한스 벨팅의 종교미술 연구: 도상에서 기능으로 (Hans Belting's Studies on Icon: From Meaning to Function)

서지정보

· 발행기관 : 미술사와 시각문화학회
· 수록지 정보 : 미술사와 시각문화 / 6호 / 92 ~ 109페이지
· 저자명 : 신준형

초록

종교미술 연구는 도상적 ‘의미’의 이해에 너무나 많은 시간과 노력을 할애해 왔다. 그러나 ‘파노프스키 이후’의 시대를 살고 있는 우리는 종교미술이 비의적 텍스트로서뿐 아니라 영적 체험을 촉진시키기 위한 도구로서 ‘기능’해 왔다는 점에 주목해야 한다. 바로 이런 측면에서 한스 벨팅의 아이콘 연구는 기독교 미술뿐 아니라 모든 종교미술을 연구하는 이들에게 주목할 만한 선례를 남겼다고 할 수 있다.

영어초록

This essay brings to light Hans Belting’s thesis on icon and its art historical contribution in the Post-Panofskian era. My discussion focuses on two of his major works, Image and its Public in the Middle Ages (New Rochelle, New York, 1990; German original published in Berlin, 1981) and Likeness and Presence: a History of the Image before the Era of Art (Chicago, 1991; German original published in München, 1990). These works, both translated into English, have been widely circulated and read among the academic communities beyond the field of art history, turning his name into THE authority on the issue of icon. The historians of religious art usually point out as his most important contribution the way Belting narrated the comprehensive history of icon by connecting successfully its Eastern prototypes to their offshoots in the West. This aspect indeed is very significant, given the contemporary situation of our academic field where the Western European and the Byzantine art histories are deemed as separate specialties. On the other hand, I see as the most important that Belting discussed icon not in search of the mystified “latent meaning” of Panofskian iconography, but as regards its function in the context of liturgical and para-liturgical devotion. Furthermore, he widened the scope of icon’s function from the mere receptacle of our veneration to the manifestation of the presence of the holy. For criticism, I have to point out that such an ambitious attempt to write a meta-history of icon, literally from its beginning to the end, is inevitably prone to generalization and thus vulnerable.

참고자료

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