기념비 건축물의 파괴와 보존의 의지에 관한 연구 -제1차 세계 대전 전후 프랑스와 독일의 사례를 중심으로-

서지정보

ㆍ발행기관 : 한국건축역사학회 ㆍ수록지정보 : 건축역사연구 / 31권 / 5호
ㆍ저자명 : 김영철

목차

Abstract
1. 서 론
2. 19세기의 시대상을 반영하는 예술로서의 건축정의와 야만성의 극복
2-1. 예술의 정의와 야만성
2-2. 시대상의 변화와 기념비의 관리
3. 기념비 건축물의 보존을 위한 노력과 기록화
3-1. 데히오
3-2. 제1차 세계 대전과 전쟁 이전 프랑스의 기념비 보존 행정
3-3. 제1차 세계 대전의 기념비 파괴와 야만성의 주체에 관한 논쟁
5. 결 론
참고문헌

영어 초록

Architectural Monuments have to overcome the challenge of time due to physical properties. The fundamental issue must be grounded in an understanding of history and art to overcome this challenge and make them sustainable. Many efforts to preserve the monuments through the 19th century and at the beginning of the 20th century to record them in scientific form were successful. To be aware of the meaning of the art and not to be ‘barbare’ anymore was behind the promotion of these activities. Above all, the 19th-century French architect Viollet-le-Duc contrasted the concept of barbarism with the concept of art and tried to redefine architecture as art. The ritual to escape ‘barbare’ played an important role in the end. This consciousness was also at work in the propaganda for the preservation of medieval architectural monuments in France, led by intellectuals such as Rodin. Also, the concept of ‘barbare’ served as an important yardstick whenever the cause of their loss was questioned while important monuments were destroyed in the First World War. From the viewpoint of Germany, Dehio was the pioneer of the preservation movement and documentation of monuments. The principle he advocated was preservation, not restoration. The historian Pevsner, who moved to England, also surveyed monuments in various parts of England and left them in the same format as Dehio. These facts show that architecture as art plays a fundamental role in the history of human life.

참고 자료

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