지원사업
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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Kim Chun Su often questioned the problems of human existence’s ethics on the levels of existentialism and religion. In order to resolve such questions, he studied the figure of Jesus, wishing that Jesus would be a humane existence who stands by human and understands human’s pain and sorrow. Such thoughts led to Kim’s interest in the characteristics of Georges Rouault’s paintings.
Rouault did not paint Jesus as the one who stands afar from human, detached and aloof. Instead, Rouault’s Jesus is the human’s true companion who appears in a shabby and humble form, endlessly loving and pitying foolish human. Rouault endeavored to transfer such an image of a human or Jesus to his paintings.
In this context, the themes of Rouault’s paintings included prostitutes and clowns, for they are truly the marginalized existence who are shunned and abandoned by the society. In looking at this existence, he discovered the typical image of human who are lost yet waiting for someone’s helping hand out of the fateful depth of sin.
Thus, Rouault argues that sanctification is more important than purification for human. Because humans are not as perfect as gods, their effort to rid of human imperfection would eventually fail. It is unnatural to narrow the distance between human and god in such a way. Instead, Rouault saw the new way to sanctification in understanding humans as they are and in humbling oneself, confessing one’s flaws, and pleading for forgiveness before god. As such, the absolute distance from god could be overcome in the human’s internal world, and through this overcoming an existence could reach the level of sanctification.
Kim’s poetry demonstrates the poet’s attraction to Rouault’s such thoughts and keys to resolving his own questions. He specifically materializes such attitude in his series of poems “Grandfather Rouault’s Two Oil Paintings” and several poems including “Madrid’s Young Prostitute.” Through these works, Kim freed himself from his own existential agony and questions and provided for himself an opportunity to build oneself more mature and free.
Rouault did not paint Jesus as the one who stands afar from human, detached and aloof. Instead, Rouault’s Jesus is the human’s true companion who appears in a shabby and humble form, endlessly loving and pitying foolish human. Rouault endeavored to transfer such an image of a human or Jesus to his paintings.
In this context, the themes of Rouault’s paintings included prostitutes and clowns, for they are truly the marginalized existence who are shunned and abandoned by the society. In looking at this existence, he discovered the typical image of human who are lost yet waiting for someone’s helping hand out of the fateful depth of sin.
Thus, Rouault argues that sanctification is more important than purification for human. Because humans are not as perfect as gods, their effort to rid of human imperfection would eventually fail. It is unnatural to narrow the distance between human and god in such a way. Instead, Rouault saw the new way to sanctification in understanding humans as they are and in humbling oneself, confessing one’s flaws, and pleading for forgiveness before god. As such, the absolute distance from god could be overcome in the human’s internal world, and through this overcoming an existence could reach the level of sanctification.
Kim’s poetry demonstrates the poet’s attraction to Rouault’s such thoughts and keys to resolving his own questions. He specifically materializes such attitude in his series of poems “Grandfather Rouault’s Two Oil Paintings” and several poems including “Madrid’s Young Prostitute.” Through these works, Kim freed himself from his own existential agony and questions and provided for himself an opportunity to build oneself more mature and free.
목차
1. 들어가며
2. 루오와 한국 문화예술계의 만남
3. 신과 인간의 관계에 대한 근본 고찰－존재의 성화를 위하여
4. 김춘수와 루오, 그 만남의 구체적인 양상들
5. 나오며
참고문헌
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UCI(KEPA) : I410-ECN-0101-2016-810-001708539