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초록· 키워드
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As a study on Last judgment painted as Sistine Chapel altarpiece of Vatican by Michelangelo, the Firenze painter of the 16th century, this study is intended to re-examine the icon of Last judgment of Michelangelo which an academic world has mythologized all the while, through re-reading the icon motifs and formal features shown in it. In terms of iconography, it is aimed at examining how the painter visualized the doctrine of Catholic Church and the Reformation, and pagan motif in Last judgment of Sistine Chapel. affected by Humanism through background of that time. In other word, in terms of the succession and innovation of Christian art icon, the purpose of this study is to objectively evaluate the succession of tradition and unique innovation shown in Last judgment of Michelangelo.
Ordered by Pope Clement Ⅶ in 1533 (or Pope Paul in 1534) and completed in 1541, Last judgment of Sistine Chapel is the pictorial product that all factors of the complicated and diversified 16th century reflect that period. It is an epic which reflects the period when the doctrine of the Reformation occurred in the northern part of the Alps in 1517, the creed of the Roman Catholic Church and pagan myth are mixed and visualized on one screen. That is, the various icons shown in Last Judgment of Sistine Chapel are one visual language of containing a polysemous meaning, that the religious idea of reflecting the image of that time's society in the early 16th century and the various political & military events were mixed and expressed simultaneously.
Accordingly, in this study, nine icons as traditional core motifs of methodologically composing of Last Judgment, l)Judge Christ, 2)Deesis, 3)Arma Christi, 4)Saints, 5)Psychostasia, 6)Selected soul and Cursed soul, 7)Angels blowing trumpets, 8)Souls resurrected at tomb, 9)Heaven and Hell motifs were selected in order to be free from the myth of Last judgment of Michelangelo succeeded by followers after the foundation was laid by Vasari and Convidi in the 16th century, and then they compared with the former icons. What Michelangelo succeeded from the traditional icon and what the icon newly created by social influence were examined. Also as a material for comparing with Last Judgment of Michelangelo, Last Judgment shown in various media including Romanesque Art of France, tympanum sculpture of Gothic period, altarpiece of the 15th of Flanders, and wall painting such as Fresco of Italy were selected.
For it, Chapter 2 discussed the differences among Humanism of Firenze, Sack of Rome in 1527, the doctrines of the Reformation, and the doctrines of the Roman Catholic Church, by dividing the background of the period when Last Judgment was produced into three paragraphs. Chapter 3 discussed how Michelangelo accepted the traditional icon motifs in Last Judgment of Sistine Chapel and how he introduced the new icon motifs by dividing the analysis of Last Judgment into the icon analysis and form analysis. Also, it examines how these icon motifs were visualized through the new form. Then, Chapter 4 comes to a conclusion.
Ordered by Pope Clement Ⅶ in 1533 (or Pope Paul in 1534) and completed in 1541, Last judgment of Sistine Chapel is the pictorial product that all factors of the complicated and diversified 16th century reflect that period. It is an epic which reflects the period when the doctrine of the Reformation occurred in the northern part of the Alps in 1517, the creed of the Roman Catholic Church and pagan myth are mixed and visualized on one screen. That is, the various icons shown in Last Judgment of Sistine Chapel are one visual language of containing a polysemous meaning, that the religious idea of reflecting the image of that time's society in the early 16th century and the various political & military events were mixed and expressed simultaneously.
Accordingly, in this study, nine icons as traditional core motifs of methodologically composing of Last Judgment, l)Judge Christ, 2)Deesis, 3)Arma Christi, 4)Saints, 5)Psychostasia, 6)Selected soul and Cursed soul, 7)Angels blowing trumpets, 8)Souls resurrected at tomb, 9)Heaven and Hell motifs were selected in order to be free from the myth of Last judgment of Michelangelo succeeded by followers after the foundation was laid by Vasari and Convidi in the 16th century, and then they compared with the former icons. What Michelangelo succeeded from the traditional icon and what the icon newly created by social influence were examined. Also as a material for comparing with Last Judgment of Michelangelo, Last Judgment shown in various media including Romanesque Art of France, tympanum sculpture of Gothic period, altarpiece of the 15th of Flanders, and wall painting such as Fresco of Italy were selected.
For it, Chapter 2 discussed the differences among Humanism of Firenze, Sack of Rome in 1527, the doctrines of the Reformation, and the doctrines of the Roman Catholic Church, by dividing the background of the period when Last Judgment was produced into three paragraphs. Chapter 3 discussed how Michelangelo accepted the traditional icon motifs in Last Judgment of Sistine Chapel and how he introduced the new icon motifs by dividing the analysis of Last Judgment into the icon analysis and form analysis. Also, it examines how these icon motifs were visualized through the new form. Then, Chapter 4 comes to a conclusion.
목차
Ⅰ. 서론
Ⅱ. 미켈란젤로와 시대 배경
Ⅲ. 미켈란젤로의 〈최후의 심판〉분석
Ⅳ. 결론
참고문헌
ABSTRACT
참고문헌 (15)
참고문헌 신청
1. [단행본] - 김기련 / 2004 / 종교 개혁사 / 목원대학교 출판부
2. [단행본] - 단테 알리기에리 / 2007 / 신곡 / 서해문집
3. [단행본] - 찰스 나우어트 / 2002 / 휴머니즘과 르네상스 유럽문화 / 혜안
4. [단행본] - 칼-하인츠 츠어 뮐렌 / 2003 / 종교개혁과 반종교개혁 / 대한기독교서회
5. [학술지(정기간행물)] - Barnes, Bernadine / 1995 / Metaphorical Painting: Michelangelo, Dante, and the Last Judgment / The Art bulletin 77 (11)
2. [단행본] - 단테 알리기에리 / 2007 / 신곡 / 서해문집
3. [단행본] - 찰스 나우어트 / 2002 / 휴머니즘과 르네상스 유럽문화 / 혜안
4. [단행본] - 칼-하인츠 츠어 뮐렌 / 2003 / 종교개혁과 반종교개혁 / 대한기독교서회
5. [학술지(정기간행물)] - Barnes, Bernadine / 1995 / Metaphorical Painting: Michelangelo, Dante, and the Last Judgment / The Art bulletin 77 (11)
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