Larissa DoldeGestik als Verkörperung der Affekte

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Gestures are communicative movements of hands and arms - similar to verbal expressions. They are used to illustrate the speaker's thoughts, feelings or intention. In paintings, it also visualizes hierarchy and narration. Already since the antiquity the hand gesture is subject of the explanations within the written works to the rhetoric. In addition, corresponding passages can be found in the art theoretical tracts of the Renaissance. Early on, the theorists of both disciplines recognized that gesture is not only an aesthetic element, but also has an emotional effect on the recipient. The explanations of hand gestures in rhetoric and art theory are linked and compared in a detailed source analysis. Here, the focus is on the connecting principles. The underlying rules of interaction of gestures are analyzed and their communicative possibilities are shown. This is accompanied by explanations of the function of gestures within the pictorial space. With a view to perception, it is shown that not only aesthetic aspects play a role in the emotional effect of a work of art, but that the rules of appropriateness (decorum) are also relevant. It is examined how affects must be expressed in a painting in order to produce an emotional reaction in the recipient. Since the investigation is situated in the area of tension between art science and neuroaesthetics, the detailed source analysis is combined with the findings of neuroscientific and experimental work on the perception of the ornament and decorum phenomenon by T.R.A.C.E. By linking findings from different scientific fields, it is shown that correlates exist between hand gestures and emotional perception. Through the exemplary study of pictorial works, the corresponding model of perception is traced.

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