도상학의 종말 혹은 또 다른 시작?: 서양 중세미술을 중심으로 본 도상해석학의 연구동향
End of Iconology? Introducing New Trends of Iconography in Studies of Medieal Art
0
조회
0
다운로드
8
인용
0
참고문헌
키워드
초록
도상학과 도상해석학의 도입과 발전상황을 16-18세기 고문화애호가의 입장, 19세기 에밀 말을 대표로 전개된 친(親)카톨릭 도상 연구, 20세기 파노프스키를 중심으로 문화의 징후를 읽으려는 복합적인 작업 등으로 나누어 살펴본다. 기독교 미술을 중심으로 하여 서양 중세와 르네상스 미술에서 많은 영향력을 미친 도상학이라는 방법론이 1980년대 이후 신미술사를 비롯, 기호학, 신역사주의, 포스트모더니즘 등의 새로운 정치적, 철학적 사조와 함께 어떻게 변모되어 왔는지 앞으로 나아갈 뱡향은 어떠한지, 비서양미술 연구에서는 얼마나 유용한 도구인지 모색해 본다.
Abstract
Studies in iconography and iconology have been a tradition in art history since the early twentieth century. Focus on the scholarship of medieval art reveals changing approaches from the Christian iconography of Adolphe Napoleon Didron and Émile Mâle to the more scientific method of the Warburg school typified by Panofsky and Saxl. As a methodology, iconology has been criticized for its inadequate attention to the social and political conditions surrounding works of art, and can be exemplified by such Panofsky contemporaries as Henri Focillon and Meyer Schapiro who remained detached from iconographic scholarship. A group of art historians whom Schapiro dubbed the“New Vienna School”attempted to present a more sophisticated structure behind scattered works of art combining the legacies of iconology and style. Concomitant with a study of style in art history, iconology has become an indispensable tool for the study of visual arts. Thanks to systematic iconographic databases compiled by German, French, and American academic institutes, a large corpus of artworks and supporting documents have been classified and identified, initially with prints and more recently with digital photographic files. Nonetheless, decorative artworks or anonymous works with few written documents have not been given adequate analysis. With the rise of new art history in the 1980s, art historians began to take a more careful look at presumptions of art history in its practice and methodologies,including ideological views of the founding fathers of the discipline. Contemporary scholars of medieval art are not completely cut off from iconographic tradition. Although they do not explicitly call themselves iconologists, they practice a more intricate form of iconology in my estimation. In the new trends of art history, one of which is most effectively represented in Michael Camille’s scholarship of medieval art, researchers attempt to interpret visual experiences of the illiterate, uneducated, underprivileged,and even those persecuted by elite members of society. They incorporate many critical perspectives stemming from, but not limited to,semiotics, reception theory, social history, identity politics, and gender studies into interpretations of medieval artworks, adding more vivid and inclusive views of those who ordered, made, learned from, at times enjoyed decorated monuments, and at times suffered from powerful languages of art in pre-modern Western Europe. In order to accomplish these goals, they have also had to absorb new findings and theories in the related disciplines of the classics, literature, hagiography, and philology in addition to newer fields such as social history, economic history, film studies,gender and sexuality studies, and linguistics, to name a few. What is still crucial in Panofsky’s iconology, in my view, is the“synthetic intuition”of a researcher capable of grasping a more copious amount of knowledge than in the 1930s and sensitive to his/her own epistemological background.
