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This study is to consider a French Gothic statue of the Virgin and Child, which has begun to be made in various forms and enormous quantities in the 13th century from a view of installation space. In general, we separate the 12th century Virgin and Child as a Romanesque style, and the 13th century one as a Gothic style ; these two styles have fundamental differences depending on their expressions. It can be defined that the former, which is the typical type of Byzantine Sedes Sapientiae, shows archaic anti-naturalism, and the latter shows the idealized naturalism completely contrary to the former. The latter reveals considerable difference not only in style, but also in expressing the internality of two characters : the affective look and graceful smile of the Virgin who is watching her Child Christ, his innocent smile, and happy feeling between two characters. These changes appeared in French Virgin and Child of the 13th century for the first time.
The existing studies have interpreted these changes of the Virgin and Child from the 12th century to the 13th century as the developing process that a style of one age. One of the reasons is because the existing Virgin and Child is not displayed in the original installation space. However, the author observes that the religious sculpture of the 13th century has inseparable relations with the structural development of architecture as well as the change of the class of users, and that the Virgin and Child comes under the clear example. Chapter II examined how the altar which served as the unique installing space of the 12th century Virgin and Child was transformed in the 13th century, and what were the functions and meanings that the Virgin and Child obtained from the new spaces. In chapter III, the newly-born installation spaces were divided into three types by the observer’s viewing position, and then examined how the expression of the Virgin and Child was changed by each condition.
As for the style only, the Virgin and Child of the 12th and the 13th centuries is an example that shows the developing process from the archaic style to the classical style likewise other ages. However, as for the peculiarity of the Middle Age, the diversity of installation space worked as an important variable in the change of style. To improve it, this study considered how the installation space was specialized, and what difference of expression the Virgin and Child in different space shows. In conclusion, installation space for the Virgin and Child in the 13th century’s northern France made a considerable development all over the sacred and profane areas in a mere century, and the new spaces became a catalyst to make an appearance of various types of the Virgin and Child which have natural forms and humane emotion.
The existing studies have interpreted these changes of the Virgin and Child from the 12th century to the 13th century as the developing process that a style of one age. One of the reasons is because the existing Virgin and Child is not displayed in the original installation space. However, the author observes that the religious sculpture of the 13th century has inseparable relations with the structural development of architecture as well as the change of the class of users, and that the Virgin and Child comes under the clear example. Chapter II examined how the altar which served as the unique installing space of the 12th century Virgin and Child was transformed in the 13th century, and what were the functions and meanings that the Virgin and Child obtained from the new spaces. In chapter III, the newly-born installation spaces were divided into three types by the observer’s viewing position, and then examined how the expression of the Virgin and Child was changed by each condition.
As for the style only, the Virgin and Child of the 12th and the 13th centuries is an example that shows the developing process from the archaic style to the classical style likewise other ages. However, as for the peculiarity of the Middle Age, the diversity of installation space worked as an important variable in the change of style. To improve it, this study considered how the installation space was specialized, and what difference of expression the Virgin and Child in different space shows. In conclusion, installation space for the Virgin and Child in the 13th century’s northern France made a considerable development all over the sacred and profane areas in a mere century, and the new spaces became a catalyst to make an appearance of various types of the Virgin and Child which have natural forms and humane emotion.
목차
Ⅰ. 여는 글
Ⅱ. 설치 공간
Ⅲ. 공간적 조건에 따른 표현의 특성
Ⅳ. 닫는 글
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Abstract
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