Abstract
Abstract This article investigates the tenet of Object-Oriented Ontology (OOO) that art, like philosophy, is a form of cognition different from literal knowledge by applying key OOO concepts to the analysis of the Renaissance painting The Ambassadors (1533), a double portrait by Hans Holbein the Younger (1497/98–1543). The Ambassadors is found to exemplify the key principles of OOO in its treatment of objects and their relationships. Through an OOO lens, the painting becomes not merely a literal representation of the subjects and their possessions, but a dynamic interplay of real and sensual qualities that exceeds any straightforward paraphrase. The figures and objects in the work are not simply passive symbols, but active agents that withdraw from direct access, preserving their autonomy and inviting the viewer’s participatory engagement. Holbein’s masterpiece comes alive precisely by troubling its own representational coherence, drawing the viewer into an uncanny encounter with the withdrawn depths of objects. By reading The Ambassadors through an object-oriented framework, the painting exemplifies art’s capacity to operate as a non-literal form of cognition, irreducible to mere symbolic codes or propositional knowledge.
Sign-in/Register to access full text options 
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a callSimilar Papers
Disclaimer: All third-party content on this website/platform is and will remain the property of their respective owners and is provided on "as is" basis without any warranties, express or implied. Use of third-party content does not indicate any affiliation, sponsorship with or endorsement by them. Any references to third-party content is to identify the corresponding services and shall be considered fair use under The CopyrightLaw.
