts take us to the world of
symbols away from reality, an unrecoverable distinction lies between the symbol and what
it represents.

Socio-cultural Approach: Communication plays an important role in the realm of

symbolism and the socio-cultural theories portray the diversity and complexity of the
communication discipline. In this study, the theories on human communication under
socio-cultural traditions in a different context for example conversation, where especially,
the Symbolic Interactionism and Symbolic-Convergence theory become relevant and
directly relate to the study of Symbolism in Visual arts. To the socio-cultural researchers,
the symbols with its meanings of particular culture or a society always attract. (Littlejohn
& Foss 2008:44)
Psychological Approach: The discipline of Psychology endeavours to understand the part
of mental capacities in individual and the social conduct. Psychologists of different stripes
additionally consider the unconscious mind. Therapists now and again depend upon
symbolic interpretation and other inductive systems apart from different routines methods.
Freud's psychoanalytic theory was largely based on interpretive methods, introspection and
clinical observations. His first psychoanalytic theory which he describes in his book, The
Interpretation of Dreams, states that symbolism is prevalent in human life. Freud by 1900
had guessed that dreams had symbolic significance, and they are very specific to the
dreamer.

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The psychoanalytic approach has helped in penetrating deeper into the understanding of an
artwork. In an artwork every element is symbolic, whether it pertains to perceptual form or
to subject- matter, it represents something beyond of what it represents. An analysis of
artworks is possible through the psychological approach by studying the usage of
symbolism undertaken by the artist in the earlier as well as in the contemporary practice of
art.

Semiotic Approach: Semiotics is one of the fields where a systematic scientific study of
Signs has been carried out. Semiotic literature gives information about the emergence of
symbols, nature of symbols and the classification of symbols based on the functioning of
Sign. It is perhaps one of the most exciting contemporary intellectual developments,
touching on a vast number of issues and subjects of philosophical, aesthetic, literary,
cultural, biological, and anthropological and so on. Charles Morris stated that "the concept
of sign may prove as fundamental to the sciences of men as the concept of atom has been
to the physical sciences or the cell for biology." (Innis 1985:336).

With reference to the topic of Symbolism only the Semiotic approach is examined and
taken into account rather than the Literary approach. Though in the Literary approach
where Symbolism is given emphasis and is an important part of linguistic developmental
process and application, the Literary approach gives emphasis to only the word-sign as
compared to the image-sign. In the study of Semiotics both the image and the word sign
are understood well and are given equal emphasis, in fact the linguistic developmental
process becomes a part of Semiotic studies.

Chapter3. Emerging Frontiers in Art Historical Studies

This chapter deals with the issues and challenges against the traditional approach of art
historical studies and broadens the horizon of the vision of art with a new understanding,
perspective and dimension of the emerging frontiers like the new art history, digital art
history, transformation of visual into text and vice versa, art history and visual culture. The
emerging frontiers in art history gives symbolism a very important place in reasoning the
existing methods of analysis and to hold a significant place in the history of art as the

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subject is studied in the context of sociology, culture, and even from anthropological
perspective.

New Art History: Art History has moved away from its original structure as an Academic
Discipline and is trying to connect with the cross disciplinary and multi-disciplinary
approach. It has stretched towards cultural and aesthetic analysis of the artistic expression,
a greater concern towards viewership and consumerism than the analysis of art work, artist
and techniques. The term 'new art history' is associated with T J Clark and Griselda
Pollock with their social and feminist art histories and later it connected to encompass
post-colonial, Freudian, post-Freudian and wider gender-studies approaches. It’s been a
part of the critical lexicon of the art historical discipline and indicated a reasonable
movement that fore grounded the reliance of scholarly request on from the earlier
ideological and political qualities. As of late such interlinking has been undermined in
various ways.5 This establishes that the new art history gives a far reaching prologue to the
essential changes which have happened in both the institutional establishments and routine
of art history in the course of the most recent thirty years. Two methods are emphatically
connected with the new art history, the social history and the semiotics as intends to survey
and portray the new art history's beginning of the end were invoked. (Stimson 2002:92)

