Abstract
Background: The sculpture “Apollo and Daphne” by Gian Lorenzo Bernini, a representative of 17th-century Baroque art, is a classic masterpiece. Existing research has largely focused on Bernini’s artistic career and the creative processes of his works, while the exploration of the deep historical and cultural connotations and the social contextual associations embodied in “Apollo and Daphne” remains insufficient, highlighting the urgent need for interpretation from a multidisciplinary perspective. Purpose: This study aims to analyze the artistic form, symbolic meaning, and cultural context of “Apollo and Daphne” using Panofsky’s iconography, to address gaps in existing research, explore the interaction between the work and social and cultural factors, and open up new avenues for future studies. Methods: This paper uses literature review to outline the creative background of Apollo and Daphne and the research trajectory of iconology, applying Panofsky’s three-stage iconological method along with interdisciplinary perspectives from literature, history, and other fields to deeply interpret the work's profound cultural connotations and symbolic value. Results: Research has found that Bernini’s “Apollo and Daphne” is made of marble, capturing the moment in the myth when Daphne transforms into a laurel tree. The work combines the dynamic aesthetics of the Baroque with the influence of classical sculpture, using exquisite technique to transcend the limitations of the material. It subtly reflects the social and cultural context of its time, and when interpreted from a multidisciplinary perspective, it highlights the multifaceted value of art, history, and culture. Conclusion: This study systematically interprets “Apollo and Daphne” through literature review, iconography, and interdisciplinary methods, verifying the effectiveness of Panofsky’s iconography, presenting the multiple values of the work, and providing interpretive approaches, while also offering a classic case for subsequent research.
References
Ensarioğlu, S. A. (2020). Bernini’s Apollo and Daphne Sculpture. Journal of Erciyes University Institute of Social Sciences, 50, 460–478. DOI: [https://doi.org/10.48070/erusosbilder.712901](https://doi.org/10.48070/erusosbilder.712901).
González-Palacios, A. (1995). The Stanza di Apollo e Dafne in the Villa Borghese. Burlington Magazine.
Ogle, M. B. (1910). Laurel in ancient religion and folk-lore. The American Journal of Philology, 31(3), 287–311. URL: [http://www.jstor.org/stable288655](http://www.jstor.org/stable288655).
Paul, C., & Campitelli, A. (2000). Making a Prince’s Museum: Drawings for the Late-eighteenth-century Redecoration of the Villa Borghese (Vol. 5). Getty Publications.
Riddle, J. M. (2013). Folk tradition and folk medicine: Recognition of drugs in classical antiquity. Pharmacy in History, 55(2/3), 64–87. URL: [https://www.jstor.org/stable/24631900](https://www.jstor.org/stable/24631900).
Pérez Vega, A. M. (1998). Ovid, on the Birth of Love (Met. I 452 ff.).
Fan Xiaoxuan. (2022). The Crown of Phoebus: Art and Science in Laurel Crowns of the European Classical Period. Journal of Dialectics of Nature, 10, 24–35. DOI: [https://doi.org/10.15994/j.1000-0763.2022.10.003](https://doi.org/10.15994/j.1000-0763.2022.10.003).
Wang Wenchao. (2017). Bernini’s Sculpture and the “Soul of the Baroque.” Master’s Thesis, Qingdao University of Science and Technology. URL: [https://kns.cnki.net/KCMS/detail/detail.aspx?dbname=CMFD201801&filename=1017720016.nh](https://kns.cnki.net/KCMS/detail/detail.aspx?dbname=CMFD201801&filename=1017720016.nh).
Wang Huikang. (2015). A Study of Panofsky’s Iconology. Master’s Thesis, Shenyang Normal University. URL: [https://kns.cnki.net/KCMS/detail/detail.aspx?dbname=CMFD201502&filename=1015308276.nh](https://kns.cnki.net/KCMS/detail/detail.aspx?dbname=CMFD201502&filename=1015308276.nh).
Lu Tao. (2013). Image, Text, and Ideology: Three Keywords in Iconological Studies. Inner Mongolia Social Sciences, Chinese Edition, 4, 127–132. DOI: [https://doi.org/10.14137/j.cnki.issn1003-5281.2013.04.006](https://doi.org/10.14137/j.cnki.issn1003-5281.2013.04.006).
Sheng Jing. (2012). From Rational Nature to Sensuous Nature: Bernini and Baroque Sculpture Art. Zhuangshi, 5, 28–31. DOI: 10.16272/j.cnki.cn11-1392/j.2012.05.032.
Lu Qiang. (2010). The Awareness of Cultural Turn in Panofsky’s Iconological Studies. The Guide of Science & Education, Mid-Month Edition, 4, 179–180. DOI: [https://doi.org/10.16400/j.cnki.kjdkz.2010.02.009](https://doi.org/10.16400/j.cnki.kjdkz.2010.02.009).
Xu Huawei. (2009). The Irrational Light of the Baroque Spirit through Bernini. Master’s Thesis, Zhengzhou University. URL: [https://kns.cnki.net/KCMS/detail/detail.aspx?dbname=CMFD2011&filename=2010043344.nh](https://kns.cnki.net/KCMS/detail/detail.aspx?dbname=CMFD2011&filename=2010043344.nh).

This work is licensed under a Creative Commons Attribution 4.0 International License.
Copyright (c) 2025 The Author(s). Published by Journal of Global Arts Studies.
