예배에서 일상의 기쁨으로-칼빈, 칼빈주의, 그리고 시각미술 (The Joy of Ordinary Life: Calvin, Calvinism, and the Visual Arts)

서지정보

· 발행기관 : 한국기독교학회
· 수록지 정보 : 한국기독교신학논총 / 65호 / 39 ~ 61페이지
· 저자명 : 이정숙

초록

The Protestant Reformation is often identified as an iconoclastic movement and Christian art, especially visual art, has been undervalued in Protestant churches as a result. It is true that many reformers explicitly expressed their abhorrence toward Catholics’ usage of paintings and statues in worship because art had been overused and misused in the Medieval churches. Despite agreement with the negative view on the use of Christian art, the reformers were not consistent in advising or applying a common policy with regard to the removal of visual arts from Protestant churches. In Germany, while Karl Stadt was adamantly encouraging people to destroy art, Luther believed that necessary destruction should be executed not by the people but by the municipal authority. Calvin, as a second generation reformer, did not have to be involved in iconoclasm in Geneva, but also never advocated the use of visual arts. However, this does not mean that he precluded one’s genuine appreciation or expression of natural beauty God granted us to enjoy. Calvin’s potentially positive attitude toward the visual arts is stated more in an inexplicit way, but effectively reflected in seventeenth century Dutch paintings produced where Calvinist influence was most vivid. Jane D. Douglass perceptively laid out four elements of Calvin's theological thoughts relevant to the flourishing of visual arts. They are, first, "Calvin's fundamental conviction that God alone is the Lord, that God alone is to be worshipped and adored, and the knowledge of God necessary for proper worship is to be found in Scripture." Second is the "deep concern for simplicity of lifestyle, so that available resources can meet human needs." The third element is "the doctrine of vocation." The last is "Calvin's love of creation and its beauty." Since it is not difficult to find these elements from landscape and still life paintings, and most Genre paintings of seventeenth century Dutch paintings, it may be fair to say Calvin's influence in Dutch paintings was far greater than one can imagine. Therefore, it is true that Calvin’s understanding of Christian art made a major shift of its location from worship to celebration of creation and ordinary life.

영어초록

The Protestant Reformation is often identified as an iconoclastic movement and Christian art, especially visual art, has been undervalued in Protestant churches as a result. It is true that many reformers explicitly expressed their abhorrence toward Catholics’ usage of paintings and statues in worship because art had been overused and misused in the Medieval churches. Despite agreement with the negative view on the use of Christian art, the reformers were not consistent in advising or applying a common policy with regard to the removal of visual arts from Protestant churches. In Germany, while Karl Stadt was adamantly encouraging people to destroy art, Luther believed that necessary destruction should be executed not by the people but by the municipal authority. Calvin, as a second generation reformer, did not have to be involved in iconoclasm in Geneva, but also never advocated the use of visual arts. However, this does not mean that he precluded one’s genuine appreciation or expression of natural beauty God granted us to enjoy. Calvin’s potentially positive attitude toward the visual arts is stated more in an inexplicit way, but effectively reflected in seventeenth century Dutch paintings produced where Calvinist influence was most vivid. Jane D. Douglass perceptively laid out four elements of Calvin's theological thoughts relevant to the flourishing of visual arts. They are, first, "Calvin's fundamental conviction that God alone is the Lord, that God alone is to be worshipped and adored, and the knowledge of God necessary for proper worship is to be found in Scripture." Second is the "deep concern for simplicity of lifestyle, so that available resources can meet human needs." The third element is "the doctrine of vocation." The last is "Calvin's love of creation and its beauty." Since it is not difficult to find these elements from landscape and still life paintings, and most Genre paintings of seventeenth century Dutch paintings, it may be fair to say Calvin's influence in Dutch paintings was far greater than one can imagine. Therefore, it is true that Calvin’s understanding of Christian art made a major shift of its location from worship to celebration of creation and ordinary life.

참고자료

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