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바로크 공간에서 나타나는 시지각적 착시현상과 유형별 특성 분석 - 게슈탈트 시지각 이론을 중심으로
한명식 한국바로크학회 2022 바로크연구 Vol.5 No.-
바로크 건축과 미술에 적용된 공간에 대한 표현은 기본적으로 전시대인 르네상스의 투시법과 개념적인 차이가 있다. 르네상스의 투시법이 공간체계의 시각적 상상력을 창출했다면 바로크는 ‘왜상(anamorphosis)’이라는 변칙적 투시법을 통해서 공간을 착시적인 현상으로 변화시켰다. 본 연구는 바로크 공간의 이러한 착시적 조형성을 분석하고 개념적으로 응용함으로서 공간이라는 자원의 효율성을 극대화 할 수 있다는 이론적 토대를 갖추기 위함이다. 바로크 공간의 착시적인 유형을 조형적으로 분류해보면 ‘왜상과 과장투시’, ‘중첩과 반복’, ‘운동과 연속’으로 구분된다. 그리고 이를 게슈탈트 시지각이론으로 분석해보면 주관적이고비가시적인 구축 요소로서 심상작용에 다양한 조형 언어적 의미를 생성시키고 그 응용적 결과를 확대시킬 수 있다.
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과달루페 성모의 사례를 통해 본 중남미 식민지시대 바로크의 현재성과 정치적 함의
송상기 한국바로크학회 2021 바로크연구 Vol.4 No.-
This article, inspired by the baroque ethos of Bolívar Echeverría as critical form of life within Capitalistic Modernity on interpreting Virgin Guadalupe, the pinnacle of cultural Mestizaje of New World. The indigenous people in urban area in 17th century, the survivors among ruins of uprooted civilizations, opted baroque approach with immersion on Christianism when facing an ontological identity crisis. In the “absolute staging” of the performance, indigenous people pursue with vigor the imaginary and virtual reality within the given reality. Even though they could not recuperate their ancestral deities in the process of Western immersion as a way of survival, they reinvented a whole new autonomous christianity such as Guadalupan Catholicism by performing absolute staging. Serge Grutzinsky notes Mestizo mind at the very core of Guadalupanism. As Virgin Guadalupe turned out national identity in Mexican history, it is necessary to analyze its political implication and the presence of baroque ethos in present.
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렘브란트의 <사스키아와 함께 있는 자화상>(1635년경): 탕아로서의 자화상
서현주 한국바로크학회 2021 바로크연구 Vol.4 No.-
<Self-Portrait with Saskia> (circa 1635), which depicts Rembrandt and his wife, deviated from the conventional portraits of a married couple in luxurious costumes, lavish laughter, and postures of drinking and affection. Instead, it turns out that the prodigal son in a tavern is the subject of the work, based on the checkout counter, the raised cup, and the peacock. Based on this view, this paper attempts to grasp the symbolic meaning contained in this work as the prodigal son of a tavern from an iconographical point of view. The fundamental lesson of the story of the prodigal (Luke 15: 11-32) is the Christian allegory of salvation: the repentance of the prodigal son and God's forgiveness through the embrace of the father. In art, it has been a popular theme since the 13th century, centered on four episodes: the departure of the prodigal son, exhaustion, repentance, and return. As the scene of vice gradually emerges to emphasize virtue, the scene of the prodigal son living a prodigal life in a tavern or brothel becomes central and has a genre character. In the scene depicting the prodigal life of a prodigal son in a brothel, the common appearance of a man and woman's affectionate acts, a cash register for drinking alcohol, alcohol, food, and a peacock appear in common. These motifs also appear in Rembrandt's <Self-Portrait with Saskia>, but due to Rembrandt's unique combination and transformation, it takes on the dual character of genre painting and portraiture. In the scene of the prodigal son in a tavern where vice is emphasized in the story of the prodigal son, which shows a contrast between vice and virtue, the Rembrandts appear like characters in a play, directly delivering a moral message to the audience as a warning against excessive drinking, arrogance, luxury, waste, and carnal pleasures
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16세기 수학과 회화 사이: 존 디의 ‘수학 서문’(1570) 속 수학의 유용성과 학문적 지위
조수남 한국바로크학회 2022 바로크연구 Vol.5 No.-
