Iconographic Analysis of “Spring Wind Has Awakened” Based on Irving Panofsky

[Background] Iconography emerged in 19th-century art analysis to decode artworks’ meanings and cultural ties. While Mallet pioneered the concept, Panofsky’s three-phase method became foundational. Its adaptation to China’s dynamic cultural context highlights enduring academic and aesthetic relevance. [Objective] This paper aims to explore the application of Panofsky's iconographic theory after its localization and development in China.Through an iconographic analysis of the 1980s vernacular realist oil painting Spring Wind Has Awakened, it aims to provide novel perspectives for the development of Chinese contemporary art. [Method] Applying Panofsky’s theory, a qualitative analysis of Spring Wind Has Awakened examines symbolic meanings and cultural contexts to assess its aesthetic and theoretical contributions. [Results] The analysis indicates that, after localization and development, Panofsky's iconographic method has become an important tool in the study of Chinese art history. This method offers a new perspective for understanding the aesthetic preferences and cultural connotations present in China's vernacular realist oil paintings, and it provides valuable insights for the development of contemporary art. [Conclusion] The application of Panofsky's iconographic analysis in China has verified its significance and practical utility in art history research.Through the analysis of “Spring Wind Has Awakened”, this paper demonstrates the unique value of iconography in revealing the intrinsic meanings and cultural connections of artworks, thereby offering theoretical support and new research directions for contemporary Chinese art studies.