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학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
커뮤니티
연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
초록· 키워드
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This paper deals with the transformation of the figure of Death in the works of Albrecht Durer(1471~1528). According to the Bible, death is a punishment for Adam's sin and mankind's fall. Therefore, the great majority of artists in the Medieval Ages personified Death as a negative figure such as a hunter and/or archer.
The personification of Death as a hunter underscores Death's arbitrariness in seeking and chasing his victims among living beings. In this way, Death had been portrayed as a horse-rider since the fourteenth century. The mounted figure of Death stresses the swiftness with which death could overtake the living. It is assumed that the motif is based on a Biblical text, for example Revelation 6, 8:“And see, and I saw a white horse, and he who sat thereon his name was Death.”
The motif of Death as an archer is significant in 'Durerzeit', especially in the Tucher window panels. The drawings show Death - a seemingly mummified corpse, but nonetheless a potent and sinister force - mounted on horseback, drawing his bow and looking carefully at the path of his arrow. Death is aiming his arrow at the scholarclergyman depicted on the opposite side. Self-contained, the cleric looks squarely at Death and gestures calmly as if they are engaged in conversation.
Here, the role reversal is remarkable. In traditional representations of the Dance of Death, which proliferated in the visual arts and literatures of the fifteenth century, Death unrelentingly comes to claim the lives of his resisting victims. In these drawings, however, Death warns and the addressee accepts his destiny with contempt for the warning.
Naturally, Death is identified with doom in other works of Durer, but the personified Death does not claim the lives of his victims; he no longer brings along his arrow or scythe, but an hourglass instead. In these works, man's answer to Death's warning is a self-assured affirmation of his confidence that death cannot hurt him, rather than a humble acknowledgement of the fragility of his earthly existence.
This idea is closely related to the belief of the humanists. It was the humanists who considered the other dimension of death. For them Death was not the end of life, but the driving force of life, replacing the concern for the soul in the hereafter with the pursuit of lasting accomplishments in this world. “Sterbebild”by Celtis shows a clear exposition of humanist thought about death. Emphasizing life as an arena for humanity's interactive, individual, and intellectual achievement, the humanists set out on a quest for, and explored, the new meaning of death.
In Durer's other works, he unmistakably depicted the warning character of the figure of Death with Death's hourglass and a horse's bell. Very different, however, was Durer's message. For example, in The Knight, Death and the Devil (engraving, 1513) the man on horseback is an outstanding figure, whereas the threat of Death is ignored. Above all, the personal conviction of the knight appears both physical and compositional in that work. Finally, the knight is livelier and stronger than Death and thus ultimately overpowers him. Likewise, the Epitaph for Durer by Willibald Pirckheimer, from the year 1528, bears the Latin motto ″QVICQVID ALBERTI DVRERI MORTALE FVIT / SVB HOC CONDITUR TVMVLO〃(What of Albrecht Durer mortal is, lies under this tomb). The Epitaph describes Death as neither an immediate threat nor a physical danger. Durer deals with Death, which has something to do with personal achievement in this world. Undoubtedly, Durer would overcome his death through his works.
The personification of Death as a hunter underscores Death's arbitrariness in seeking and chasing his victims among living beings. In this way, Death had been portrayed as a horse-rider since the fourteenth century. The mounted figure of Death stresses the swiftness with which death could overtake the living. It is assumed that the motif is based on a Biblical text, for example Revelation 6, 8:“And see, and I saw a white horse, and he who sat thereon his name was Death.”
The motif of Death as an archer is significant in 'Durerzeit', especially in the Tucher window panels. The drawings show Death - a seemingly mummified corpse, but nonetheless a potent and sinister force - mounted on horseback, drawing his bow and looking carefully at the path of his arrow. Death is aiming his arrow at the scholarclergyman depicted on the opposite side. Self-contained, the cleric looks squarely at Death and gestures calmly as if they are engaged in conversation.
Here, the role reversal is remarkable. In traditional representations of the Dance of Death, which proliferated in the visual arts and literatures of the fifteenth century, Death unrelentingly comes to claim the lives of his resisting victims. In these drawings, however, Death warns and the addressee accepts his destiny with contempt for the warning.
Naturally, Death is identified with doom in other works of Durer, but the personified Death does not claim the lives of his victims; he no longer brings along his arrow or scythe, but an hourglass instead. In these works, man's answer to Death's warning is a self-assured affirmation of his confidence that death cannot hurt him, rather than a humble acknowledgement of the fragility of his earthly existence.
This idea is closely related to the belief of the humanists. It was the humanists who considered the other dimension of death. For them Death was not the end of life, but the driving force of life, replacing the concern for the soul in the hereafter with the pursuit of lasting accomplishments in this world. “Sterbebild”by Celtis shows a clear exposition of humanist thought about death. Emphasizing life as an arena for humanity's interactive, individual, and intellectual achievement, the humanists set out on a quest for, and explored, the new meaning of death.
In Durer's other works, he unmistakably depicted the warning character of the figure of Death with Death's hourglass and a horse's bell. Very different, however, was Durer's message. For example, in The Knight, Death and the Devil (engraving, 1513) the man on horseback is an outstanding figure, whereas the threat of Death is ignored. Above all, the personal conviction of the knight appears both physical and compositional in that work. Finally, the knight is livelier and stronger than Death and thus ultimately overpowers him. Likewise, the Epitaph for Durer by Willibald Pirckheimer, from the year 1528, bears the Latin motto ″QVICQVID ALBERTI DVRERI MORTALE FVIT / SVB HOC CONDITUR TVMVLO〃(What of Albrecht Durer mortal is, lies under this tomb). The Epitaph describes Death as neither an immediate threat nor a physical danger. Durer deals with Death, which has something to do with personal achievement in this world. Undoubtedly, Durer would overcome his death through his works.
목차
Ⅰ. 머리말
Ⅱ. 뒤러와 죽음
Ⅲ. 맺음말
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〈Abstract〉
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