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PUBLISHED DATE: - 24-06-2024
DOI: -
https://doi.org/10.37547/tajssei/Volume06Issue06-27
PAGE NO.: - 213-219
THE ROLE AND INTERPRETATION OF
VISUAL IMAGE IN HISTORICAL STUDIES
Nodira Nazarkulova
Researcher at Tashkent State University of Oriental Studies, Uzbekistan
INTRODUCTION
The concepts of “visual image” and “visual
imagery” are central to the study of visual
anthropology, particularly within the historical
context. Visual anthropology itself is a relatively
new discipline within the history of Uzbekistan,
necessitating extensive research into its subject
matter, objects, methodologies, and specific
terminologies. A visual image can be defined as
material information perceived through the
human sense of sight, typically manifested as a
two-, three-, or five-dimensional representation of
a clearly defined object, person, or event. This
image is the focal point of visual materials.
Visual imagery, while more abstract, refers to the
general concept formed through the collection and
analysis of numerous visual images of a particular
type of object, person, or event. Therefore, the
visual image represents the material aspect,
whereas visual imagery is the conceptual
interpretation derived from it. The formation of
both visual images and visual imagery involves
various standards, perspectives, and approaches
that complement and clarify each other.
In the context of women, visual representations
encompass div shapes, clothing styles, facial
structures, makeup, manners, rituals, and forms of
family hierarchy. These elements vary significantly
across different cultures, nationalities, and
religions. To understand visual imagery,
researchers use visual images as primary sources.
Conversely, visual imagery, as part of material
culture, arises from ideological and philosophical
viewpoints, much like other cultural forms. This
duality underscores the importance of both visual
images and visual imagery in historical research,
particularly
in
examining
the
evolving
representations of women across different
civilizations and epochs.
RESEARCH ARTICLE
Open Access
Abstract
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Theoretical framework
. German media theorist
Vilém Flusser considered visual materials as
integral components of culture and categorized the
history of visual images into three main stages: (1)
the era of myth and traditional imagery, (2) the
period marked by the advent of records, and (3)
the age of man-made images. Flusser equated the
creation of man-made images to the development
of written language. According to him, the
distinctive characteristic of man-made images, as
opposed to written texts, is their capacity to depict
four-dimensional objects, events, or people,
captured in a moment of time, in a two-
dimensional format. This enables viewers to infer
the depicted reality. Although the essence of the
image itself is intangible, it becomes perceptible
through its visual representation. Like historical
realities, visual images can assume various forms,
adapting to the demands of their times.
Interpreting these images requires a rigorous and
objective approach from researchers, who must
consider the cultural and historical contexts in
which the images were produced and used.
In visual anthropology, the term “visual image”
carries two distinct meanings. First, it refers to an
imaginary or virtual image that forms in the human
mind upon reading a written source or hearing an
audio message. In this context, the recipient of the
information constructs a mental picture of the
object without direct visual exposure. For instance,
depictions of individuals from the Middle Ages or
earlier, prior to the advent of cameras, are
products of such visual imagination. A notable
example includes the portraits of Sahibqiran Amir
Temur based on descriptions by Sharafuddin Ali
Yazdi or Ibn Arabshah. However, using these
sources as subjects in visual anthropology remains
a contentious issue.
The second meaning pertains to the general
concept that forms in the observer’s mind about
the depicted object based on a clearly visible
image. This implies that the object presented in a
photograph or video is perceived as a
representative of similar objects. For example, the
portrayal of characters in Korean dramas, which
are now integral to the popular K-pop culture,
influences our perception of the entire Korean
population. These dramas shape our views on their
appearance, lifestyle, and socio-economic issues.
However, the actual lives of Koreans may differ
significantly
from
these
dramatized
representations.
The visual image constructed through new media
networks is gaining a leading position in modern
culture, leading to changes in how visual
information is received . The sheer volume of
visual materials available for studying the history
of everyday life is immense, making it challenging
to isolate and examine the visual representations
of specific groups within a narrow context.
Consequently, it has become a complex task to
explain the visual image of a particular group
based on the research object’s visual appearance.
In fact, it is impossible to imagine life without
visual images: from information dissemination in
mass media to the context of entertainment events,
and all exchanges related to daily life on social
networks, visual images permeate every aspect.
Technology, by creating new forms of visual
presentation, enables a close study of the unique
aspects of everyday life. Whereas early
photographs represented only a limited group of
people, today, anyone can take and be
photographed, irrespective of economic, social, or
political background. As a result, the range of
visual materials is vast and diverse. Visual
materials such as signs, typography, drawings,
graphic design, illustrations, industrial design,
advertising, animation, and electronic resources
serve as means of mutual communication for
humanity, conveying information and ideas.
