3 research outputs found
Re-examination of Titians Le Concert champรชtre
ํ์๋
ผ๋ฌธ (์์ฌ)-- ์์ธ๋ํ๊ต ๋ํ์ : ์ธ๋ฌธ๋ํ ๊ณ ๊ณ ๋ฏธ์ ์ฌํ๊ณผ(๋ฏธ์ ์ฌํ์ ๊ณต), 2019. 2. ์ ์คํ.This thesis re-examines Le Concert champรชtre of the Musรฉe du Louvre, known as the early work of Tiziano Vecellio, the great Venetian master of the Renaissance period. This work is regarded as a pastoral landscape which emerged in the early Sixteen century Venice based on pastoral literature. Previous studies interpreted this work that amidst two men performing music, two Muses would appear and evoke artistic inspiration and thereon enjoy the pastoral concert. This thesis, however, will argue that the concert is not the reality in the work, but an imaginary scene in the young Venetian aristocrat's mind, wherein the luxuriously dressed man holds a lute. He is in conflict between two attributes of life in Arcadia, symbolized by the two women. And the shepherd-like man next to him can be interpreted as a self-image reflecting his self. While he was in conflict between tragedy and happiness-and-blessing in Arcadia, a self appeared before him showing his true inner self.
This thesis proceeds as follows. This thesis proceeds as follows. First, in Chapter II, I discuss the woman standing on the left side of the scene. Previous studies interpreted this woman as the Nymph of Spring. However, this woman does not correspond to an image of the Spring Nymph which was popular at the time. It is also difficult to see this woman as the Nymph of Spring because the structure where she pours water is close to a sarcophagus, not a fountain. The image of a woman pouring water into a sarcophagus appears to have originated from an ancient funeral ceremony mourning death. In other words, she is an allegorical figure, a reminder that death is also present in Arcadia, and symbolizes the tragic aspect of life that is triggered by death.
In Chapter III, I analyze the young Venetian aristocrat and discuss his relationships with other figures. The difference in class between the two men, aristocrat and shepherd, is a noteworthy feature which was not addressed in previous studies. The two men differ not only in class, but also in painting techniques which expresses them. For instance, the shepherd-like man is represented by a painting technique similar to that of the two nude women. Since the two nude women have been previously interpreted as unrealistic beings, I argue that the only real person in this work is the noble man and the other three are unrealistic beings. The fact that the aristocrats lute cannot be played for there are no strings or rosette suggests that this is an imaginary scene. At this time, the two women on both sides of the aristocratic man are interpreted as allegorical figures provoking conflict with him. The woman standing on the left symbolizes the tragedy of life and death, and the woman sitting on the right symbolizes the happiness-and-blessing. Therefore, I argue that the aristocratic man is in conflict between the two attributes of life in Arcadia, symbolized by the two women.
Finally, in Chapter IV, the existence and role of the man who looks like a shepherd are discussed. Considering the postures and facial expressions of the two men, the shepherd-like man can be interpreted as a self-being projected by the young Venetian aristocrat himself. The concept of an individual and self greatly developed along with the beginning of the Italian Renaissance. This humanistic tendency can be found in many literature and paintings produced in Italy during this period, as well as in Le Concert champรชtre. This shows that writers and artists of the Renaissance period recognized their own selves and reproduced themselves through various forms in their works.
