Als ein weiteres Beispiel für das A

Als ein weiteres Beispiel für das Aufgreifen ikonografischer Darstellungsmuster möchte
ich eine Fotografie Luc Delahayes anführen, die 1991 in Kroatien entstanden ist. Delahaye rekurriert auf die ikonografische Tradition der Opferdarstellungen und schreibt diese fort (Abb. 3). Das Bildzentrum wird nahezu komplett von einem mit einem weißen, leicht transparenten Gardinenstoff verhüllten Körper eingenommen, der den Betrachtern aus der Vogelperspektive zu sehen gegeben wird. Nicht nur die überall auszumachenden
Blutspuren, sondern vor allem der verhüllende Stoff vermitteln eine Ikonografie, die charakteristisch für die Darstellung von Toten ist. Auch die Vogelperspektive erscheint als ein bildkompositorisches Kontinuum von Opferdarstellungen, wie es Hans-Jürgen Burkards Fotografie belegt (Abb. 4). Von oben sehen wir den Leichnam eines Ermordeten, der vermutlich von der russischen Mafia getötet wurde. Der Tote liegt auf einem schmutzigen Fliesenboden, seine hochgezogene oder -gerutschte Kleidung gibt die nackte Brust und den Bauch zu sehen, sodass ein Einschussloch in der Herzgegend zu erkennen ist. Im Kontrast hierzu steht die mit einem Anzug bekleidete Person, deren Körper am linken Bildrand im Anschnitt auszumachen ist. Diese Person hält, auf einen schwarzen Aktenkoffer gestützt, Papier und einen Stift in den Händen und scheint das Geschehene zu protokollieren.

Ergebnisse (Englisch) 1:

As another example of the use of iconographic pattern of representation of wouldI a photography of Luc Delahayes lead, which was created in 1991 in Croatia. Delahaye refers to the iconographic tradition of the representations of victims and writes on it (fig. 3). The center of the image is almost completely taken by a body that is veiled with a white, slightly transparent curtain fabric, given to see the viewers from a bird's-eye view. Not only the anywhere to making outTraces of blood, but especially the enveloping material convey an iconography that is characterized by the appearance of dead. The bird's eye view appears as a compositional image continuum representations of the victim, as it takes up photography of Hans-Jürgen Burkards (fig. 4). From above, we see the corpse of a murdered who was probably killed by the Russian mafia. The dead man lies on a dirty tile floor, raised or-gerutschte clothes to see the bare chest and stomach so that a bullet hole in the heart area is visible. The contrast is the person whose Körper is on the left in the gate adorned with a suit. This person holds, based on a black Briefcase, paper and a pen in the hands and seems to log what happened.

Ergebnisse (Englisch) 2:

As another example, for picking up iconographic representation pattern would like
I a photograph Luc Delahaye's Leadership, which is born in 1991 in Croatia. Delahaye has recourse to the iconographic tradition of the victims and representations extrapolates these (Fig. 3). The image center is almost completely occupied by a veiled with a white, slightly transparent curtain fabric body, which is given to see the viewers bird's-eye view. Not just anywhere auszumachenden
bloodstains, but especially of concealing material convey an iconography that is characteristic of the appearance of the dead. The bird's-eye appears to be a continuum of bildkompositorisches victim representations, as Hans-Jürgen Burkard Photography occupied (Fig. 4). From above we see the corpse of a murdered man, who was presumably killed by the Russian mafia. The dead man lies on a dirty tiled floor, his or raised -gerutschte clothes are the bare chest and the abdomen to see, so a bullet hole can be seen in the heart area. In contrast to this is the clad in a suit person whose body can be made ​​out on the left side in the gate. This person holds, leaning on a black briefcase, paper and a pen in his hands, seems to record what happened.

Ergebnisse (Englisch) 3:

as another example, i would like to pick up on ikonografischer polygon display patterns, a photography luc delahayes argued in 1991 croatia came into being. returned to the ikonografische delahaye tradition of opferdarstellungen and writes this fort (figs. 3). the bildzentrum is almost completely from one with a whiteslightly transparent gardinenstoff shrouded body taken from above the eyes to see them. not only the auszumachenden
blood everywhere, but especially the enveloping substance to give an iconography, which are characteristic for the display of the dead.the bird's-eye view appears as a bildkompositorisches continuum of opferdarstellungen as hans jurgen burkards photography shows (figure 1). 4). from above, we see the body of a murdered, probably by the russian mafia was killed. the dead man lying on a dirty tiled floor.his hochgezogene or gerutschte clothes the naked chest and belly to see that a bullet hole in the heart area is apparent. this is in contrast with a suit clad person whose body on the left in the bleed off. this person keeps on a black briefcase, basedpaper and a pen in the hands and seems to be the events reported.