The mathematician John Dee, who wrote the Mathematical Preface (1570) to the first English translation of Euclid’s Elements, gained fame by systematically organizing the various fields of mathematics in the 16th century. In particular, the large table (Groundplat) he inserted in the preface attracted great attention by providing an overview of the fields that could be called mathematical at the time. Scholars who studied Dee’s Mathematical Preface have shown that Dee introduced vast fields of arts such as alchemy and astrology as mathematical applications, emphasizing the usefulness of mathematics, and could defend himself against criticism that he was a magician. However, given the status of universities at the time and the strict academic hierarchy, the strategy emphasizing the usefulness of mathematics by presenting various arts as mathematical applications could be an obstacle to revealing the essential value of mathematics and solidifying the academic status of mathematics. This paper compares the mathematical characteristics found in the books on painting published in the 15th and 16th centuries and the way to introduce painting techniques such as the arts of Perspective and Zography in Dee’s mathematical preface. The study purports to reveal what strategies Dee had taken to emphasize the usefulness of mathematics without compromising its essential value. It is to be hoped that this paper will provide a meaningful perspective to understand what position mathematics and painting had in the academic hierarchy of the time and how they were changing.
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성경의 연극화 : 티르소 데 몰리나의 『타마르의 복수』
김선욱 한국바로크학회 2022 바로크연구 Vol.5 No.-
티르소 데 몰리나는 연극적인 상상력으로 『성경』의 「사무엘기 하」 13장을 바탕으로 성경에 나타나지 않는 여러 이야기를 삽입하여 구조적으로 잘 짜인 희곡 작품 『타마르의 복수』를 독창적으로 창조하였다. 특히 주목할 것은 작가가 종교성 짙은 성서의 에피소드를 일반 대중 관객들이 좋아할 만한 연극적 장치를 통하여 세속적인 연극으로 만들었다는 점이다. 이에 본 논문은 티르소 데 몰리나가 간단한 성경의 내용을 긴장과 이완의 극적인 사건이 가득한 연극으로 재창조된 양상을 살펴보고자 한다. 그리하여 『타마르의 복수』가 어떠한 독창적인 연극 장치들을 통하여 「사무엘기 하」 13장을 연극화하였는지, 그리고 『타마르의 복수』에 어떻게 성스러운 요소와 세속적인 요소가 혼합되어 있는지를 살펴본다.
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과학혁명과 바로크 예술: 인생은 꿈이다 에 나타난 새로운 수학과 과학의 개념
김선욱 한국바로크학회 2023 바로크연구 Vol.6 No.-
In Life is a dream, Calderón de la Barca, the most prominent playwright of Baroque theater, theatrically demonstrates that the mathematical and scientific methodologies of the old world had been replaced by the new mathematical and scientific methodologies of the 17th century. Life is a dream shows the process in which a new view of science eventually wins in the confrontation between Basilio, who bent on astrology, and Segismundo, based on reason and experience, a new thought tide. Calderón de la Barca illustrates the clash between astrology as an archaic astronomy and the new scientific revolutionary perceptions that opposed it, and ultimately illustrates the transition to a new worldview after the Scientific Revolution. This study examines how the new philosophy of science and epistemology of the Baroque period, which are conflicting in Life is a dream, are incorporated into Calderon's theatrical work. Through the conflict between Basilio and Segismundo, Life is a dream represents the complex process of establishing the new scientific methodology that emerged after the Scientific Revolution. In conclusion, through Life is a dream, Calderón de la Barca criticized the pseudo-science of astrology, King Basilio for misinterpreting the stars using the old science, and showed the public, through the device of theater, the complex process by which the old pseudo-science of Aristotle and Ptolemy was replaced by the new scientific methodology of the Scientific Revolution in the 16th and 17th centuries.
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