Analysis of the Structure and Thematic Content of Depth Representation in the Discourses of Panofsky, Damisch, Lacan, and Merleau-Ponty in Relation to Iranian–Islamic Visual Art of the Safavid Period
Keywords:
Depth perception, Safavid, painting, Panofsky, Damisch, Lacan, Merleau-PontyAbstract
Depth representation in the visual arts is not merely a graphic or pictorial technique; rather, it reflects the intellectual, epistemological, and aesthetic systems of each civilization. In the Western tradition—particularly since the Renaissance—depth representation has been grounded in mathematical and geometric principles, whereas in Iranian miniature painting of the Safavid period it relies on symbolism, multiplicity of viewpoints, and meaning-oriented representation. This fundamental difference problematizes the relationship between depth representation and architecture, as well as its connection with contemporary theoretical frameworks. The objective of this study is to analyze and comparatively examine the theoretical foundations of depth representation in the discourses of Panofsky, Damisch, Lacan, and Merleau-Ponty in relation to Iranian–Islamic visual art, with an emphasis on the Safavid period. The present research adopts a descriptive–analytical approach and is qualitative and data-driven in nature. Data were collected through library-based and documentary methods, and data analysis was conducted on the basis of comparative studies and qualitative content analysis, drawing on the theoretical texts associated with the four aforementioned discourses. The findings indicate that depth representation is not a purely technical concept but rather reflects epistemological and cultural configurations. In the Western model, space is predominantly homogenized and geometrically constructed, whereas in Safavid miniature painting, space is narrative-symbolic and multi-perspectival, prioritizing the semantic interpretation of the artwork. This comparative analysis clarifies the relationship between depth representation and architecture, as well as modes of perception and representation, and provides a foundation for more precise theoretical explanations in the study of Iranian–Islamic art.
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Copyright (c) 2025 Farinaz Parhizkari (Author); Mansour Nikpour; Reza Afhami, Mahdiyeh Moeini (Author)
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