Semenanalysis of Entry of Christ into Brussels: Is it a Revolution of Christian Icons?

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 related to the holy book, unlike the orthodox Christian iconography, especially is a break or a kind of refusal. There is a revolution in the painting by which we translate it into a kind of modern icons. This research seeks to answer the question, despite the religious elements, whether we categorize it as a modern icon? The purpose of the research is to analyze the process of semananlysis according to kristeva`s ideas. The visual elements and their relations is required for highlighting the exchange of the semiotic and the symbolic? Types of Lines, colors, the degree of darkness/brightness or tonality, shapes, texture, and space will lead us to the threshold of semananalysis. The description of the visual components proceeds up to modal, representational & compositional functions. This focus leads to associative & successional and differential intertextual relationships. An outline of the relations governing the components leads to the levels of principles, 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, with regard to the aesthetic properties like forces of colors, artist leads the audience's mind to a deeper sociological interpretation. Ultimately, considering other artist`s artworks and studying para textual relationships all directly highlight the relationship between political issues associated with new governmentality and new branch of Christianity.