{"id":13323,"date":"2023-06-27T13:47:45","date_gmt":"2023-06-27T11:47:45","guid":{"rendered":"https:\/\/antimuseum.com\/?p=13323"},"modified":"2025-07-07T20:24:58","modified_gmt":"2025-07-07T18:24:58","slug":"door-doorknobs-and-symbolism","status":"publish","type":"post","link":"https:\/\/antimuseum.com\/en\/2023\/06\/27\/door-doorknobs-and-symbolism\/","title":{"rendered":"Opportunity, Transition, or Imprisonment?"},"content":{"rendered":"

Knock-Knock<\/h2>\n

Opportunity, transitions, or imprisonment? Doors, first seen in Egypt in tombs in 300 B.C., thought to be an entrance to the afterlife<\/a>. Doors have been thought to represent multiple things, both metaphorically and literally. The saying, ‘one door closes and another opens’. The idea that when you enter, you are walking into a new place, new opportunity, etc.\u00a0 Although doors are extremely beneficial to enter and exit, their symbolism and representation can have various different interpretations.<\/p>\n

Door handles, door knobs, the knockers’, every one is different, but their symbolism stays. Each one you enter will have a different outcome, different entrance, different opportunities on the other side.<\/p>\n

When you knock, you can enter… most times.<\/p>\n

Door-Knockers<\/h3>\n

\"antimuseum.com-DSC_3018\"<\/a><\/p>\n

Typical door knocker of the Pyrenees region, on both sides of the border. This one was shot in Benasque, Spain. 2012.<\/p>\n

\"antimuseum.com-DSC_2966\"<\/a>
Benasque. Spain. 2013<\/figcaption><\/figure>\n

Sometimes after you enter, you realize you shouldn’t have, but there’s no turning back. Knocking on and walking through a door offer great possibility, but a piece of imprisonment as well. This isn’t always true, but what is always true is every one you walk through, you will not be the same when you walk back out.<\/p>\n

\"door\"<\/a>
Benasque. Spain. 2013<\/figcaption><\/figure>\n

These doors, though they look grungy, have stood up for hundreds of years. There are doors from history that are still very strong-standing, and the ones that are made today, easily crumble. This is also a form of symbolism for me, in the form of creation and quality. Throughout history, people have taken time to create beautiful pieces of art and everyday items, to focus on quality. But today I feel like it’s not the same, today people rush to get things done, people gravitate towards the easy way out, to finish in a timely manner.<\/p>\n

\"door\"<\/a>
The door buzzer, Versailles, 2013.<\/figcaption><\/figure>\n

Whether it is a physical door knocker or a buzzer, you open one and walk through, going forward to various possibilities and opportunities, there’s no going back once you’ve entered. One door opens as another one closes.<\/p>\n

\"\"<\/p>\n

In Versailles as a family was leaving that building, barely a stone’s throw from the celebrated chateau, I managed to sneak in and take that picture right before the door closed. Just one opportunity to get a glimpse of the inner beauty. There are secrets behind every door<\/a>. December 2020<\/p>\n

\"door\"<\/a>
Paris 2012.<\/figcaption><\/figure>\n

This forbidden looking lock, I wonder how used it really is. Would you enter if you didn’t know what was on the other side? How do you know what to do to enter and what to avoid?<\/p>\n

\"\"
Doorway, Paris, Rue Saint Jacques, 2013<\/figcaption><\/figure>\n

What do doors represent for you?<\/p>\n","protected":false},"excerpt":{"rendered":"

