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초록· 키워드
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This thesis proposes to study the donor portrait appeared on the (panel) altarpiece in the Flemish Painting of the fifteenth century.
It was Italy in the thirteenth century that the donor came out on the altarpiece for the first time. That is human being as the secular cut into the sphere of the altarpiece with care which was considered to be allowed only to the Biblical figure. But, in the stylistic point of view, the figure of human being that appeared in the same space with the sacred as the form of the donor who worshiped for the sacred group, was a kind of sign-image which prays with bent knee under the feet of the huge sacred group.
However, about a century later, the imposing figures of rich Bourgeoisie as the form of individual portrait which was represented realistic and as big as the sacred group appeared in the Flemish Painting. And this phenomenon became an important and interesting element that determined the characters of Flemish Painting at 15th century.
We are attempt to regard this kind of peculiar phenomenon at that time as the collision of the mentality(the way of thinking) about Christianity of Middle and Modern age. Namely, it is considered to be the reflection of the mentality about Christianity of the Western that was presented in the transitional period from the theocentrique christian society to society centered on the human being.
Moreover, in the social, economic and religious point of view, we’II try to focus on the form and context of the portrait of the bourgeois donor appeared on the altarpiece. These analysis limit the period and object to the 15th century and Nicolas Rolin whose birth was bourgeoisie but had great wealth, political power and honor as the chancellor of Burgundy Court.
It was Italy in the thirteenth century that the donor came out on the altarpiece for the first time. That is human being as the secular cut into the sphere of the altarpiece with care which was considered to be allowed only to the Biblical figure. But, in the stylistic point of view, the figure of human being that appeared in the same space with the sacred as the form of the donor who worshiped for the sacred group, was a kind of sign-image which prays with bent knee under the feet of the huge sacred group.
However, about a century later, the imposing figures of rich Bourgeoisie as the form of individual portrait which was represented realistic and as big as the sacred group appeared in the Flemish Painting. And this phenomenon became an important and interesting element that determined the characters of Flemish Painting at 15th century.
We are attempt to regard this kind of peculiar phenomenon at that time as the collision of the mentality(the way of thinking) about Christianity of Middle and Modern age. Namely, it is considered to be the reflection of the mentality about Christianity of the Western that was presented in the transitional period from the theocentrique christian society to society centered on the human being.
Moreover, in the social, economic and religious point of view, we’II try to focus on the form and context of the portrait of the bourgeois donor appeared on the altarpiece. These analysis limit the period and object to the 15th century and Nicolas Rolin whose birth was bourgeoisie but had great wealth, political power and honor as the chancellor of Burgundy Court.
목차
Ⅰ. 서론
Ⅱ. 시대적 배경
Ⅲ. 제단화와 봉헌자 초상화의 형식
Ⅳ. 롤랭 수상이 있는 성모상 분석
Ⅴ. 결론
참고문헌
Abstract
「15세기 플랑드르 제단화에 나타난 봉헌자 초상화」에 대한 질의(이정구)
이정구 선생님의 질의에 대한 답변(박성은)
참고문헌 (0)
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