플리니우스의 폴리클레이토스와 미론 = 그리스 조각 양식에 대한 로마인들의 관점

국문 초록 (Abstract)

기원 전 5세기 그리스 조각을 이상적인 규범으로 삼는 근세 고전주의 양식사학은 고고학적 사료보다는 고대 헬레니즘과 로마 저서들의 서술 내용을 토대로 해서 형성, 발전되었다. 본 논문은 빈켈만의 『고대 미술사』와 플리니우스의 『자연사』를 비교 분석함으로써, 고대 저자들의 미학적 관점과 서술적 표현이 근세 이후 현재에 이르기까지 서구 미술사학자들이 고대 그리스 미술을 역사적으로 재구성하고 더 나아가서 조형 양식의 가치를 평가하는데 중요한 기준으로 작용했음을 밝히고자 한다.

다국어 초록 (Multilingual Abstract)

This paper is concerned with the influence of ancient Roman authors on the development of the idea of ‘Classical Greek Style’ by modern art historians, focusing on the relationship between the texts of Winckelmann and of Pliny. The concept of period style played a key role in the development of Western Art History. One representative case is J.J. Winckelmann’s Geschichte der Kunst des Altertums (1764), which was considered as the first modern scholarship work of Art History. He defined the organic development of ancient art, providing a historical framework for ancient Greek sculpture based on the concept of period style.
The main point is that Winckelmann’s division of ancient artistic style into four periods was heavily influenced by the Greek and Roman historiography and rhetoric. As is observed in Herodotos’ Iστορ?η? Aπ?δεξι?, classical authors considered ?στορ?α as an intellectual tool and communicative activity for human knowledge. Furthermore, Pliny’s Historia Naturalis became the essential source for Winckelmann’s concept of period style as well as his aesthetic view-point. The conformity of Pliny’s narrative with Winckelmann’s theory on Greek masterpieces clearly reveals this fact. Also the descriptive terms of Pliny for the five most famous Greek statuaries (Pheidias, Myron, Polykleitos, Pythagoras, and Lysippos) and their gradual conquest of the problems of symmetrical proportion(συμμετρ?α), numerus (?υθμ??), and grace(χ?ρι?) were directly inherited to the text of Winckelmann.
What should be regarded in the estimation of Pliny’s influence on modern Art History is that these descriptive terms of Greek and Latin literature for ancient visual art implicate both of the authors’ qualitative judgment as well as of formal characteristics of art works. And such a classical view point of Roman authors and the stylistic paradigm constructed by their modern heirs have induced ambivalence and contradictions in pursuing the ‘reality’ of ancient Greek art in Western Art History until now.

목차 (Table of Contents)

• Ⅰ. 서론
• Ⅱ. 글로 배운 조형 예술
• Ⅲ. 교본이 된 사전: 플리니우스의 『자연사』
• 참고문헌
• Abstract
• 질의