Abstract
DOI: http://doi.org/10.26333/sts.xxxviii1.09
Each picture evoking perception of another space is included in processes of subject-object representation and inter-subject communication. Pictorial arts create their separate spaces distinguished by structures, functions, and relations to reality. The depicting space is two-dimensional and closed, unlike the depicted space, which can be three-dimensional and open. It can be formed in a real object (drawing, painting, photo, etc.) as a flat projection of a volumetric original. The depicting and depicted spaces are semiotized with the help of various spatial codes, and their connection is regulated by a special complex of iconic and indexical semiotic means. It is possible to speak about a special perceptographic code regulating the formation and interpretation of indexes, due to which the viewer’s gaze can penetrate “through” the depicting surface into the depicted space “behind” it. Depending on the concentration of the viewer’s intention on these spaces or on their connection, diverse spatial codes become relevant in the picture’s interpretation. Various stylistic directions have differently highlighted these codes and relations between pictorial spaces. Accordingly, the picture could be treated mainly as a “wall” with a painted surface, a “window” open to a three-dimensional space, or a “curtain” between the real and transcendent worlds.
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