폐허 이미지를 통해 본 바로크적 알레고리 (Baroque Allegory Analyzed through Ruin Images)

서지정보

· 발행기관 : 세계문학비교학회
· 수록지 정보 : 세계문학비교연구 / 38호 / 411 ~ 433페이지
· 저자명 : 이주은

초록

This thesis will examine ruin images painted by France’s Hubert Robert at the end of the 18th century. By implicitly implying that ruins were places where rulers with power exclusively lived in the past, but were open to anyone at the present time, it enabled viewers to feel a sense of transience from the ruin images, displaying characteristics of vanitas paintings.


The period when Robert actively worked as a painter was the Neo-Classicist period, from the perspective of art history, which was also the period that gave birth to romantic ethos leading to the French Revolution from a socio-cultural perspective. Indeed, devastated sites and collapsed buildings can be understood as symbolism of Classicism or Romanticism sublime, but it will be translated in line with Baroque tradition here. To do this, the concept of Baroque allegory, as described by Walter Benjamin, was actively adopted. Benjamin differentiated ‘symbol’ from ‘allegory.’ For instance, if ruins meant collapse, this was understood as a symbol. However, if the meaning of ruins was meant to be not complete and open, it was categorized as allegory.


Allegorical ruins also implied subjectivism. This was because the notion that constant and essential principles should be followed, just like the Classicism-oriented order was refused and was decided based on uncertain aesthetical experience. Ruin images demonstrated emptiness as well as a strong desire for newness. Collapsed monuments and residential areas where no one lived paradoxically foresaw delightful and improved images. Ruins acted as potentiality that predicted a new adventure will start soon for the eyes of the public.

영어초록

This thesis will examine ruin images painted by France’s Hubert Robert at the end of the 18th century. By implicitly implying that ruins were places where rulers with power exclusively lived in the past, but were open to anyone at the present time, it enabled viewers to feel a sense of transience from the ruin images, displaying characteristics of vanitas paintings.


The period when Robert actively worked as a painter was the Neo-Classicist period, from the perspective of art history, which was also the period that gave birth to romantic ethos leading to the French Revolution from a socio-cultural perspective. Indeed, devastated sites and collapsed buildings can be understood as symbolism of Classicism or Romanticism sublime, but it will be translated in line with Baroque tradition here. To do this, the concept of Baroque allegory, as described by Walter Benjamin, was actively adopted. Benjamin differentiated ‘symbol’ from ‘allegory.’ For instance, if ruins meant collapse, this was understood as a symbol. However, if the meaning of ruins was meant to be not complete and open, it was categorized as allegory.


Allegorical ruins also implied subjectivism. This was because the notion that constant and essential principles should be followed, just like the Classicism-oriented order was refused and was decided based on uncertain aesthetical experience. Ruin images demonstrated emptiness as well as a strong desire for newness. Collapsed monuments and residential areas where no one lived paradoxically foresaw delightful and improved images. Ruins acted as potentiality that predicted a new adventure will start soon for the eyes of the public.

참고자료

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