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THE DIFFERENT
PLANES OF ART
Prepared by: Prence Diether C. Rojas
WHAT is a PLANE? • its particular language or vocabulary that has to do with the mediums, techniques, and visual elements of art that constitute it as a distinct area of human knowledge and signifying practice. This is not just what is commonly called the formal aspect of art, but it is what constitutes art as a particular human activity different from the others. •ART has its specificity: Its particular language or vocabulary that has to do with the mediums, techniques, and visual elements of art that constitute it as a distinct area of human knowledge and signifying practice. This is not just what is commonly called the formal aspect of art, but it is what constitutes art as a particular human activity different from the others. ART is historically situated and shaped by social, economic, and political forces. The meaning, signification, or system of significations of a work is not a mental state, nor is the understanding of a work a reductive process which reduces meaning to a summary, statement, or single insight. Meaning in art is a complex of intellectual, emotional, and sensory significations which the work conveys and to which the viewer responds, bringing in the breadth of his or her cultural background, artistic exposure and training, and human experience in a dialogic relationship with the artwork. The analytic study of how the various elements and material features of the work produce meaning should lead to a more stable and consensual field of meaning, away from erratic, whimsical, purely subjective and impressionistic readings. Four Levels of Content in Plane Art are: 1. Semiotic Plane 2. Iconic Plane 3. Contextual Plane 4.Evaluative Plane 1.SEMIOTIC PLANE. Plane Semiotics is the study of signs and signification. According to Emberto Eco, “Semiotics is concerned with everything that can be taken as a sign.”The individual who studies andpractices semiotics is a semiotician. The Swiss scholar Ferdinand de Saussure presented many concepts and definitions used by modern semioticians. Saussure described a symbol as any movement, action, illustration, sequence, or occurrence conveying significance. He described language as the structural system or grammar of speech, and language as the decision taken by a person speaking to communicate that relevant data. He looked at the signs concerning language.His emphasis is not on the basic language structures but on the development of signs and their significance. He looked into the meaning of symbols through the langue and parole. He defined langue as the system of signifier/signified or linguistic signs. It includes the rules that govern a specific language like grammar. And the parole, which is the practical application of the system within a specific language, or the articulation. It may be through spoken words or written expression. He has also established two key concepts in contemporary semiology. Thesignifieris about the physical aspect, the actual spoken or written word. On the other hand, thesignifiedor the mental construct—the idea of a symbol. It implies the examination of time, convention, and practice. It also relies on its connection and its variation from other words. He concluded that the sign is a whole that is a result of the association of the signifier with the signified. An example is the word “tree”, it is a sign which signifies the “idea of a tree.” According to him, there are three types of signifiers: A. Icon- is physically like the meaning which is represented. B .Index -demonstrates what it represents. The relationship among signifier and the signified is described by an index. Without the presence of the signified, a signifier cannot exist. Smoke for instance is a fire index. C .Symbol -has no similarity between both the signifier and the signified. It is necessary to learn the link among them culturally. Symbol is not logically related to what it stands for. The relationship must be 2.ICONIC PLANE OR THE IMAGE ITSELF. This remains part of the semiotic method because it is still based on a significant relationship. But here, it is not the material components of the work which are treated as in the fundamental semiological plane, but that has to do with the unique attributes, parts, and characteristics of the picture. The image is an "iconic sign”, which means beyond its narrow association with religious icons in the Byzantine style, it is a distinctive sign with a unique, specific, and highly nuanced meaning. It is as distinct from a traditional sign, such as a road sign with a single literal meaning. The iconic plane involves the selection of the subject with political and social impacts. An example of the art history is the choice of workers and ordinary people by the French realist Gustave Courbet in his works, instead of the Olympian gods and goddesses or the Greek and Roman ancestry heroes, who were the foundation of classic and university art until the nineteenth century. he positioning, frontal, profiling, three-fourths, etc. of the figure or pictures and the implications of these varying presentations are the focus of the iconic plane as well. Does the artwork demonstrate a primary theme with the key character, or is it decentered and the structure asymmetrical? How can these illustrations make a difference in terms of significance? Does it look formal or unintentional to the person or subjects? How would I characterize the role of the central character: calm, confident, dismissive, aggressive, or distant? A significant aspect of the iconic plane in the style of the figure. The figurative form is not simply caprice, trendy or personal compositions of the artist; afterward, it entails a specific re- presentation or perception of the environment, or world views, if not philosophy. A significant aspect of the iconic plane in the style of the figure. The figurative form is not simply caprice, trendy or personal compositions of the artist; afterward, it entails a specific re- presentation or perception of the environment, or world views, if not philosophy. 3.Contextual Plane In Contextual Plane, you put the work in context and its relationship to society. It is an advantage if the artist/ viewer has a knowledge of society’s history and its economic, political and cultural conditions, national and world art and literatures, mythologies, philosophies and different cultures and world views. Here, you come from the fundamental semiotic and iconic planes, from which you can obtain awareness and perspectives into the historical and social sense of original artwork. Here, you come from the fundamental semiotic and iconic planes, from which you can obtain awareness and perspectives into the historical and social sense of original artwork. The research will be re-situated from its context and the full human and social consequences might well show. The audience needs to draw the discussion between art and society. Art derives its creativity and power from their social environment, being a cultural force and the impetus for transformation. 4.) Evaluative Plane As an art critic, find out what is considered as a value in your nation. Is it depicted in the artwork? What are the underlying social issues conveyed in the work? It is concerned with an analysis of a work’s values. It is impossible to determine without learning the work. It can often be easy to say that assessment encompasses both facets of form and content. However, this segment is conservative theoretically as both are philosophically divided. The semiotic analysis includes the basic semiotic plane, iconic plane, and contexts, which demonstrates how meaning is generated by the connections between meaning (material traits) and meaning (concepts and values) of the specific picture symbol that is an art piece. Meaning is rooted in the content structure at all times. Thank You