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초록· 키워드
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Stained glass made its first appearance in Myeongdong Cathedral in Seoul which was built by the Paris Foreign Missions Society after a commercial treaty was signed between Korea and France in 1886. Manufactured in France and directly imported into Korea, the stained glass of Myeongdong Cathedral reflects the style of European stained glass in the 19th century and carries a sign of European Christian art from that period. In 1902, Gyesan Cathedral in Daegu also installed French-manufactured stained glass. As such, the oldest existing stained glass pieces in Korea were brought in from France by the Paris Foreign Missions Society in the late 19th and early 20th centuries and show a signature style of European stained glass at the time.
This study aims to examine the process by which stained glass was initially introduced to Korea and compare and analyze its stylistic traits in relation with European works from the same period. In the case of Myeongdong Cathedral, a consideration is given to elements such as the relationship between the placement of each window and the iconology as well as the line of movement of church attenders, for a more in-depth interpretation of stained glass in relation with the architecture of the church. The manufacturers of stained glass, a missing subject in existing research on Myeongdong and Gyesan Cathedrals, is also dealt with in this study. In the case of Gyesan Cathedral, a signature by Henri Gesta of Gesta Studio in Toulouse, France as the manufacturer of the church's stained glass is an important piece of evidence which shows the spread of European industrialized stained glass into Asia in the 19th century. It is also worth noting that similar styles of stained glass were brought into catholic churches of other Asian countries by French missions societies during the same period, as seen in Oura Catholic church in Japan and North Cathedral and East Cathedral of Peking, China.
Literature used for this study include architectural data on Myeongdong Cathedral from the diaries of Bishop Mutel and written material on the stained glass installed in catholic churches in Japan and China built during the same period. Also, written works on European stained glass of the 19th century were examined with a focus on the renaissance of medieval art and the industralization process. This study tried not only to examine how stained glass began and developed in Korea but also to analyze from a Christian aspect the iconology and symbols of the pieces in relation with the architecture of the church. It also aimed to offer a more objective understanding of early Korean stained glass by analyzing the stained glass pieces installed in regular buildings during Japanese occupation and pointing out that the style found in regular buildings, largely brought in through Japan, is different from that of catholic churches from that period.
This study aims to examine the process by which stained glass was initially introduced to Korea and compare and analyze its stylistic traits in relation with European works from the same period. In the case of Myeongdong Cathedral, a consideration is given to elements such as the relationship between the placement of each window and the iconology as well as the line of movement of church attenders, for a more in-depth interpretation of stained glass in relation with the architecture of the church. The manufacturers of stained glass, a missing subject in existing research on Myeongdong and Gyesan Cathedrals, is also dealt with in this study. In the case of Gyesan Cathedral, a signature by Henri Gesta of Gesta Studio in Toulouse, France as the manufacturer of the church's stained glass is an important piece of evidence which shows the spread of European industrialized stained glass into Asia in the 19th century. It is also worth noting that similar styles of stained glass were brought into catholic churches of other Asian countries by French missions societies during the same period, as seen in Oura Catholic church in Japan and North Cathedral and East Cathedral of Peking, China.
Literature used for this study include architectural data on Myeongdong Cathedral from the diaries of Bishop Mutel and written material on the stained glass installed in catholic churches in Japan and China built during the same period. Also, written works on European stained glass of the 19th century were examined with a focus on the renaissance of medieval art and the industralization process. This study tried not only to examine how stained glass began and developed in Korea but also to analyze from a Christian aspect the iconology and symbols of the pieces in relation with the architecture of the church. It also aimed to offer a more objective understanding of early Korean stained glass by analyzing the stained glass pieces installed in regular buildings during Japanese occupation and pointing out that the style found in regular buildings, largely brought in through Japan, is different from that of catholic churches from that period.
목차
1. 머리말
2. 유럽 스테인드글라스의 유입과 전개
3. 19세기 말~20세기 초 한국 가톨릭교회의 스테인드글라스
4. 맺음말
ABSTRACT
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