عنوان مقاله [English]
the study is based on the assumption that the painting "Entry of Christ into Brussels" by "James Ensor" despite its title & theme of religious narration of holy book, unlike the traditional iconography, especially Christian one is a break or refusal that is the revolution by which we translate it into a kind of modern icons. This research seeks to answer the question, despite the religious elements, can we categorize it a modern icon? The purpose of research is to analyze the visual elements and their relations and study of the levels and layers of signification or meaning according to signifiance which is proposed by Kristeva.
Types of Lines, colors, the degree of darkness/brightness or tonality,shapes,texture,and space will lead us to the layers of semananalysis. the description of the components proceeds up to modal, representational & compositional functions.This focus lead to associative& successional and different intertextual relationships. An outline of the relations and principles governing the components leads to the levels of meanings, that is, the implicit and explicit, cultural and social ones. The analysis of the visual characteristics and the relations between them will concentrate our attention to the exchange of the semiotic and the symbolic. The focus on the types of intertextual relationship will show "Entry of Christ into Brussels" does not follow the religious iconographical traditions. secondly, Ultimately, considering other artist`s artworks and studying paratextual relationship all directly highlight the relationship between political issues related to new governmentality and new branch of Christianity.