프라 필립포 립피(Fra Filippo Lippi)의 〈피티톤도 Pitti Tondo〉와 15세기 피렌체의 出産文化 (Fra Filippo Lippi’s Pitti Tondo Reinterpreted in the Cultural Context of Childbirth in Quattrocento Florence)

서지정보

· 발행기관 : 미술사연구회
· 수록지 정보 : 미술사연구 / 23호 / 343 ~ 370페이지
· 저자명 : 김희진

초록

This thesis primarily focuses on the interpretation of Fra Filippo Lippi’s Pitti Tondo in the context of the cultural aspects of childbirth in Florence during the fifteenth century. The unusual representation of the imago and the istoria on one picture plane is the most significant and distinctive aspect of the Pitti Tondo. The image of the Virgin and Child is namely depicted together with two narrative scenes, one of which is the Birth of the Virgin and the other the Meeting of St. Anne and Joachim at the Golden Gate. The painting has been so far mainly examined in the theological perspectives. For instance, it was argued that the Pitti Tondo represented the Immaculate Conception, or that it included two sites in Jerusalem, i.e. where the Virgin was born and the Golden Gate was built, those places which the Carmelites regarded highly significant.
Since the late-nineteenth century, it has been accepted that the Pitti Tondo was commissioned by Lionardo di Bartolommeo Bartolini, thus called the Bartolini Tondo. However, it would neglect the documentary fact that the compensation for incompletion of the painting was paid by the Ceppos in Prato. The griffin rampant drawn in reverse of the painting also suggests rather that the Pitti Tondo was executed for the Martelli, for this motif was the coat of arms of this Florentine family.
Based on the facts that the narrative scenes appeared in the painting are related to miraculous birth of the Virgin and the coat of arms is drawn in reverse of it, this extraordinary circular image for private devotion can be connected to the birth-tray, so called deschi da parto, which emerged in Florence in 1370s. Childbirth itself presented a real and vivid danger for the well-being of any family then. Bearing children in this period was not only painful, but also frequently fatal. Therefore, within the context of childbirth, the cult of St. Anne, especially her role as the patron saint of parturition has been regarded into the interpretation of the painting. Displayed in the camera, a bedchamber or an antechamber, Pitti Tondo must have functioned as the tranquility to female prayers who yearned for a miracle in connection with childbirth.
The relationship between the painting and the viewer should be regarded as one of aspects connected with the function of the Pitti Tondo. It seems that this painting was designed to stimulate internal contemplation of the viewers, mainly for the female, whose most important duty was to produce descendents. Presenting the members of the Holy Family, the Pitti Tondo could also lay an emphasis on the new concepts in the fifteenth century Florence: i.e. the notion of family and the ideal role of mother. Hence, it could be said that the cultural, social, intellectual, and religious trends of the patriarchal Florentine merchant bourgeois society are integrated in this very painting for private devotion.

영어초록

This thesis primarily focuses on the interpretation of Fra Filippo Lippi’s Pitti Tondo in the context of the cultural aspects of childbirth in Florence during the fifteenth century. The unusual representation of the imago and the istoria on one picture plane is the most significant and distinctive aspect of the Pitti Tondo. The image of the Virgin and Child is namely depicted together with two narrative scenes, one of which is the Birth of the Virgin and the other the Meeting of St. Anne and Joachim at the Golden Gate. The painting has been so far mainly examined in the theological perspectives. For instance, it was argued that the Pitti Tondo represented the Immaculate Conception, or that it included two sites in Jerusalem, i.e. where the Virgin was born and the Golden Gate was built, those places which the Carmelites regarded highly significant.
Since the late-nineteenth century, it has been accepted that the Pitti Tondo was commissioned by Lionardo di Bartolommeo Bartolini, thus called the Bartolini Tondo. However, it would neglect the documentary fact that the compensation for incompletion of the painting was paid by the Ceppos in Prato. The griffin rampant drawn in reverse of the painting also suggests rather that the Pitti Tondo was executed for the Martelli, for this motif was the coat of arms of this Florentine family.
Based on the facts that the narrative scenes appeared in the painting are related to miraculous birth of the Virgin and the coat of arms is drawn in reverse of it, this extraordinary circular image for private devotion can be connected to the birth-tray, so called deschi da parto, which emerged in Florence in 1370s. Childbirth itself presented a real and vivid danger for the well-being of any family then. Bearing children in this period was not only painful, but also frequently fatal. Therefore, within the context of childbirth, the cult of St. Anne, especially her role as the patron saint of parturition has been regarded into the interpretation of the painting. Displayed in the camera, a bedchamber or an antechamber, Pitti Tondo must have functioned as the tranquility to female prayers who yearned for a miracle in connection with childbirth.
The relationship between the painting and the viewer should be regarded as one of aspects connected with the function of the Pitti Tondo. It seems that this painting was designed to stimulate internal contemplation of the viewers, mainly for the female, whose most important duty was to produce descendents. Presenting the members of the Holy Family, the Pitti Tondo could also lay an emphasis on the new concepts in the fifteenth century Florence: i.e. the notion of family and the ideal role of mother. Hence, it could be said that the cultural, social, intellectual, and religious trends of the patriarchal Florentine merchant bourgeois society are integrated in this very painting for private devotion.

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