참고문헌 (41)
- Belting, Hans, "Art History after Modernism, trans. Caroline Saltzwedel and Mitch Cohen, with additional translation by Kenneth Northcott" (2003), University of Chicago Press
- Cabrol, Fernand, "Dictionnaire d’archéologie chrétienne et de liturgie", Letouzey et Ané, ~ (1907), 15 vols
- Cahn, Walter B, "Schapiro and Focillon", Gesta, 41, pp.129~136 (2002)
- Camille,Michael, "The Gothic Idol: Ideology and Image-Making in Medieval Art" (1989), Cambridge University Press
- Camille,Michael, "How New York Stole the Idea of Romanesque Art : Medieval, Modern and Postmodern in Meyer Schapiro", Oxford Art Journal, 17(1), pp.65~75 (1994)
- Camille,Michael, "Mouths and Meanings: Towards an Anti-Iconography of Medieval Art", pp.43~58 (1993), Brendan Cassidy
- Camille, Michael, "Image on the Edge: The Margins of Medieval Art" (1992), Harvard University Press
- Camille, Michael, "The Gargoyles of Notre-Dame: Medievalism and the Monsters of Modernity" (2009), University of Chicago Press
- Cassidy, Brendan, "Iconography at the Crossroads: Papers from the Colloquium sponsored by the Index of Christian Art", Index of Christian Art (1993), Princeton University
- Didron, Adolphe Napoleon, "Iconographie chrétienne:Histoire de Dieu" (1843), Imprimerie royale
- Didron, Adolphe Napoleon, "Christian Iconography: The History of Christian Art in the Middle Ages" (1851), F. Ungar
- Emison, Patricia, "The Shaping of Art History: Meditations on a Discipline" (2008), Pennsylvania State University Press
- Ferretti,Silvia, "Art and History" (1989), Yale University Press
- Garnier,François, "Thesaurus iconographique: Système descriptif des représentations" (1984), Le Leopard d’or
- Gell,Alfred, "Art and Agency: An Anthropological Theory" (1998), Clarendon Press
- Gombrich,Erwin, "Aby Warburg: An Intellectual Biography" (1970), The Warburg Institute
- Harbison, Craig, "Realism and Symbolism in Early Netherlandish Painting", Art Bulletin, 64, pp.588~602 (1984)
- Kultermann, Udo, "The History of Art History" (1993), Abaris Book
- Künstle, Karl, "Ikonographie der christlichen Kunst" (1926), Herder
- Mâle, Emile, "L'art religieux du XIIIe siècle en France, étude sur l’iconographie du Moyen Âge et sur ses sources d’inspiration" (1898), Ernest Leroux
- Mâle, Emile, "L'Art religieux de la fin du Moyen Âge en France: Étude sur l’iconographie du Moyen Âge et sur ses sources d’inspiration" (1908), Librairie A. Colin
- Mâle, Emile, "The Gothic Image, Religious Art in France of the Thirteenth Century" (1958), Harper and Row
- Mansfield,Elizabeth C, "Making Art History: A Changing Discipline and its Institutions" (2007), Routledge
- Mitchell, W. J. T, "Iconology: Image, Text, Ideology" (1986), University of Chicago Press
- Morelli, Giovanni, "Die Werke Italienischer Meister in den Galerien von München", ~ (1880)
- Moxey, Keith, "The Practice of Theory: Poststructuralism, Cultural Politics, and Art History" (1994), Cornell University Press
- Moxey, Keith, "The Practice of Persuasion: Paradox and Power in Art History" (2000), Cornell University Press
- Pächt, Otto, "The Practice of Art History: Reflections on Method" (1999), Harvey Miller
- Panofsky,Erwin, "Renaissance and Renascences in Western Art" (1960), Almquist & Wiksell
- Panofsky,Erwin, "Studies in Iconology: Humanistic Themes in the Art of the Renaissance" (1962), Harper and Row
- Panofsky,Erwin,Meaning in the Visual Arts,Garden City,NY:Doubleday, "Meaning in the Visual Arts" (1970), Doubleday
- Panofsky, Erwin, "Early Netherlandish Painting: Its Origins and Character" (1971), Havard University Press
- Podro, Michael, "The Critical Historians of Art" (1982), Yale University Press
- Preziosi,Donald, "Rethinking Art History: Meditations on a Coy Science" (1989), Yale University Press
- Preziosi,Donald, "The Art of Art History: A Critical Anthology" (1998), Oxford University Press
- Preziosi, Donald, "In the Aftermath of Art: Ethics, Aesthetics, and Politics" (2006), Routledge
- Schapiro, Meyer, "The New Viennese School.’Review of Kunstwissenschaftliche Forschungen II", Art Bulletin, 18, pp.258~262 (1936)
- Van Marle, Raimond, "Iconographie de l’art profane au moyen âge et à la Renaissance et la décoration des demeures" (1931), M. Nijhoff
- Warburg, Aby M, "Gesammelte Schriften" (1932), B. G. Teubner
- Westermann, Mariët, "After Iconography and Iconoclasm: Current Research in Netherlandish Art, 1566-1700", Art Bulletin, 84, pp.351~372 (2002)
- Wood,Christopher S, "The Vienna School Reader: Politics and Art Historical Method in the 1930s" (2000), Zone Books