Knock-Knock Opportunity, transitions, or imprisonment? Doors, first seen in Egypt in tombs in 300 B.C., thought to be an entrance to the afterlife. Doors have been thought to represent multiple things, both metaphorically and literally. The saying, ‘one door closes and another opens’. The idea that when you enter, you are walking into a new […]<\/p>\n","protected":false},"author":60443,"featured_media":6617,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_crdt_document":"","jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"dois","default_image_id":0,"font":"","enabled":false},"version":2},"_wpas_customize_per_network":false},"categories":[436],"tags":[],"class_list":["post-13323","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-photography"],"blocksy_meta":[],"yoast_head":"\nA Door, Doorknobs, and Symbolism<\/title>\n<meta name=\"description\" content=\"Opportunity, transitions, or imprisonment? 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With her love songs, Anne Sophie rekindles the\u2026","rel":"","context":"In "Portrait Photography"","block_context":{"text":"Portrait Photography","link":"https:\/\/antimuseum.com\/en\/category\/photography\/portrait-photography\/"},"img":{"alt_text":"love songs Montmartre","src":"https:\/\/i0.wp.com\/antimuseum.com\/wp-content\/uploads\/2021\/10\/51520745736_d4edf853f3_k.jpg?fit=1200%2C800&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/antimuseum.com\/wp-content\/uploads\/2021\/10\/51520745736_d4edf853f3_k.jpg?fit=1200%2C800&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/antimuseum.com\/wp-content\/uploads\/2021\/10\/51520745736_d4edf853f3_k.jpg?fit=1200%2C800&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/antimuseum.com\/wp-content\/uploads\/2021\/10\/51520745736_d4edf853f3_k.jpg?fit=1200%2C800&ssl=1&resize=700%2C400 2x, https:\/\/i0.wp.com\/antimuseum.com\/wp-content\/uploads\/2021\/10\/51520745736_d4edf853f3_k.jpg?fit=1200%2C800&ssl=1&resize=1050%2C600 3x"},"classes":[]},{"id":13248,"url":"https:\/\/antimuseum.com\/en\/2023\/06\/05\/lockdown-letters\/","url_meta":{"origin":13323,"position":2},"title":"Lockdown Letters","author":"Emilie Leger","date":"June 5, 2023","format":false,"excerpt":"Lockdown Diaries From 2020, right at the beginning of the lockdown: stores were closed, streets were empty, masks were everywhere, and people were nowhere. Now that we've seen how things were before the COVID-19 Pandemic and lockdown, it's time I showed scenes taken from our daily lives, i.e. when I\u2026","rel":"","context":"In "Photography"","block_context":{"text":"Photography","link":"https:\/\/antimuseum.com\/en\/category\/photography\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/antimuseum.com\/wp-content\/uploads\/2020\/04\/49792808841_7b78572aa1_k-1.jpg?fit=1200%2C801&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/antimuseum.com\/wp-content\/uploads\/2020\/04\/49792808841_7b78572aa1_k-1.jpg?fit=1200%2C801&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/antimuseum.com\/wp-content\/uploads\/2020\/04\/49792808841_7b78572aa1_k-1.jpg?fit=1200%2C801&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/antimuseum.com\/wp-content\/uploads\/2020\/04\/49792808841_7b78572aa1_k-1.jpg?fit=1200%2C801&ssl=1&resize=700%2C400 2x, https:\/\/i0.wp.com\/antimuseum.com\/wp-content\/uploads\/2020\/04\/49792808841_7b78572aa1_k-1.jpg?fit=1200%2C801&ssl=1&resize=1050%2C600 3x"},"classes":[]},{"id":2605,"url":"https:\/\/antimuseum.com\/en\/2016\/03\/01\/provins\/","url_meta":{"origin":13323,"position":3},"title":"Provins, doors, keys and porte-cocheres","author":"Yann Gourvennec","date":"March 1, 2016","format":false,"excerpt":"Provins is a mediaeval town 100 km East of Paris. Not all buildings are from the middle ages however. These ones are most likely mid 19th century ones but I found the stonework quite interesting, not to mention the nail pattern on the porte cochere\u00a0(coach door, literally). I tried to\u2026","rel":"","context":"In "Architecture Photos"","block_context":{"text":"Architecture Photos","link":"https:\/\/antimuseum.com\/en\/category\/photography\/architecture-photography\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/antimuseum.com\/wp-content\/uploads\/2016\/03\/24724433513_e38ed847df_k.jpg?fit=1200%2C801&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/antimuseum.com\/wp-content\/uploads\/2016\/03\/24724433513_e38ed847df_k.jpg?fit=1200%2C801&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/antimuseum.com\/wp-content\/uploads\/2016\/03\/24724433513_e38ed847df_k.jpg?fit=1200%2C801&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/antimuseum.com\/wp-content\/uploads\/2016\/03\/24724433513_e38ed847df_k.jpg?fit=1200%2C801&ssl=1&resize=700%2C400 