푸생의 회화에서 음조와 정조 — 그의 음악적 유비에 대하여
Mode and Mood in Poussin’s Paintings: On the Significance of His Musical Analogy
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초록
이 논문은 초기 모더니티에서 음악과 시각예술의 관계를 이해하는 데 자주 인용되는 푸생의 1647년 11월 24일자 편지 — 이른바 그의 ‘모드 이론’의 기초자료가 되는 — 를 그것의 텍스트와 콘텍스트뿐 아니라 상호텍스트와 일종의 하이퍼텍스트까지 모두 면밀히 살펴보면서 이 편지의 중요한 가치가 어디에 있는지를 진지하게 검토해보고, 더 나아가 그것의 잠재적인 의의를 명시적으로 드러내는 것을 목표로 한다. 푸생이 편지에서 전거를 밝히지 않고 인용한 조세포차를리노의 『화성의 원리』(1558)의 관련 구절이 상호텍스트로서 다루어지며, 각각 프리지아 모드와 도리아 모드를 적용한 실제 작품 사례로 간주될 법한 푸생의 자화상 두 점(1649년 작과 1650년 작)이 문제의 텍스트인 예의 편지와 연결해 (기호학적인 의미에서) 하이퍼텍스트로서 분석된다. 이로써 그 동안 푸생의 편지에서 대개 간과되어 온 ‘에토스’에 대한 논의를 보충할 작품의 소통과 수용 문제까지 다루는 이 논문은 음악학과 미술이론을 역사적으로 횡단하면서 미학과 예술사회학의 쟁점도 포괄하는 작업을 수행하고자 한다.
Abstract
This essay begins with a letter by Nicholas Poussin. On November 24, 1647, Poussin wrote his reply from Rome to his patron and friend Paul Fréart de Chantelou in Paris. Poussin’s letter in question has been very often quoted for providing an understanding of the relationships between music and visual art, especially in early modernity. Its centrality, however, needs not to be overemphasized when his usage of ancient musical modes is construed not literally but in metaphorical terms as a musical analogy. Yet the letter in question is of much significance in that it foreshadows some of the fault lines among musical, painterly, and poetic expression. The present essay aims to unfold some illuminative explanations capable of demonstrating to what extent and why Poussin’s letter on mode has been considered important. To achieve its aim, the author undertakes a close reading of both the text and context of the letter in question, and meticulously examines not only Gioseffo Zarlino’s text as its inter-text but also his two self-portraits of 1649 and 1650 as a sort of hypertext in sense of the word in semiotics, that may be regarded as an example of practical application of his theory of mode.
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