Another significant image in the work that regularly puts Jan van Eyck at chances with translators of his work is the hand holding in the image. While this if regularly just ascribed to the wedding function that is being caught by the painting, others decide to accept that there is increasingly associated with this basic activity.

One of the adversaries of the thought that this signal is steady of the marriage understanding accepts that “The visual portrayal of a couple (counting motions and iconography) is rather a progressively summed up picture of marriage that mirrors the significance of ripeness and characterized sexual jobs for people.” While this is a legitimate conclusion, there is generous proof to show that this work is a particular focal point through which to see the atypical marriage of two people from the high society. As indicated by Sarah Bucholz, “her look at her significant other can likewise demonstrate her balance to him since she isn’t looking down at the floor as lower class ladies would. They are a piece of the Burgundian court life and in that framework she is his equivalent not his subordinate”. This is by all accounts the more best translation of the work of art by the individuals who need to see Jan van Eyck as a craftsman who was relatively revolutionary. In any case, consider that advanced understandings of sexual orientation fairness are not really appropriate to the fifteenth century peers.

There is a further translation of this scene that proposes this isn’t a marriage contract, however a business contract. Since these two sitters are named equivalent to each other as opposed to a different couple, there is a likelihood that “the artistic creation conveys the symbolism of an agreement between a previously hitched couple giving the spouse the power to follow up for her significant other’s benefit in professional interactions”. This is additionally bolstered by the way that Arnolfini’s significant other is now wearing a hair covering which was a necessity of ladies in fifteenth century society.

Another territory of imagery that addresses the reason and conceivable explanation for the appointing of the artistic creation is in the costly crystal fixture which hangs over the scene. The multifaceted nature of the plan again shows the abundance of the dealer couple and gives another way to Van Eyck to infuse his shading mixing, light systems into the composition.

However, the imagery of this light fixture is upsetting. All things considered, from the seven accessible candles, there is one in particular that remaining parts lit. Fire has for quite some time been an image of life and imperativeness, and the consuming flame on Giovanni’s side shows that he is enthusiastic and energetic. This is reflected in the red sheet material that is seen all through the room, just as the red shows by the bed. There is vitality inside Giovanni, explicitly a lewd vitality. This clearly can’t be disregarded; the conspicuous imagery is that there is promise for a type of reproduction. All things considered, Harbison says “her signal is just a sign of the outrageous want of the couple appeared for fruitfulness and offspring”