15세기 태피스트리의 새로움: 장미·유니콘·밀플뢰르
Rose, unicorn, millefleurs: the novelty of the fifteenth century tapestry
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This paper explores the novelty of the fifteenth century tapestry through the analysis of “Rose Tapestry,” “Lady and Unicorn,” and “The Hunt of Unicorn.” The arguments of the paper are divided into three parts: production process, subject matter, and form. First, the production process of the fifteenth century tapestry is new in the sense that as of the fifteenth century such painters as Rogier van der Weyden, Hugo van der Gose, Hans Memling began to be involved in the production process by cartoonist while in the previous periods weavers produced tapestries at the requests of orderers. Second, the subject matter of the tapestry underwent an important shift from Virgin Mary to rose and unicorn, reflecting the concerns of the aristocrats. Third, the millefleurs in the fifteenth century tapestry represented the novelty of the form. As the millefleurs became more than mere decoration, it began to interact with contemporary painting trends like the International Style. In sum, this paper attempts to appreciate the significances of the fifteenth century tapestry, which has been underrated due to its dubious authorship.
Abstract
This paper explores the novelty of the fifteenth century tapestry through the analysis of “Rose Tapestry,” “Lady and Unicorn,” and “The Hunt of Unicorn.” The arguments of the paper are divided into three parts: production process, subject matter, and form. First, the production process of the fifteenth century tapestry is new in the sense that as of the fifteenth century such painters as Rogier van der Weyden, Hugo van der Gose, Hans Memling began to be involved in the production process by cartoonist while in the previous periods weavers produced tapestries at the requests of orderers. Second, the subject matter of the tapestry underwent an important shift from Virgin Mary to rose and unicorn, reflecting the concerns of the aristocrats. Third, the millefleurs in the fifteenth century tapestry represented the novelty of the form. As the millefleurs became more than mere decoration, it began to interact with contemporary painting trends like the International Style. In sum, this paper attempts to appreciate the significances of the fifteenth century tapestry, which has been underrated due to its dubious authorship.
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