Transformation Of Visuals (Art Historical Specimen) Into Text (Textual Form) And Text
Into Visuals: It is very interesting to explore how the ancient concepts of the image have
been constituted in written discourse and how the concepts themselves are transformed and
made visible in works of art. To understand the process of transformation, the terms like
Image, Text, Visual Image, and Artwork are discussed in terms of their meaning and
concept. In this stage of analysis it is relevant to engage more fully with the content,
context, message, communication, of a visual as the 'visuals' which are not self explained
and they have to be deciphered. The transformation of visuals or artworks into text takes
place when art historian rediscovers a work of art by analyzing and reading the content and
giving or fixing meanings to it. The above can be supported by what Gombrich believed in

5
http://arthist.net/archive/1837 viewed on 10.3.2014.

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the art historian's ability to fix the "real meaning" of image (D' Alleva. 2012:37). This
chapter explores such issues of rediscovering or fixing of the real meaning by applying
different approaches as the process is complex as, the pictures may contain hidden
meanings of a symbolic or allegorical kind. This methodology, technique and analysis will
be applied on some of the artworks selected both from historical and modern period of
Western and Indian Art as the example to show how the visuals have transformed into a
text.

Art History and Visual Culture: Visual culture, as a term, refers to the visual aspects of
culture as well as to the Visual Culture as a scholarly discipline. It offers profound
implications for understanding consumer culture. As a discipline, it highlights the
fundamental importance of the image in cultural life.6

As an academic subject Visual Culture combines the study of cultural studies, art history,
critical theory, philosophy, and anthropology, and concentrates on parts of culture that
depends on visual images. It incorporates the creation, use, form, and gathering of pictures
over a wide span of time. It includes painting, sculpture, and architecture traditionally
defined by art history. Image forms the beliefs and values in a society and has a great
impact on the preserving of issues on gender, race, sexuality and class. Therefore image
study indulge into serious questioning that concerns the social, political, economic,
religious, and psychological effects of images.

Art History when viewed through the perspective of Symbolism goes closer to Visual
Culture. While exploring new frontiers in Art History it demands the shift from vision of
Arts to the visuality of Art, from visual to performative to literary configuration where the
reductionist's approach with reference to period, style, iconography, ideology, theories are
sidelined in order to carry out an eternal and extended search for connecting with Arts,
Science, Literature, Technology, Media Studies finally ending up with a consciousness
towards visual culture.

6
http://www.academia.edu/494433/Visual_Culture viewed on 13.3.2014

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Digital Art History: The new emerging field digital art history throws challenges, to the
methodology of art history where the study of art objects are physically observed and
examined, can be studied through the digital tools. Art historian Nuria Rodríguez Ortega
on growing art history for advanced age contends to re-set up computerized art history on
fresh ground, by adjusting the field to the new Web scene and expanding its degree to
incorporate the full range of human endeavours to make importance of art.7 Digital
technologies conceivably have transformative impact on the discipline of art history. It
makes large volume of research material available and accessible, permitting for new
inquiries. Volumes of digitized images and texts available can be handled and can recover
the past in virtual environments, and bring the unpredictable intricacies of works of art to
light never done before.

This chapter addresses some of the new areas that are emerging in art historical studies
with the introduction of digital technology in the field of art history.

Chapter 4 Survey of Symbolism in Art Movement

Chapter four explores the study of symbolism with art historical approach. Here the
concept and the theories of symbolism are dealt with an art historical perspective. The
Symbolist Movement a specific movement in the history of art has been critically
discussed. The other movement from Impressionism to Cubism and Dadaism to Surrealism
to Symbolism was the focal point to emphasise the issues and challenges of the times.
Questioning the application and interpretation of the concept of symbolism in the
symbolist movement and the other movements of art history are covered in this chapter.
This study being an enquiry in developing a method for visual analysis through the tool of
Symbolism, the understanding of the use/application of symbolism in the traditional
methods of visual analysis plays an important role in structuring the framework for
Symbolism to recover from the lapses through the strengths of symbolism against the tools
applied in the traditional methods of analysis.