This thesis sought to redefine the identity and relationship of the figures apart from the perspectives of previous studies. I interpreted Le Concert champรชtre as a work expressing the inner conflict of the young Venetian aristocrat pursuing the happiness-and-blessing of Arcadia despite the presence of death. My argument is based on the prevalence of pastoral literature and expansion of self-awareness in Italy during the Renaissance. In this regard, Le Concert champรชtre is an important work for it shows that Titian is interested in not only the pastoral literature but also the self-awareness of the individual.๋ณธ ๋
ผ๋ฌธ์ ๋ฅด๋ค์์ค ์๊ธฐ ์ดํ๋ฆฌ์ ๋ฒ ๋ค์น์์ ๊ฑฐ์ฅ ํฐ์น์๋
ธ์ ์ด๊ธฐ์์ผ๋ก ์๋ ค์ง ํ๋์ค ํ๋ฆฌ ๋ฃจ๋ธ๋ฅด๋ฐ๋ฌผ๊ด ์์ฅ ๋ฅผ ์ฌํด์ํ๋ ๊ธ์ด๋ค. ์ด ์ํ์ ๋ชฉ๊ฐ ๋ฌธํ์ ๊ธฐ๋ฐ์ผ๋ก 16์ธ๊ธฐ ์ด๋ฐ ๋ฒ ๋ค์น์์์ ๋ฑ์ฅํ ์ ์ ํ๊ฒฝํ์ ํ ์ํ์ผ๋ก ์ฌ๊ฒจ์ง๋ค. ์ด๋ฅผ ๋ถ์ํ ๊ธฐ์กด ์ฐ๊ตฌ๋ค์ ๋ ๋จ์ฑ์ด ์์
์ ์ฐ์ฃผํ๋ ๊ฐ์ด๋ฐ ๊ทธ๋ค์๊ฒ ์์ ์ ์๊ฐ์ ๋ถ์ด ๋ฃ์ด์ค ๋ฎค์ฆ๋ค์ด ๋ํ๋ ํจ๊ป ์์
ํ๋ฅผ ์ฆ๊ธฐ๊ณ ์๋ค๊ณ ํด์ํ๋ค. ๊ทธ๋ฌ๋ ๋ณธ ๋
ผ๋ฌธ์ ์ ์ ์์
ํ๊ฐ ์ํ ์ ํ์ค์ด ์๋ ๊ท์กฑ ๋จ์ฑ์ ๋ด๋ฉด ์ ์์์ ์ฅ๋ฉด์ด๋ผ๊ณ ์ฃผ์ฅํ ๊ฒ์ด๋ค. ๊ทธ๋ ๋ ์ฌ์ฑ์ด ์์งํ๋ ์๋ฅด์นด๋์์์ ์ถ์ ๋ ๊ฐ์ง ์์ฑ ์ฌ์ด์์ ๊ฐ๋ฑํ๊ณ ์๋ค. ์ด๋ ๊ทธ์ ์์ ๋ํ๋ ๋ชฉ๋ํ์ ๋จ์ฑ์ ๊ทธ์ ์์๊ฐ ํฌ์๋ ์์ ์ด๋ฏธ์ง๋ผ๊ณ ํด์ํ ๊ฒ์ด๋ค. ์๋ฅด์นด๋์์ ์กด์ฌํ๋ ๋น๊ทน๊ณผ ๋ณต๋ฝ ์ฌ์ด์์ ๊ฐ๋ฑํ๋ ๊ทธ์๊ฒ ์์ ์ ์ง์ ํ ๋ด๋ฉด์ ๋ณด์ฌ์ฃผ๋ ์์๊ฐ ๋ฑ์ฅํ ๊ฒ์ด๋ค.
๋ณธ ๋
ผ๋ฌธ์ ๋ค์๊ณผ ๊ฐ์ด ์งํ๋๋ค. ๋จผ์ ์ II์ฅ์์๋ ์ผ์ชฝ ์ฌ์ฑ์ ๋ํด ๋ถ์ํ ๊ฒ์ด๋ค. ๊ธฐ์กด ์ฐ๊ตฌ์์ ํ๋ฉด ์ผ์ชฝ์ ์ ์๋ ์ฌ์ฑ์ ์์ ๋ํ๋ก ํด์๋์ด ์๋ค. ๊ทธ๋ฌ๋ ์ผ์ชฝ ์ฌ์ฑ์ ๋น์์ ์ ํํ๋ ์์ ๋ํ ์ด๋ฏธ์ง์ ์ผ์นํ์ง ์๋๋ค. ๋ํ ์ผ์ชฝ ์ฌ์ฑ์ด ๋ฌผ์ ๋ถ๊ณ ์๋ ๊ตฌ์กฐ๋ฌผ์ ๋ถ์๊ฐ ์๋๋ผ ์๊ด์ ๊ฐ๊น๋ค๋ ์ ์์ ์ผ์ชฝ ์ฌ์ฑ์ ์์ ๋ํ๋ผ ๋ณด๊ธฐ๋ ์ด๋ ต๋ค. ์๊ด์ ๋ฌผ์ ๋ถ๋ ์ฌ์ฑ์ ๋ชจ์ต์ ์ฃฝ์์ ์ ๋ํ๋ ๊ณ ๋์ ์ฅ๋ก ์์์์ ์ ๋ํ๋ค๊ณ ๋ณผ ์ ์๋ค. ์ฆ ์ผ์ชฝ ์ฌ์ฑ์ ์๋ฅด์นด๋์์๋ ์ฃฝ์์ด ์กด์ฌํ๋ค๋ ์ฌ์ค์ ์ผ๊นจ์์ฃผ๋ฉฐ ๋์๊ฐ ์ฃฝ์์ด ์ด๋ฐํ๋ ์ถ์ ๋น๊ทน์ ์ธก๋ฉด์ ์์งํ๋ค๊ณ ์ฃผ์ฅํ ๊ฒ์ด๋ค.