2x, https:\/\/i0.wp.com\/antimuseum.com\/wp-content\/uploads\/2016\/03\/24724433513_e38ed847df_k.jpg?fit=1200%2C801&ssl=1&resize=1050%2C600 3x"},"classes":[]},{"id":19893,"url":"https:\/\/antimuseum.com\/en\/2025\/09\/03\/lorient-submarine-base-bunkers-wwii-relics-and-flip-flops\/","url_meta":{"origin":13323,"position":4},"title":"Lorient Submarine base, bunkers, WWII relics and flip flops","author":"Yann Gourvennec","date":"September 3, 2025","format":false,"excerpt":"Lorient \u2018La Base\u2019, aka Lorient Submarine Base is a major historical site built by the German army between 1941 and 1944 during World War\u00a0II to shelter submarines (U-boats) as part of the Battle of the Atlantic. It\u2019s the largest submarine base built in Europe, consisting of three massive reinforced concrete\u2026","rel":"","context":"In "Architecture Photos"","block_context":{"text":"Architecture Photos","link":"https:\/\/antimuseum.com\/en\/category\/photography\/architecture-photography\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/antimuseum.com\/wp-content\/uploads\/2025\/07\/54508196502_d8de85b1cd_k.webp?fit=1200%2C800&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/antimuseum.com\/wp-content\/uploads\/2025\/07\/54508196502_d8de85b1cd_k.webp?fit=1200%2C800&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/antimuseum.com\/wp-content\/uploads\/2025\/07\/54508196502_d8de85b1cd_k.webp?fit=1200%2C800&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/antimuseum.com\/wp-content\/uploads\/2025\/07\/54508196502_d8de85b1cd_k.webp?fit=1200%2C800&ssl=1&resize=700%2C400 2x, https:\/\/i0.wp.com\/antimuseum.com\/wp-content\/uploads\/2025\/07\/54508196502_d8de85b1cd_k.webp?fit=1200%2C800&ssl=1&resize=1050%2C600 3x"},"classes":[]},{"id":4202,"url":"https:\/\/antimuseum.com\/en\/2019\/12\/21\/rue-des-artistes\/","url_meta":{"origin":13323,"position":5},"title":"Rue des Artistes","author":"Yann Gourvennec","date":"December 21, 2019","format":false,"excerpt":"Close to our place, there is a small street curiously perched 15-20 yards above sea level, it's called rue des artistes. Its name is very apt, around there one can find famous post-war painter Nicolas de Stael's house. At the top of the stairs, a house has just been refurbished\u2026","rel":"","context":"In "Photography"","block_context":{"text":"Photography","link":"https:\/\/antimuseum.com\/en\/category\/photography\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/antimuseum.com\/wp-content\/uploads\/2019\/12\/49251906946_4b145c86be_k-1-e1576914098727.jpg?fit=1000%2C316&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/antimuseum.com\/wp-content\/uploads\/2019\/12\/49251906946_4b145c86be_k-1-e1576914098727.jpg?fit=1000%2C316&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/antimuseum.com\/wp-content\/uploads\/2019\/12\/49251906946_4b145c86be_k-1-e1576914098727.jpg?fit=1000%2C316&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/antimuseum.com\/wp-content\/uploads\/2019\/12\/49251906946_4b145c86be_k-1-e1576914098727.jpg?fit=1000%2C316&ssl=1&resize=700%2C400 2x"},"classes":[]}],"_links":{"self":[{"href":"https:\/\/antimuseum.com\/en\/wp-json\/wp\/v2\/posts\/13323","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/antimuseum.com\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/antimuseum.com\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/antimuseum.com\/en\/wp-json\/wp\/v2\/users\/60443"}],"replies":[{"embeddable":true,"href":"https:\/\/antimuseum.com\/en\/wp-json\/wp\/v2\/comments?post=13323"}],"version-history":[{"count":13,"href":"https:\/\/antimuseum.com\/en\/wp-json\/wp\/v2\/posts\/13323\/revisions"}],"predecessor-version":[{"id":19432,"href":"https:\/\/antimuseum.com\/en\/wp-json\/wp\/v2\/posts\/13323\/revisions\/19432"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/antimuseum.com\/en\/wp-json\/wp\/v2\/media\/6617"}],"wp:attachment":[{"href":"https:\/\/antimuseum.com\/en\/wp-json\/wp\/v2\/media?parent=13323"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/antimuseum.com\/en\/wp-json\/wp\/v2\/categories?post=13323"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/antimuseum.com\/en\/wp-json\/wp\/v2\/tags?post=13323"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}