7
www.getty.edu/iris/its-time-to-rethink-and-expand-art-history-for-the-digital-age/#sthash.AuC38HEF.dpuf.
viewed on 9.2.2014

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Chapter5. Selected Thinkers and their Approaches to Symbolism
This chapter is crucial in this research so as to develop, explore, and to propose a viable
model of Symbolism, which is interpretative and serves as a background. The thinkers and
their approaches selected here provide an insight into the interpretative analysis of
artworks, art historical studies and the visual culture as the emerging field associated with
art history in the twenty first century. For this purpose two sets of theorists have been
selected for their approach and techniques which will provide a constructive basis to build
a theoretical model for symbolism.

From the Western Studies- The approaches of Gombrich, Jung and Langer have been
selected, which support the intent of the study in this research.

1) Ernst Hans Gombrich : Gombrich offers new translations of legendary, celestial,

metaphorical and philosophical subjects in Renaissance art and surveys the evolution of
this type of art in ancient and medieval times. He also studies the philosophical
ramifications of visual imagery in the Renaissance and uncovers the links of the potent
ideas with Freud's and Jung's theories of symbolism. His thoughts and arguments on
numerous key inquiries, for example, the nature of representation, the psychology of
perception, the interpretation of images, issues of hypothesis and strategy, the thought of
advancement and imagery, meaning and significance in art are discussed in the book The
Essential Gombrich.

2) C. G. Jung: A well known contemporary contributor on symbolizing and analysing

dreams, Jung clarifies that a symbol is a word, picture, photo, statue, and so on that
dependably connotes something much bigger than what we promptly know, and in this
manner focuses to the unconscious. In the years from 1913 to 1917 he set out upon a
profound, broad procedure of self-examination that he called an "encounter with the
unconscious". His theories on archetypes, complexes, the collective unconscious, and the
individuation process alongside his comprehension of the symbolism found in dreams and
in other inventive procedures, framed the premise of his clinical methodology, which he
called analytical psychology. His opinions in the book Man and his Symbols is meaningful

42
towards the interpretations of artworks of the genre, where he explains his tremendously
powerful hypothesis of symbolism as uncovered in dreams.

3) Susanne Langer: Langer's theory of symbols, establishes a foundation for the theory of
symbolism, which gives preference to the artworks and expression and their relevance to
the theory of symbolism. Among Langer's published works Philosophy in a New Key
presents her theory of symbolism and serves as a prologue to her later writings. Feeling
and Form extends and clarifies aspects of the theory of symbolism by offering a critique of
the arts in relation to her theory.

From the Indian Studies- From the art historical perspective, the Indian art historian's
approaches such as Ananda Coomarawamy, Stella Kramrisch and Kapila Vatsyayan has
greater relevance to this study.

1) A.K. Coomaraswamy: Reading of an image becomes important when thought in the line
of Coomaraswamy’s thinking, where he says symbolism is "the art of thinking in image"
(Bell: 1962:64) He is equally concerned about the understanding and interpreting the
meaning of an image and puts forward his ideas, concepts and thoughts on symbolism by
dealing and handling the symbols. To understand the exact meaning, apart from the literal,
historical and cultural, a hermeneutical interpretation becomes essential to reach to the
essence of an image or an object apart from the aesthetic meaning. Coomaraswamy was a
pioneering historian and a philosopher of Indian art, particularly of art history and
symbolism. According to him in any analysis of meaning, the literal and categorical or
historical significance must clearly have to be distinguished. Coomaraswamy’s content,
concepts and thoughts are associated with symbolism, which gives scope to explore the
realm of symbolism through his perspective. There are objects of religious significance,
but when used as part of painting or sculpture or receive a place in architecture, they reach
a place of significance, where they have to be analyzed from the perspective of symbolism.
Coomaraswamy was deeply involved in analyzing such symbols in art from the
methodological viewpoint of symbolism and hence enriched the sense of visualization of
these objects with multiple layers of meanings. His essays "Rape of the Nagi", "On

