Reading the first period (1627-1631) self-portraits by Rembrandt based on the concept of Das Ding in Lacan Theory

 Rembrandt, in his early self-portraits, clearly forbids the audience from seeing. The distinguishing feature of these works not in the clearly displayed sections, but in the glorious representation of the lost information. In other words, Rembrandt uses visual principles and qualities in order not to represent himself accurately. This prompted the researcher to read psychoanalytically the self-portraits based on the concept of Das Ding. In this regard, Das Ding as a key object in Lacanchr(chr('39')39chr('39'))s thought, places the real   in the center of The imaginary  and the symbolic in the intersection of the three orders. From Lacanchr(chr('39')39chr('39'))s point of view, Das Ding beyond the ability of the image to represent, emerges in the gap between  memory and perception through non-representation. In this regard, Rembrandt, in his self-portraits of the first period, seems to be working on this unrepresentative dimension. Thus, the theoretical framework and research approach is based on the concept of Das Ding in the theory of French philosopher and psychoanalyst Jacques Lacan.  The research method is descriptive-analytical and the researcher is trying to apply the psychological principles  interpretation  to survey the self-portraits of Rembrandt. The results showed that eyes in the shade, leaving the face in bright light and darkness, gradual blurring with the aim of eliminating the necessary details, lack of design and clear side lines are measures that Rembrandt has taken to represent the non-visual aspect of painting.  Rembrandtchr(chr('39')39chr('39'))s arrangements can be traced to the search for something non-visual in painting  that that unveils painting as a non-visual art.