도스또예프스끼의 도상 코드: 「시스티나의마돈나」와 『죄와 벌』을 중심으로 (Dostoevsky's Iconography Code especially in and )

서지정보

· 발행기관 : 경희대학교(국제캠퍼스) 비교문화연구소
· 수록지 정보 : 비교문화연구 / 12권 / 1호 / 299 ~ 326페이지
· 저자명 : 조주관

초록

본 논문은 종교기호학, 문학과 회화의 상호텍스트성에 대한 몇 가지 이론적 고찰 등을
토대로 도스또예프스끼가 종교화 「시스티나의 마돈나Sistine Madonna」를 어떻게 해석하
여 자신의 작품 『죄와 벌』에서 재현했는가를 추적하고 있다. 도스또예프스끼는 특유의
카니발적 세계관을 바탕으로 이콘(성화)의 언어와 문법을 독창적으로 이해했다. 그의 카니
발적 세계 속에서 성과 속은 등가일 뿐만 아니라 서로 화해의 장을 마련한다.『죄와 벌』에
등장하는 어린 소녀 매춘부들의 이미지는 마돈나의 이미지를 모방하거나 변주시켜 재현한
것들이다. 특히 마돈나와 성스러운 창녀 소냐는 모두 아름다움(美)을 통해 불행한 인간을
구원한다. 그들의 아름다움은 진선미(眞善美)의 통합체이다. 신성의 통일체의 원칙으로
표현된 성모 마리아의 육체인 소냐는 아름다움의 육화이자, 우주의 여성원칙에 대한 도스
또예프스끼의 믿음을 대변해주는 인물이기도 하다. 도스또예프스끼는 성화에 나타난 성모
마리아의 성스러운 이미지를 창녀로 타락한 소녀들의 이미지로 재현시켜 구원사상을 이끌
고 있다. 그는 레오나르도 다 빈치처럼 성화 코드에 담겨있는 구원의 메시지를 독창적으로
해독한 탁월한 예술가인 것이다.

영어초록

It could be said about the communication of art and literature that they
are an intertextual dialogue to a broader understanding of the human world.
Dostoevsky, who regarded picture as visual literature, praised Raffaello's
Painting, <Sistine Madonna> as the "greatest work of art in human history"
and used it as a subject matter of his literary works. The young girls that
usually appear in his novels are imitations or variations of Madonna (the
Virgin Mary). The purpose of this essay is how the novelist uses his artistic
imagination code to look into the union of holiness and worldliness.
Dostoevsky, like Andrei Rublyov, developed his own method in enjoying
art. He is an artist who look at the human world in the wanton Zeus' cunning
view enjoying fully the freedom of imagination. He could be called as the
greatest imaginative artist in the world. Dostoevsky granted a special
meaning to Raffaello's <Sistine Madonna>. In Raffaello's religious painting,
the yet young Virgin Mary who has a child in her arms reminds of Sonya's
figure who also has Raskolnikov in her arms. In Crime and Punishment,
Raskolnikov throws himself on Sonya and confesses his crime. Here, Sonya
somehow plays the role of the confession priest. She was deeply distressed
from this but then tells him to go to the broad way to kiss the site where
he has defiled and to confess all his sins. Sonya resembles Virgin Mary
because of her understand of human's agony, and Raskolnikov resembles the
baby who admits of his sin to the Virgin Mary.
The encounter of literary text and artistic text is the communication of
icon and language signs. In Crime and Punishment, Raskolnikov confesses his crime to the prostitute Sonya and Svidrigaylov finding the images of
Virgin Mary are all only possible with the author's liberal cannibalistic
imagination. In Dostoevsky's work, prostitute girls appear to the
protagonists as saviors because they are Virgin Mary's impersonation. Of
course, in the Christian's viewpoint, associating a young girl and a virgin
statue, and paring her with a lascivious man might be blasphemy or
defilement of the sacred object. Dostoevsky is associating the young girl that
was sold from the Virgin Mary, but that blasphemy of the Holy Mother does
not necessarily mean the varnish of the Holy Mother's essence. In
Dostoevsky's creative world, the Holy Mother is disguised as a wretched
young prostitute girl, but the Holy Mother is portraying the figure of a savior
who saves mankind from suffering and indigence. This point is the reason
why Sonya had been portrayed as the savior in Crime and Punishment.
Originally, the highest value of the Orthodox faith is holiness. Virtue is the
greatest moral which preserves the Russian mind in the Russian secular
world. If Dostoevsky was a drawing artist, he would have drawn religious
paintings portraying young girls as prostitutes like Raffaello, who used his
girl friend as a model to draw the Virgin Mary. The encounter of literature
and art is an open communication that broadens the area of human
comprehension.

참고자료

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