파노프스키와 미술사학의 대중화:『도상 해석학 연구』(1939) 다시 보기

서지정보

· 발행기관 : 한국미술이론학회
· 수록지 정보 : 미술이론과 현장 / 17권
· 저자명 : 조은정

목차

Ⅰ. 서론
Ⅱ. 이코노그라피와 이코놀로지
　1. 바르부르크와 파노프스키의 도상해석방법론
　2. 미국 이주와 ‘이코놀로지’ 용어의 도입
　3. ‘종합적 해석 단계’로서의 이코놀로지
Ⅲ. 학문어로서의 영어와 미술사학의 대중화
Ⅳ. 결론

영어초록

Since the publication of Erwin Panofsky's Studies in Iconology in 1939, the controversial term 'iconology' has replaced the conventional term iconography as a new art historical methodology. However, Panofsky's real legacy lies not in the invention of a new methodology, but in the popularization of art history by applying simple terms and a synoptical table of 'iconological interpretation.' Panofsky's concept of iconology was inherited from that of Aby Warburg who extended the methodological boundary of the study of art while focusing on the complexities of social context in the 1910s. By adopting the old term 'iconology' used in a study of artistic symbolism, Warburg coined the term 'ikonologische Analyse,' to explain his method of analyzing visual motifs in connection with social life outside art. Panofsky contributed to popularizing an art historical methodology, with which to interpret visual motifs through a systematic strategy of relating images to concepts, which follows a simple process from 'pre-iconographical description' through 'iconographical analysis' to 'iconological interpretation'. While adapting himself as an immigrant art historian to the unfamiliar academic atmosphere in the Unites States, Panofsky endeavored to make his theory of iconology more lucid and accessible to a general audience. By using major technical terms in English instead of German that conveys a multitude of meanings, Panofsky was able to popularize his art historical methodology. Panofsky's writings made a significant contribution to a shift in art history from an academic discipline to a new object of public interest in the 20th century.

참고자료

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