카메라 옵스쿠라(Camera Obscura)의 문화사적 배경 -자연학에서 과학혁명까지-
Cultural Background of Camera Obscura -From Physica to Scientific Revolution-
0
조회
0
다운로드
1
인용
0
참고문헌
키워드
초록
The aim of this study is to explain of cultural background of Camera Obscura, which is considered like origin of photography. This optical instrument was widely used for observe natural phenomenon since the Middle ages, but for draw a picture exquisitely during the Renaissance period. The first user of Camera Obscura is Al-Hazen, arabian philosopher who made use of this instrument for observe eclipse of the sun. Many artists of the Renaissance used it, on the other hand, for description of detail, according to the tradition of Magiae Naturalis inherited Physica, that is to search for law of natural phenomenon. Descartes, a grate philosopher of 17th century, describe this optical instrument in his 『Dioptrique』that he explain how we can make glasses. From physica to scientific revolution, Camera Obscura contributed to the birth of natural science, was based on the extension of scientific knowledge. This instrument not was assistant instrument for drawing, but methode for accumulation or scientific knowledge.
Abstract
The aim of this study is to explain of cultural background of Camera Obscura, which is considered like origin of photography. This optical instrument was widely used for observe natural phenomenon since the Middle ages, but for draw a picture exquisitely during the Renaissance period. The first user of Camera Obscura is Al-Hazen, arabian philosopher who made use of this instrument for observe eclipse of the sun. Many artists of the Renaissance used it, on the other hand, for description of detail, according to the tradition of Magiae Naturalis inherited Physica, that is to search for law of natural phenomenon. Descartes, a grate philosopher of 17th century, describe this optical instrument in his 『Dioptrique』that he explain how we can make glasses. From physica to scientific revolution, Camera Obscura contributed to the birth of natural science, was based on the extension of scientific knowledge. This instrument not was assistant instrument for drawing, but methode for accumulation or scientific knowledge.
참고문헌 (13)
- 김성환, "17세기 자연철학" (2008), 그린비
- 데이비드 린드버그, "서양과학의 기원들" (1992), 나남
- 데이비드 호크니, "명화의 비밀" (2003), 한길아트
- 마틴 켐프, "보이는 것과 보이지 않는 것" (2010), 을유문화사
- 야마모토 요시타카, "과학의 탄생" (2005), 동아시아
- 야마모토 요시타카, "16세기 문화혁명" (2010), 동아시아
- 에티엔느 질송, "중세철학사" (1997), 현대지성사
- 조나단 크래리, "관찰자의 기술" (2001), 문화과학사
- Damisch, Hubert, "L’Origine de la perspective" (1987), Flammarion
- De Libera, Alain, "La Philosophie médiévale" (1993), PUF
- Descartes, René, "La Diopotrique in Discours de la méthode" (1992), Flammarion
- Foucault, Michel, "Les Mots et les choses" (1966), Gallimard
- Helmut, "The Origins of Photography" (1982), Thames and Hudson