Comparative application of Iconography theory in two paintings of the same name "The Last Supper" by Da Vinci and Giotto

Abstract

Iconography falls into the category of anti-formalist approaches that pay special attention to the contents, different cultural contexts, and the hidden and underlying layers of the work of art from different perspectives. According to Hegel and the specific artistic traditions of that time, which include the historical, religious, philosophical, psychological and sociological contexts of that time, the spirit of the time has a profound effect on the creation of the work of art and the form and content are subject to character and goes beyond describing mere physical features. On the other hand, two works of the same name by two different artists show how different perspectives are portrayed under the influence of their cultural context, despite the same narrative. The research methodology was qualitative, fundamental and descriptive-analytical. And moving from the component or subject, which is The Last Supper of Da Vinci and Giotto, leads to the whole (Iconography theory and its comparative application in images from this perspective). In the movement from part to whole or inductive method, analysis is done from the bottom up, from the case to the theory, from matter and form to content and meaning.