The concept of the “visual image” is the result of
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perception, memory, and experience of an image
or object formed in the observer's brain within the
field of “visual studies” of scientific research. The
uniqueness of the visual image concept lies in its
involvement of a medium that reflects the nature
of observation. This concept is inextricably linked
with cultural context and conventions, as well as
with the reception and interpretation within the
cultural sphere. The visual image effectively
conveys reality, creates new meanings, and
evolves alongside cultural contexts. Therefore,
studying the visual image within the framework of
visual studies is closely related to the exploration
of “cultural vision” and the specific features of its
reception methods .
The concept of a visual image can be understood as
a fundamental mode of perceiving reality shaped
by mass media. It represents one of the earliest
forms of cultural expression. Rendering an image
visible and observable ensures its accessibility to
all viewers, facilitating a shared understanding.
Each culture has developed its own visual codes,
comprising a repertoire of symbolic images.
East and West exhibit distinct approaches to
visualization: the East often emphasizes spiritual
awareness through abstract, symbolic, and
intricate forms, particularly evident in Islamic
traditions, where divine presence is emphasized
over tangible objects. In contrast, Western
visualization predominantly features tangible
objects, where the presence of the object itself
defines the value of the image. It is noteworthy
that, unlike in the West, the Eastern approach
tends to be more vibrant and colorful, influenced
by the religious diversity prevalent in Eastern
societies, particularly Islamic cultures. However,
non-Muslim Asian countries exhibit varied visual
cultural forms. In East Asian countries, such as
Korea, visual representations have evolved
through stages including shamanism, Buddhism,
Neo-Confucianism, and the introduction of
Christianity from the 19th century onwards.
The history of visual representation in Korea
encompasses diverse forms, from primitive murals
and figurines to monumental Buddha statues ,
traditional miniature paintings, portraits of kings
and queens, and sacred icons. Each phase reflects
the cultural and religious contexts that have
shaped Korean visual culture over time.
Primitive art exemplifies the early human capacity
to convey experiences through images. These
images represent the initial manifestations of
human imagination concerning beauty, harmony,
and the order of the world. In primitive cultures,
visual representations possessed both practical
and divine attributes, with imagery serving as a
means to approach deities. However, during this
period, the content of visual images was not
entirely autonomous but intertwined with sensory
experiences of feeling, hearing, smelling, and
touching . Pictographic monuments, reflecting the
primal
community’s
initial
attempts
to
comprehend the world, also mirror the lifestyles of
their creators, highlight the unique social relations
of the time, and signify the evolution of religious
consciousness.
In ancient cultures, visual elements exhibited a
meticulous inclination toward accurately depicting
reality down to the minutest details. As previously
mentioned, representations of individuals among
the Greeks served as archetypal models for visual
imagery, whether in the form of photographs or
statues. Each copy of these models aimed to serve
as a prototype for subsequent copies, thereby
imparting a profound and elevated significance to
any visual element within ancient culture
–
a
representation that closely mirrored reality.
Examining these elements provides insight into
the qualities valued by ancient Greeks in
individuals, transcending gender distinctions.
Moreover, it underscores their inclination to
surpass ancient norms of legislation and morality,
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appealing to divine ideals while challenging
existing societal structures.
During the Middle Ages, the visual image evolved
into a composition of symbols and illusions that
conveyed core content while eschewing the
representation
of
outer
appearance
or
superficiality. The primary function of such images
was to facilitate a sense of divine presence through
human senses, emphasizing interpretation rather
than mere visual perception. In the Muslim world,
significant strides were made in this realm by
transforming entire inscriptions into visual images
through calligraphy. Conversely, in the Christian
world, icons occupied central significance . An icon
represented a manifestation of the otherworldly
adapted to earthly existence, reflecting the belief in
the incarnation of God as a human being (such as
Jesus in Christian theology). This concept stemmed
from the notion that divine ideas could be
embodied and expressed in material form,
specifically on paper.
Icons, being products of imagination, were not
linked to tangible, existing materiality. They
served as potent conduits for spiritual
contemplation and devotion . The proliferation of
countless icons throughout the medieval world
underscores the profound gap perceived between
ordinary people and the divine realm during this
era. Icons played a crucial role in bridging this gap,
offering a tangible connection to the spiritual and
metaphysical dimensions central to medieval
Christian and Eastern Christian beliefs.
