An Inquiry into (morphology) Iconology of Artwork and Meaning Perception

Document Type : Research Article



Studying the development of form in art history is a fundamental theory in artworks iconology. It is possible to study the history of art through investigating the shape of artworks, or art forms aesthetics. The history of art is established on the base of artworks build up and form creation rather than the power of artwork critics’ interpretation and criticisms.
Although the artist's mentality is prior to their final objective work, but it is the objectivity and imaginary system of artworks that make up the history of art. Art is born by making up, although the artist, before creating his artwork, has an imagination of what is to be made. It is the knowledge and technical skills that make it possible that the mental pictures change into artwork.
The artist with his active imagination power creates a form of what should be made and then by using the right material makes it perceivable. A subjectivity which does not gain visible form exists in the mind of its owner as an imagination. An inventor who is technically unable to give birth to his ideas is not reckoned as an inventor. A poet, who is not able to express or write down his poems, is not called a poet. Imaginary forms of an artist can originate from different tales, narratives, and motifs and subjects or even personal feelings. The content or massages that can be religious, moral, humanistic, social, political and ideological, or personal reaction of the artist. Artwork, visible quality and this kind of subjects which in form aesthetics and form creation manners, by the artist gain perceptibility .any understanding, interpretation and critic is possible only through art forms. An artwork is considered such on the base of its aesthetic values form and expression rather than its massage and content, neither on the base of its content perception by the addressee.
Cognition and structural interpretation, methods and expression way of the artist can be studied through the morphological approaches, not through the semantics of the work. Indeed any meaning perception is possible only through morphology and structural interpretation of an artistic object.