로카이유와 로코코의 자연주의

국문 초록 (Abstract)

로코코는 로카이유 장식에 기반을 둔 18세기 초, 중엽의 미술사적 양식이다. 로카이유의 불규칙하고 비체계적인 형식으로 인해 로코코 미술은 바로크의 퇴행기로 인식되었으며, 또한 장식성의 전성기로 오해되었다. 그러나 로카이유는 18세기 계몽주의와 라이프니츠와 뉴튼에 의해 정립된 경험론적 자연관과 자연미에 대한 새로운 미학적 요구가 형성한 자연주의적 조형의식에서 태어났으며, 또한 이로 인하여 과거 종속적인 장식기능에서 발전하여 자율적인 형상모티브로서 미술의 거의 모든 장르를 이끌었던 주도적 수단이었음을 본 연구는 밝히고 있다.

다국어 초록 (Multilingual Abstract)

At the first half of the 18th century the history of western art arrived in the rococo, which destroyed ‘Magnitude’ and Absolutism established by the Zeitgeist and the political ideology of the Baroque. The centralized and authentical Forms of Baroque were replaced by individual taste and diversity of rococo art during the shortest time. The art of rococo was misunderstood as decadence of baroque in stressing its untypical, disorderly and unethical side of phenomena. So it should be contradictory to the enlightenment, which set the spirit of humans free from religious and institutional authority with reason and nature. This research will provide multilateral viewpoints and interpretations. Thus it makes clear that the art of rococo appeared certainly in relationship with the enlightenment and it must have an advanced artistic value.
Like the name of baroque, ‘rocaille’ is derived from the natural rock. While the baroque was a critical notion that defined the whole time of that historical period, the rococo is somewhat different, because its ornament, namely rocaille represented the style of the age. The style de rocaille as the head phenomena of the rococo appeared in the 1730s in Paris. In the time ahead, Regence, leaders such as J. Berain and A. Watteau applied grotesque which came down in that time, to wall-decoration and painting. This activity indicates the birth of rocaille. Furthermore its birth was expected in the discourse of philosophy and aesthetics in the recent.
The rococo formed its own naturalism. But such naturalism is different to those that were established in the art-theory of the 19th century. The naturalism of rococo means rather the representation of acquired principal character and form from nature than the imitation of nature. The rocaille that Meissonnier introduced to the world as “gout nouveau” is composed of ornaments like grotesque, but not abstract and geometrical. The rocaille is a unique ornament without artificial manipulation. Therefore it can be compared with the ornaments of Renaissance and Baroque. The rocaille deconstructed the baroque ornament. And it functioned at the beginning secondary to artwork just like the frame, but it later became a self-sufficient motive for art. So few German art historians recognized the rocaille as an “individual picture(Gebilde)”. The naturalistic form of the rocaille is also a main cause for that phenomena.
The rocaille reflect the changed view of nature of the 18th century. The new view was made by the more scientific and critical theories. Newton and Leibniz developed the ideal science of the 17th century into a more empirical and elaborate one. Leibniz recognized the equilibrium of nature through experiment and expanded the horizon of the science as a metaphysical system. He gave new concept to ‘monad’, which is regarded as the most individual and smallest module for the existence and essence of every materials. And his monad means now an autonomous will of all individual things. The theory of Leibniz was applied to human society, because the monad-theory regards nature as a huge community of many monads. Form and character of the rocailles correspond to that of the monad of Leibniz.
Lastly, the rocailles was born as ornament and used for its functions, but came to be an original motive for its own sake. Therefore it lost its primary function. Paradoxically the rocaille had been the cause of the fall of ornament, although the classicists criticized that it brought up the age of ornament. Since K. Harries the style rocaille rightfully means the Death of ornament.

목차 (Table of Contents)

• Ⅰ. 들어가는 말
• Ⅱ. 로코코와 로카이유에 대한 비판적 이론: 문헌사적 고찰
• Ⅲ. 로카이유의 탄생과 발전
• Ⅳ. 계몽주의 미학과 로카이유의 상관관계: 로카이유의 해체주의
• Ⅴ. 맺는 말
• 참고문헌
• Abstract

참고문헌 (Reference)

1 이찬웅, "주름, 라이프니츠와 바로크" 문학과지성사 2004

2 Hausenstein, Wilhelm, "Vom Geist des Barock" Piper 1921

3 Fuhring, Peter, "Un Génie du Rococo: Juste-Aurèle Meissonnier. 1965-1740, 2. vols" Umbero Allemandi 1999

4 Harries, Karsten, "The Meaning of modern art: A philosophical Introduction" Northwestern Univ. Press 1968

5 Kimball, Fiske, "The Creation of the Rococo" Philadelphia 1943

6 Coffin, Sarah D., "The Continuing Curve, 1730-2008 (Exhibitions Catalogue of the Smithsonian National Design Museum)" New York 2008

7 Harries, Karsten, "The Bavarian rococo church: between faith and aestheticism" Yale Univ. Pr 1983

8 Bauer, Hermann, "Struktur und Wesen einer europäischen Epoche" Dumont 1992

9 Bauer, Hermann, "Rocailles: Zur Herkunft und zum Wesen eines Ornament-Motivs" Berlin 1962

10 Standhal, "Promenades dans Rome" Paris 1829

11 Schütte, Ulrich, "Ordnung und Verzierung. Untersuchung zur deutsch sprachigen Architekturtheorie des 18" Vieweg 1986

12 Meissonnier, J.-A., "Oeuvre de J. A. Meissonnier" Paris 1750

13 Gottsched, Johann Christoph, "Neuem B chersaal der sch nen Wissenschaften ü ö und freyen Künste" Leipzig 1742

14 Chauveau, F., "Masques de Coquillages et des Rocailles" Paris 1675

15 Hildebrandt, Edmund, "Malerei und Plastik des achtzehnten Jahrhunderts in Frankreich" Athenaion 1924

16 "Lexikon der Kunst, 7 vols" DTV 1996

17 Irmscher, Günter, "Kleine Kunstgeschichte des europäischen Ornaments seit der frühen Neuzeit 1400-1900" Darmstadt 1984

18 Donnel, Edna, "Juste-Aurèle Meissonnier and the Rococo Style" 12 : 254-260, 1942

19 Starobinski, Jean, "Erfindung der Freiheit: 1700-1789" Fischer 1988

20 Hazard, Paul, "Die Krise des europäischen Geistes: 1680-1715" Kohl 1948

21 Kayser, Wolfgang, "Das Groteske: seine Gestaltung in Malerei und Dichtung" Stalling 1961

22 Blondel, Jacques-F., "Cours d’architecture ou traité de la decoration" Paris 1777

23 Norberg-Schulz, "Christian, Spätbarock und Rokoko" DVA 1985