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논문 기본 정보
- 자료유형
- 학술저널
- 저자정보
- 발행연도
- 2003.12
- 수록면
- 107 - 131 (25page)
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초록· 키워드
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Since the 19th century, religious Art has been treated as “Fine Art” and has been transferred from chapel to museum. There, the “Fine Art’s” value of the art objects were studied, but they lost their former religious purpose. This paper is not concerned with research on the specific iconography of christ’s Passion, but is an attempt to locate the art objects’ role in the dramatic Passion play.
After the 13th century, the Christian spirit reflected compassion to Christ’s suffering and Mary’s sorrow. To relate the Christ’s Passion more realistically, music, performance and art were mobilized to dramatize rituals. The wooden sculpture of the Deposition in Tuscan region (fig.5, 6), was made life-size and polychromed to give it a more realistic quality. During the Good Friday ritual, the sculpture of Christ’s body was detached from the cross in order to be buried in a sarcophagus. We know that this performance with the sculpture was accompanied by a hymn of Passion, sung as a dialogue between the clergy and laity, or the chorus and public responding to each other. The climax of the ritual performance centered on the grief of Mary.
The Confraternity of the Flagellant employed more elaborate style of dramaliturgy. The Flagellants practiced their penitence in darkness, then, lighted candles after their practice, just as the Christ’s Resurrection occurred after he suffered his Passion. In place of the altar, they arranged the instruments of the Passion (Arma Christi), such as the cross, whip, lance and ladder, as cult objects as those seen in the predella of the Madonna of Humility (fig.10, 11). It is significant that gradually these ‘Arma Christi’ appeared in the background of the Man of Sorrows, a painted alterpiece commissioned by the Flagellants (fig.12, 13).
The Flagellants were a Confraternity which adopted their practice of self-mortification in response to the overwhelming death and fear in late Medieval society. But in the later 15th century as society became more stable, it seems that the Flagellants changed the direction of their penitential practice toward works of mercy. The Bolognese hospital Confraternity of Santa Maria della Vita commissioned the life-size, terra cotta, sculptural group Lamentation over the Dead Christ, installing the work in their church’s hospital in 1463 (fig.20-23). This work shows the extreme expression of grief of four Marys’ which pulls the laity into the feeling of compassion of sorrow. If the Flagellants’ penitence is the ‘Imitation of christ’, their grief would be the ‘Imitation of Mary’. Clearly, these expressions derived from contemporary sacred dramas and funerary practices. The religious art objects, now displayed in museums, are therefore, the media by which the people, through music and drama derived the christ’s suffering and Mary’s grief from in the most effective way.
After the 13th century, the Christian spirit reflected compassion to Christ’s suffering and Mary’s sorrow. To relate the Christ’s Passion more realistically, music, performance and art were mobilized to dramatize rituals. The wooden sculpture of the Deposition in Tuscan region (fig.5, 6), was made life-size and polychromed to give it a more realistic quality. During the Good Friday ritual, the sculpture of Christ’s body was detached from the cross in order to be buried in a sarcophagus. We know that this performance with the sculpture was accompanied by a hymn of Passion, sung as a dialogue between the clergy and laity, or the chorus and public responding to each other. The climax of the ritual performance centered on the grief of Mary.
The Confraternity of the Flagellant employed more elaborate style of dramaliturgy. The Flagellants practiced their penitence in darkness, then, lighted candles after their practice, just as the Christ’s Resurrection occurred after he suffered his Passion. In place of the altar, they arranged the instruments of the Passion (Arma Christi), such as the cross, whip, lance and ladder, as cult objects as those seen in the predella of the Madonna of Humility (fig.10, 11). It is significant that gradually these ‘Arma Christi’ appeared in the background of the Man of Sorrows, a painted alterpiece commissioned by the Flagellants (fig.12, 13).
The Flagellants were a Confraternity which adopted their practice of self-mortification in response to the overwhelming death and fear in late Medieval society. But in the later 15th century as society became more stable, it seems that the Flagellants changed the direction of their penitential practice toward works of mercy. The Bolognese hospital Confraternity of Santa Maria della Vita commissioned the life-size, terra cotta, sculptural group Lamentation over the Dead Christ, installing the work in their church’s hospital in 1463 (fig.20-23). This work shows the extreme expression of grief of four Marys’ which pulls the laity into the feeling of compassion of sorrow. If the Flagellants’ penitence is the ‘Imitation of christ’, their grief would be the ‘Imitation of Mary’. Clearly, these expressions derived from contemporary sacred dramas and funerary practices. The religious art objects, now displayed in museums, are therefore, the media by which the people, through music and drama derived the christ’s suffering and Mary’s grief from in the most effective way.
#예수수난(Passion)
#수난극(Passion blay)
#성금요일(Holy Friday)
#아시지의 성 프란체스코(San Francesco d'Assisi)
#채찍질 형제회(Confratemiy of Flagellant)
#종교미술(religious art)
#고통받는 예수(Christ's suffer)
#슬퍼하는 예수(Man of Sorrows)
#슬퍼하는 마리아(Mary's grief)
#수난도구 예수상(Arma Christi)
#예수를 십자가에서 내림(Deposition)
#니콜로 델 아르카(Niccolo dell' Arca)
목차
1. 종교의식의 연극적 성격과 미술
2. 탁발수도회와 예수의 수난
3. 고행자 수도회의 고통 체험
4. 수난도구와 함께 그려진 ‘슬퍼하는 예수’
5. 마리아의 몫, 슬픔
6. 시각화의 전문가: 화가와 조각가
참고문헌
Abstract
「예수 수난의 종교의식과 미술: 13-15세기 이탈리아를 중심으로」에 대한 질의(신준형)
신준현 선생님의 질의에 대한 답변(이은기)
참고문헌 (0)
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