์ III์ฅ์์๋ ๊ท์กฑ ๋จ์ฑ์ ๋ํด ์์๋ณด๊ณ ๋ค๋ฅธ ์ธ๋ฌผ๋ค๊ณผ์ ๊ด๊ณ์ ๋ํด ๋
ผํ ๊ฒ์ด๋ค. ์ด๋ฅผ ์ํด ๊ท์กฑ๊ณผ ๋ชฉ๋์ด๋ผ๋ ๋ ๋จ์ฑ์ ๊ณ๊ธ ์ฐจ์ด์ ์ฃผ๋ชฉํ๋ค. ๋ ๋จ์ฑ์ ๊ณ๊ธ์ ๋ฌผ๋ก ์ด๊ณ ์ด๋ฅผ ๋ํ๋ด๋ ํํ ๊ธฐ๋ฒ์์๋ ์ฐจ์ด๊ฐ ๋๋ค. ๋ชฉ๋ํ์ ๋จ์ฑ์ ๊ท์กฑ ๋จ์ฑ์ด ์๋๋ผ ๋์ฒด์ ๋ ์ฌ์ฑ๊ณผ ๋น์ทํ๊ฒ ํํ๋์ด ์๋ค. ๋ฐ๋ผ์ ์ด ์ํ์์ ์ค์ฌํ๋ ์ธ๋ฌผ์ ์ค์ง ๊ท์กฑ ๋จ์ฑ๋ฟ์ด๋ฉฐ ๋๋จธ์ง ์ธ ์ธ๋ฌผ์ ๋นํ์ค์ ์ธ ์กด์ฌ๋ผ๊ณ ํด์ํ ๊ฒ์ด๋ค. ๋ํ ๊ท์กฑ ๋จ์ฑ์ด ๋ค๊ณ ์๋ ๋ฅํธ๊ฐ ํ๊ณผ ๋ก์ ํธ๊ฐ ์์ด ์ฐ์ฃผํ ์ ์๋ ์
๊ธฐ๋ผ๋ ์ ์์ ์ด ์ฅ๋ฉด์ด ์ค์ฌํ์ง ์๋ ์์์ ์ฅ๋ฉด์์ ์์ํ๋ค๊ณ ๋ณธ๋ค. ์ด๋ ๊ท์กฑ ๋จ์ฑ์ ์์์ ์์นํ ๋ ์ฌ์ฑ์ ๊ทธ์๊ฒ ๊ฐ๋ฑ์ ๋ถ๋ฌ์ผ์ผํค๋ ์๋ ๊ณ ๋ฆฌ์ ์ธ๋ฌผ๋ค์ด๋ผ๊ณ ํด์ํ๋ค. ์ผ์ชฝ ์ฌ์ฑ์ ์๋ฅด์นด๋์์ ์กด์ฌํ๋ ์ถ๊ณผ ์ฃฝ์์ ๋น๊ทน์, ์ค๋ฅธ์ชฝ ์ฌ์ฑ์ ์๋ฅด์นด๋์์ ๋ณต๋ฝ์ ์์งํ๋ ๊ฒ์ด๋ค. ๋ฐ๋ผ์ ๊ท์กฑ ๋จ์ฑ์ ๋ ์ฌ์ฑ์ด ์๋ฏธํ๋ ์๋ฅด์นด๋์์์ ์ถ์ ๋ ๊ฐ์ง ์์ฑ ์ฌ์ด์์ ๊ฐ๋ฑํ๊ณ ์๋ค๊ณ ์ฃผ์ฅํ ๊ฒ์ด๋ค.
