G. E. 레싱(G. E. Lessing)의 뺷라오콘뺸과 회화의 시공간
G. E. Lessing’s Laocoon and Time and Space in Painting
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18세기 독일의 미학자 레싱은 뺷라오콘 혹은 회화와 시문학의 경계에 대하여뺸에서 ‘공간이 화가의 영역’이라면 ‘시간의 연속은 시인의 영역’이라고 규정한다. 그리고 공간 예술의 순수성을 지켜야하는 미술가에게 가장 함축적인 순간, 즉 관람자가상상력을 통해 화면에 재현된 사건의 전후를 예감할 수 있는 서사성이 농축된 순간을 선택하라고 제안한다. 이러한 함축적 순간은 역사화에 적합한 장면으로, 레싱이매체 미학적 관점에도 불구하고 조형 예술에서 문학적 특성을 여전히 핵심 요소로다룬다는 사실을 주목하게 만든다. 그의 함축적 순간은 인상주의 풍경화에 이르러짧은 순간들로 분절되는데, 이로부터 미술에서 시간에 관한 물음이 강화될수록공간은 평면으로, 형태는 추상적인 색채로 대체된다는 사실을 도출해 내게 된다.
Abstract
Lessing, an 18th-century German aesthetics scholar, stated that a space is a painter’s realm and a continuation of time is a poet’s realm. In his Laocoon; Or the Limits of Poetry and Painting, it is suggested that the artist, who should strive for purity ofspatial art,select the most implicitsingle moment, that is, the specific point in time in which the narrative is enriched, which allows the viewer to forebode preceding and succeeding stories realized on the screen based on the viewer’s imagination. This implicit moment is an ideal scene for historical painting, bringing attention to the fact that Lessing still sees literary characteristics as a key element in formative art despite the aesthetic point of the medium. When it comes to Impressionist landscape painting, Lessing’s implicit moment issegmented into a section of time,space is replaced by a flat surface and form by abstract colors.
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