This distinction applies universally across all
peoples and epochs, yet there exists a common
thread that unifies them. The field of history
investigates the underlying reasons that give rise
to all forms of visual imagery. Disciplines such as
cultural studies and art history scrutinize visual
images as subjects of inquiry. In historical
research, a visual image
–
broadly defined
–
emerges as a product of long-term socio-political,
economic, and cultural processes spanning
centuries. This perspective becomes particularly
evident when exploring the history of women,
where socio-political and cultural transformations
have significantly shaped visual representations
over time.
Picture 1. Postcard from the collection of Willard Dickerman Straight and Early US-Korea Diplomatic
Relations. Cornell University Library Archives. 1904. Resource:
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In contrast to the Middle Ages, the late 19th
century witnessed the rising popularity of
photographs and cameras, which rapidly
permeated all strata of global society and
inadvertently became pivotal in documenting
everyday history. This era, coinciding with the
zenith of colonial policies, exemplifies the visual
concept of “image”: “The relationship between East
and West strengthened, marking the onset of
tradition’s decline in the East. Within a brief period
(late 19th century to early 20th century), Eastern
women began to depart from classical
appearances, adopting images assimilating ultra-
modern Western culture,” and so forth. This
narrative could span hundreds of pages, yet can be
encapsulated by the presentation of two
photographs: figures 1 and 2.
The transformation in Korean women’s
attire over
a span of 46 years is starkly illustrated in two
contrasting photographs. Both images depict
middle-aged women of the middle class (aged 18-
30, according to the author), standing prominently
before the camera, highlighting the evolution over
time. Picture 1 portrays women with their faces
entirely veiled, clad in garments that cover them
from head to toe, leaving no part of their faces
exposed. In Figure 2, women are seen in a more
socialized stance, proficient in posing for
photographs, evident in their upright posture. Both
visual images vividly capture the distinct images of
two groups of women.
However, what grounds do we have to regard
these images as representative of Korean society
as a whole in 1904 and 1950, or indeed at all?
Picture 2. A group of Korean women participating in a performance in Masan, Gyeongsangnamdo on
December 27, 1950, amidst the backdrop of the Korean War.
http://archive.history.go.kr/id/AUS022
In visua
l anthropology, the study of “image”
derives general and common characteristics of a
social stratum, group, or class from an analysis of
individual and unique traits exhibited by all
participants or members involved. Upon
examining about 50 photographs of Korean
women from the first half of the 20th century
stored in various archives, it became evident that
in most instances, middle-class women could only
venture outdoors wearing a head covering known
as a chanot. This practice was reinforced by laws,
moral codes (such as those detailed in Queen
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Seohe’s 15th
-
century book “Nehun”), and religious
influences under New Confucianism. By 1950, the
attire seen in Figure 2 had evolved into a
customary
everyday
fashion.
Numerous
photographs from 1950, unlike those from 1904,
are readily accessible online, offering a more
comprehensive visual documentation of this
transformation.
The visual representation of Korean women from
the late 19th century to the early 20th century was
characterized by modesty, passivity, and limited
rights influenced primarily by three key factors:
religion, politics, and morality. Consequently, their
attire and conduct were reflective of these societal
norms .
Over the 46-year period leading up to 1950,
significant
transformations
occurred.
The
introduction of Christianity and the diminishing
influence of New Confucianism marked a shift in
ideological frameworks. Additionally, the collapse
of the Joseon Dynasty, the imposition of Japanese
colonial rule followed by its dissolution, the
establishment of a republican system, and the
subsequent wave of Westernization and liberal
ideas in Korean culture all contributed to
expanding social opportunities for women. These
changes ushered in greater rights and freedoms for
women than ever before.
Based on the discussion above, it is appropriate to
conclude that an image represents a generalized
and abstract portrayal of a specific social group,
stratum, or class, shaped by ongoing social,
political, cultural, and economic processes within a
defined period. Visual materials serve as
foundational elements for defining such images.
However, for a scientifically substantiated
understanding, it is essential to meticulously study
the individual political, social, economic, and
cultural factors that contributed to their formation.
Each of these factors plays a crucial role in shaping
and contextualizing the visual representations that
define and characterize a particular societal group
or class during a given historical epoch.
Throughout
human
history,
the
visual
representation of women has varied significantly
across different civilizations and time periods. The
conceptualization of a woman’s visual image is
influenced by moral codes, cultural values,
religious beliefs, and historically constructed
gender roles within society. These transformations
are often more vividly captured through visual and
pictorial media than through textual sources. The
evolution and shifts in these representations, prior
to their crystallization into visual imagery, are
predominantly driven by ideological, moral, and
legal frameworks. Consequently, the initial stages
of this research necessitate a thorough
examination of textual materials that reflect these
foundational factors.
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