![]() |
[email protected] |
![]() |
3275638434 |
![]() |
![]() |
Paper Publishing WeChat |
This work is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License
External and Internal Modelling of Space in Pictorial Representation
Leonid Tchertov
Full-Text PDF
XML 87 Views
DOI:10.17265/2159-5313/2025.01.002
International Association for Semiotics of Space and Time, Bonn, Germany
Picture is a means of objects’ representation and inter-subject communication, where various ways of spatial modelling interact. Unlike arbitrary signs, picture not only represents something different from itself, but shows the represented objects for viewer’s perception. Therefore, the external modelling in form of a material bearer is connected always with internal modelling of depicted objects. Not only perceptual images, but also internal models of other psychical levels participate in creation and interpretation of the pictures. These are, on the one hand, images of the apperceptual and conceptual levels, where schemes of represented objects and their verbal interpretations are formed. On the other hand, the images of sensorial level participate also in the internal modelling. All these mental models interact differently by artists and viewers and influence organization of external pictorial models mediating their contacts.
spatial modelling, mental levels, perceptual images, schemes of vision, interaction
Leonid Tchertov. (2025). External and Internal Modelling of Space in Pictorial Representation. Philosophy Study, Jan.-Feb. 2025, Vol. 15, No. 1, 9-25.
Augustine, A. St. (1995). On the teaching of Christianity (Oxford early Christian texts). R. P. H. Green (Ed. and Trans.). Oxford: Clarendon Press.
Bakhtin, M. (1965). The work of François Rabelais and the popular culture of the Middle Ages and Renaissance. Мoscow: HL.
Bühler, K. (1934). Theory of language. The representative function of language. Jena: Verlag von Gustav Fischer.
Cassirer, E. (1923-1929). Philosophy of symbolic forms. Berlin: Bruno Cassirer Verlag.
Cole, M., & Scribner, S. (1974). Culture and thought: A psychological introduction. New York: Wiley.
Daniel, S. (1990). Art to see. On the creative abilities of perception, on the language of lines and colours and on the education of the viewer. Leningrad: Iskusstvo.
Danilova, I. (2004). Painting as a formula for worldview. In The fullness of times fulfilled. Collection of articles (pp. 19-77). Moscow: RGGU.
Deregovsky, J. (1972). Pictorial perception and culture. Scientific American, 227(5), 82-87.
Dürer, A. (2000). Treatises. Diary. Letters. St. Petersburg: Azbuka.
Florensky, P. (1993). The reverse perspective. In Iconostasis. Selected works on art. St. Petersburg: Mifril.
Florensky, P. (2000). Projection of organs. In Collected works (Vol. 3, pp. 402-421). Moscow: Mysl.
Gabrichevsky, A. (2002). Surface and flat. In Morphology of art (pp. 219-252). Moscow: Agraph.
Gibson, J, (1979). The ecological approach to visual perception. Boston: Houghton Mifflin Company.
Gombrich, E. (1972). Symbolic images. Studies in the art of renaissance. London: Phaidon.
Gregory, R. (1970). The intelligent eye. London: Wienfeld and Nicolson.
Hildebrand, A. (1907). The problem of form in painting and sculpture. (M. Meyer and R. M. Ogden, trans.). New York, London, Leipzig, Paris: Stechert & Co.
Hogarth, W. (1997). Analysis of beauty. R. Paulson (ed.). New Haven and London: Yale University Press.
Ingarden, R. (1989). Ontology of the work of art. Athens: Ohio University Press.
Kapp. E. (1877). Basic lines of a philosophy of technique. On the history of the emergence of culture from new perspectives. Braunschweig.
Mochalov, L. (1983). Space of world and space of painting. Outlines of painting’s language. Moscow: SH.
Neisser, U. (1976). Cognition and reality. Principles and implications of cognitive psychology. San Francisco: Freeman and Company.
Panofsky, E. (1955). Meaning of the visual arts. New York: Doubleday & Co.
Panofsky, E. (1998). The perspective as a “symbolic form”. In E. Panofsky (ed.), German-language papers II (pp. 664-757). Berlin: Akademie Verlag.
Panofsky, E. (2002). Idea: Towards a history of the concept from antiquity to classicism. St. Petersburg: Naslednikov.
Schapiro, M. (1969). On some problems in the semiotics of visual art: Field and vehicle in image-signs. Semiotica, 1(3), 223-242.
Tchertov, L. (2005). Perceptographic code in visual culture. In P. Torop, M. Lotman, & K. Kull (eds.), Sign systems studies (pp. 137-158). Tartu: Tartu University Press.
Tchertov, L. (2015). On spatial modelling. In K. Kull, T. Maran, E. Sovik, R. Gramigna, M. Lotman, S. Salupere, & P. Torop (eds.), Sign system studies (pp. 77-101). Tartu: Tartu University Press.
Tchertov, L. (2018). Shifted comprehension and psycho-semiotic distinctions of its means. Psychology Research, 8(2), 39-52.
Tchertov, L. (2019). Signs, codes, spaces, and arts. Papers on general and spatial semiotics. Newcastle: Cambridge Scholars Publishing.
Tchertov, L. (2022). Theoretical models of space and its philosophical category. Philosophy Study, 12(4), 185-202.
Tchertov, L. (2023). Spatial models in thinking and communication. Philosophy Study, 13(4), 157-172.
Tchertov, L. (2024). On semiotic means with infralogical semantics. Southern Semiotic Review, 19, 1-18.
Vasari, G. (1956). Lives of the most famous painters, sculptors and architects of renaissance. V. I. Moscow: Iskusstvo.
Wittgenstein, L. (1968). Philosophical investigations. Oxford: Blackwell.
Wölfflin, H. (1915). Principles of art history. The problem of the development of style in later art. München: F. Bruckmann A.-G.
Wölfflin, H. (1969). Aufsätze. Das Erklären von Kunstwerken (Articles. Understanding of art pieces). Stuttgart: Reclam Verlag.