43
Symbolism" and "On Traditional Symbolism" were published in What is Civilization? and
reveal deeper insights into his approach of symbolism and art. Before Coomaraswamy, art
in India was studied by the western thinkers with the viewpoint of compositional, thematic,
stylistic and the perspective of an artist. But Indian artworks convey the meaning beyond
all these components of creating an artwork. A quest for the meaning in artwork drove
Coomaraswamy to go into the textual sources to understand the meaning and principles in
the creation of art works. His understanding of Indian Art has given a strong insight and
opened a new avenue in analyzing Indian art with a deeper and conscious intuitive
approach. The methodology of studying Indian art set- forth by Coomaraswamy has
infused freshness in the interpretation by his followers like Stella Kramerisch, Kapila
Vatsyayan, Vasudeva Saran Agarwala, Moti Chandra, Choodamani Nandagopal and
others.

2) Stella Kramrisch: Stella Kramrisch has been a pioneer in interoperating the Indian art
by emphasize on the religious, cultural and symbolic values. Stella Kramrisch considers
both the visual and the literary symbolism in the sacred art of India. Her scholarly writings
focus on formal and specialized parts of temple structure and painting in the setting of their
typical symbolic significance. Her reasoning was defined affected by the Vienna School of
art history together with her own profound knowledge of analysis of forms and
significance of symbols. Her famous writings on The Presence of Siva, Hindu Temple and
Principles of Indian Art extensively deal with the importance of symbolism in Indian Art.

3) Kapila Vatsyayan: Kapila Vatsyayan's writing reflects a clear understanding, deep

knowledge and serious study of Indian art through Symbolism whether visual or
performing arts. Kapila Vatsyayan gives a constructive approach to Indian art which is also
relevant to contemporary art world. Concepts of Space Ancient and Modern, The Square
and the Circle of the Indian Arts, Gita Govinda, its influence in Indian Art and Art as
Integral Vision are the few major contributions by her in Indian art history.

All these three philosophers belong to one lineage and a strong insight given by
Coomaraswamy. Till then Indian artworks were studied by the western thinkers with a

44
point of view of compositional, thematic, stylistic and the perspective of artist. But Indian
artworks convey meaning beyond all these components of creating an artwork. The
contribution of all the six philosophers on art provides a unique opportunity to access the
concept and place of symbolism in studying both in Indian and Western art history.

Chapter6. Symbolism- Proposing a Model for Art Historical Analysis

On the basis of the above five chapters, the sixth chapter proposing a model on art
historical analysis has emerged. Many historians they have given their approach but a
constructive model has not been proposed in the study of art. In the year 1986, Charles R.
Jansen in his book Studying Art History proposed several charts and tables on analyzing
artworks. In these models, symbolism as a method to study the meaning in art has not been
paid much attention. This has prompted the researcher to create a structure or a model with
the relevance of symbolism in art historical studies. Here an individual artist’s artwork and
an artist’s series of works are chosen to apply the proposed model which provides a fresh
thought process and also stimulates a conscious insight to study the artworks from the
perspective of symbolism.

Chapter7. Conclusion
The last chapter covers the analysis of information collected from primary and secondary
sources, and the inferences drawn from the study of the key philosophers and theories
relevant to this research. An objective structure that is drawn in the previous chapter is
subjected to critical analysis in the light of the theories studied. The model that has been
proposed testifies the place of symbolism in analyzing the artworks. It also tries to justify
the significance of symbolism as a general rule for analysis of all genres of artworks or
would be more meaningful to artworks to apply only to certain categories of art works.
The entire study has paved one of the hardest ways with the humble intention of
prioritizing the relevance of symbolism in art historical studies. These research findings
would add another dimension to the study of art history in a small way.

_________

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