문화혁신과 정치수사 - 14세기 전반기 프랑스의 정치 이미지들을 중심으로
Cultural Innovations and Political Rhetoric – Concerning the Political Images in the First Half of the 14th Century, France
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This article, with analyses on various royal images produced by French kingship in multiple political crises in the first half of the 14th Century, is intended to survey its various strategies in order to justify its political authority. These images are classed into two categories: three dimensional image(statue) and two dimensional image(miniature of manuscript and panel painting). In one hand, multi-layered meanings involved in these images are catched in the contemporary politico-social context, and in the other, thier receptivities are examined, depending on their properties of medium and form. Through these images, it is verified that the French kingship accepted the various contemporary cultural innovations in order to effectively deliver their images to people and to make them more familiar. The effects of these innovations are 1) the effort to represent contemporary people who could be verified or actual events in the style of 'realism' or 'naturalism'; 2) the tentative to install and expose the images in public spaces where more numerous spectators could see them. This cultural reception doesn't mean an innovation by kingship, but an appropriation by kingship. And this became an important element for the French kingship in critical political crises, engaged with social, economic and demographic crises, to consolidate royal ideologies after the 1360s.
Abstract
This article, with analyses on various royal images produced by French kingship in multiple political crises in the first half of the 14th Century, is intended to survey its various strategies in order to justify its political authority. These images are classed into two categories: three dimensional image(statue) and two dimensional image(miniature of manuscript and panel painting). In one hand, multi-layered meanings involved in these images are catched in the contemporary politico-social context, and in the other, thier receptivities are examined, depending on their properties of medium and form. Through these images, it is verified that the French kingship accepted the various contemporary cultural innovations in order to effectively deliver their images to people and to make them more familiar. The effects of these innovations are 1) the effort to represent contemporary people who could be verified or actual events in the style of 'realism' or 'naturalism'; 2) the tentative to install and expose the images in public spaces where more numerous spectators could see them. This cultural reception doesn't mean an innovation by kingship, but an appropriation by kingship. And this became an important element for the French kingship in critical political crises, engaged with social, economic and demographic crises, to consolidate royal ideologies after the 1360s.
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