에크프라시스(ekphrasis) 개념을 통해 본드니 디드로의 색채 묘사 연구

Abstract

This study is an attempt to study into narrativity created by ‘colors’ expressed through Ekphrasis in the realm of art criticism of Denis Diderot(1713-1784)), a representative French theorist, philosopher, writer, and art critic of the Enlightenment in the 18th century. It also studies into an extension of it. Ekphrasis, the root of art criticism, signifies ‘full, vivid description’ of an object, a person, or an experience. The scope of Ekphrasis encompasses not only rhetoric but also literary criticism, art history, and art criticism in terms of its meaning and use. Diderot took many approaches to transfer visual presentation into verbal presentation in his work Salon and Essais sur la peinture, written from 1759 through 1781. He does not ghostwrite but describes objects through Ekphrasis. Especially, the color is the most enthusiastic part of his work. This natural occurrence from subtle differences between tones is extended and transferred in his rumination. Therefore, tension is created between the existing objet and the extended objet. These are sensory channels created almost simultaneously by visual reactions of images. Colors play an pivotal role in these channels, trying to find if they are appropriate to certain objects and creating a direct fantasy area beyond an indirect genuine area indicated by objects in pictures. They make various different narratives. Diderot stirs up visual enhancement of objects by literary narrative, not brush. It is Diderot’s attempt to leave his act of creation as an evidential/recordable one. This study inquires into where narrative elements of colors expressed in Diderot’s writings are found and looks into extending, transferring aspects of them.