니콜라 푸생의 ‘영웅적’ 풍경화에 대한 서사적 접근
A Narrative Approach on Nicolas Poussin’s ‘heroic’ Landscapes
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초록
본 연구의 목적은 니콜라 푸생(1594-1665)의 풍경화 속 인물과 풍경이 어우러지며 창출해내는서사적 효과와 주제적 의미를 로제 드 필을 위시한 당대의 주요 비평가들의 이론을 토대로 밝히는데 있다. 풍경화가 비교적 하위 장르로 평가되던 17세기의 문화적 상황 속에서 드 필의 이론이후대에 크게 주목을 받은 이유는 풍경화를 크게 “전원적 양식”과 “영웅적 양식”으로 구분함으로써역사화의 전유물인 것처럼 인식되던 서사적 측면을 부각시키고자 했기 때문이다. 후자의 대표적화가로 일컬어지는 푸생은 1650년 전후 일련의 풍경화를 제작하는 과정에서 역사화를 고안할 때와는 달리 특정한 주제를 미리 상정하기보다 소재들의 연쇄적 조합을 통해 ‘허구적’ 이야기를 구성함으로써 서사적 개연성이 높은 결과물을 만들어 냈다. 특히 “영웅적 양식”의 요점이 집대성된 <피라모스와 티스베가 있는 폭풍우가 몰아치는 풍경>(1651)에서 신화적 원형은 서사의 실마리를 풀어가는 단초로 작용하는 것에서 더 나아가 자연현상과의 상호 보완적 관계를 기반으로 관람자의 정서를 움직여 그의 열정을 이끌어내는 데 결정적인 역할을 한다. 요컨대 푸생은 긴장과 이완이 반복되는 치밀한 서사구조를 통해 ‘영혼’의 즐거움을 동반하는 사색적 풍경을 구현하고자 한 것으로 사료된다.
Abstract
The purpose of this study is to clarify the narrative effects and thematic meaning produced in a combination of figures and landscape in Nicolas Poussin’s landscape paintings, based on the major critics’ theories of the day, from Roger de Piles. In cultural circumstances where the landscape was relatively considered as a subordinate genre, the theory of de Piles has received great attention because he tried to emphasize the narrative aspects perceived as an exclusive property of istoria by distinguishing the landscape into two main sorts: “style Champêtre” and “style Héroïque”. In his landscapes dating from around 1650, Poussin as a representative painter of the latter made up a ‘fictional’ story through a serial combination of motifs, unlike the historical painting for which he was used to postulate a subject in advance. Especially in his Stormy Landscape with Pyramus and Thisbe(1651), a mythological archetype functions as motive solving a narrative clue. It plays, furthermore, a crucial role in moving spectators’ emotions and in bringing out their passions in relationships with natural phenomenon. To sum up, Poussin tried to embody a contemplative landscape in company with a pleasure for the soul, by composing an elaborate narrative structure where tension and release are repeated.
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