๋ง์ง๋ง์ผ๋ก ์ IV์ฅ์์๋ ๋ชฉ๋์ฒ๋ผ ๋ณด์ด๋ ๋จ์ฑ์ ์กด์ฌ์ ์ญํ ์ ๋ํด์ ๋
ผ์ํ๋ค. ๋ ๋จ์ฑ์ ์์ธ์ ์ผ๊ตด ํํ์ ์ข
ํฉํด ๋ณผ ๋ ๋ชฉ๋ ํ์ ๋จ์ฑ์ ๊ท์กฑ ๋จ์ฑ์ ์์๊ฐ ํฌ์๋ ์กด์ฌ๋ผ๊ณ ์ฃผ์ฅํ ๊ฒ์ด๋ค. ๊ฐ์ธ๊ณผ ์์๋ผ๋ ๊ฐ๋
์ ์ดํ๋ฆฌ์ ๋ฅด๋ค์์ค๊ฐ ์์๋๋ฉด์ ํฌ๊ฒ ๋ฐ์ ํ๋ค. ๋ ๋ฌผ๋ก ์ด๊ณ ์ด ์๊ธฐ์ ์ดํ๋ฆฌ์์์ ์ ์๋ ๋ง์ ๋ฌธํ๊ณผ ํํ ์ํ์์ ์ด๋ฌํ ์ธ๋ฌธ์ฃผ์์ ๊ฒฝํฅ์ ์ฐพ์๋ณผ ์ ์๋ค. ์ด๋ฅผ ํตํด ๋ฅด๋ค์์ค ์๊ธฐ ๋ฌธ์ธ ๋ฐ ์์ ๊ฐ๋ค์ด ์์ ์ ์์๋ฅผ ์ธ์ํ๊ณ ์ด๋ฅผ ์ํ ์์์ ๋ค์ํ ํํ๋ก ์ฌํํ์์ ์ ์ ์๋ค.
๋ณธ ๋
ผ๋ฌธ์ ๊ธฐ์กด์ ์๊ฐ์์ ๋ฒ์ด๋์ ์ธ๋ฌผ๋ค์ ์ ์ฒด์ฑ๊ณผ ๊ด๊ณ๋ฅผ ์ฌ์ ๋ฆฝํ๊ณ ์ ํ๋ค. ํ์๋ ์ด ์ํ์ ์ฃฝ์์ ์กด์ฌ์๋ ๋ถ๊ตฌํ๊ณ ์๋ฅด์นด๋์์ ๋ณต๋ฝ์ ์ถ๊ตฌํ๊ณ ์ ํ๋ ๊ท์กฑ ๋จ์ฑ์ ๋ด์ ๊ฐ๋ฑ์ด ํํ๋ ์ํ์ผ๋ก ํด์ํ๋ค. ์ด๋ฌํ ํ์์ ์ฃผ์ฅ์ ๋ฅด๋ค์์ค ์๊ธฐ ์ดํ๋ฆฌ์์์ ๋ชฉ๊ฐ ๋ฌธํ์ ์ ํ๊ณผ ์์ ์ธ์์ ํ๋์ ๊ธฐ๋ฐํ๊ณ ์๋ค. ๋ฐ๋ผ์ ์ด ์ํ์ ํฐ์น์๋
ธ๊ฐ ๋ชฉ๊ฐ ๋ฌธํ๋ ๋ฌผ๋ก ์ด๊ณ ๊ฐ์ธ์ ์์ ํ์์๋ ๊ด์ฌ์ด ๋ง์์์ ๋ณด์ฌ์ฃผ๋ ์ค์ํ ์ํ์ด๋ผ ํ ์ ์๋ค.I. ์๋ก
II. ์ผ์ชฝ ์ฌ์ฑ
1. ์์ ๋ํ?
2. ๋ถ์๊ฐ ์๋ ์๊ด
3. ๋ชฉ๊ฐ์์ ๋น๊ทน์ฑ
III. ๊ท์กฑ ๋จ์ฑ
1. ๊ท์กฑ ๋จ์ฑ์ ๋๋ฐ์
2. ์๋ฆฌ ์๋ ๋ฅํธ
3. ๋ ์ฌ์ฑ, ๋น๊ทน๊ณผ ๋ณต๋ฝ
IV. ๋ชฉ๋
1. ๋ ๋จ์ฑ์ ๊ด๊ณ
2. ๋ฌธํ์ ํฌ์๋ ์์
3. ํํ์ ํฌ์๋ ์์
V. ๊ฒฐ๋ก
์ฐธ๊ณ ๋ฌธํ
๋ํ ๋ชฉ๋ก
๋ํ
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