그림과 틀(frame): 뒤러의 <란다우어(Landauer)> 제단화> 다시 보기 (A Picture and its Frame: A Reconsideration of Dürer’s "Laudauer Altarpiece")

서지정보

· 발행기관 : 미술사와 시각문화학회
· 수록지 정보 : 미술사와 시각문화 / 12호 / 8 ~ 31페이지
· 저자명 : 전한호

초록

미술사 연구는 이제까지 작품에만 주목했고 작품을 감싸는 틀(frame)에 대한 고찰은 부족했다. 특히 제단화의 경우 틀은 그림과 함께 계획되고 제작되었음에도 항상 논외의 대상이었다. 본 논문은 틀과 그림의 상관관계에 주목하여 뒤러의 <란다우어 제단화>를 재고해보고자 한다. <란다우어 제단화>는 기존의 고딕식 제단화의 호화로운 틀과 비교해 포탈 형태의 단순한 르네상스식 틀을 보여주고 있으며, 당시 유행하던 세폭 제단화의 전통을 거부하고 이탈리아 르네상스식 팔라(pala)의 형식을 취했다는 점에서 북유럽 르네상스의 혁신적 걸작으로 꼽힌다.

영어초록

This study discusses the relationship between the image and its frame in Laudauer Altarpiece. This work is the last altarpiece among the seven altarpieces by Albrecht Dürer(1471-1528), and is the first pala in Northern Europe. It is noteworthy for two reasons in the history of Northern European Renaissance. First, it did not employ the traditional form of winged altarpiece typical in the North. Secondly, the artist himself designed the frame as well as the picture. Especially, the frame of Laudauer Altarpiece has not only the portal shape but also the lunette, on which appears the depiction of "the Last Judgment." This implies that the frame functions not only as a decoration, but also provides the protection for the altarpiece, thus it has its own meaning and role in the altarpiece.
Originally the Gothic style winged frame has the meaning of "church in church" and "holy place in holy place," whose shape resembles that of a gothic church. In contrast, the frame of Renaissance altarpiece was shaped as an aedicula or portal. At this point we can perceive that Gothic Altarpiece provides a closed space with a architectural frame, whereas the frame of Renaissance altarpiece leads to the picture of altarpiece. In other words, the frame of Gothic altarpieces is apt to strongly divide "sacred and profane," while Renaissance Altarpieces links the picture to the outside world.
Therefore, we can reconsider Laudauer Altarpiece from the perspective of the relationship between the picture and the frame. It was placed in Zwölfbrüderhaus(the house of twelve brothers), which was a kind of shelter for the lone seniors. The theme of the altarpiece is the communion of saints(communion sactorum), which was described by St. Augustinus in his City of God ― a community consists of angels, saints, and prophets. We can also see the sponsor, his family, even the artist as the citizen of the New Kingdom of God in the main motif of the picture, "the Adoration of the Holy Trinity." The communion sactorum could provide a sure sign for the entering the Kingdom of God to the lone seniors of the house of twelve brothers. When they look at the frame of the Laudauer Altarpiece, they are led to the altarpiece ― the communion of saints ― by the frame work, which was “the Last Judgment.” In due course they prepare the death and the judgment in the near future. Therefore, the altarpiece can make the viewers experience the future by way of describing the New Heaven and Earth after the last judgment, whereas the frame work shows the judgment of heaven and hell, with which they can perceive the irresistible future. The frame of Laudauer Altarpiece separates the space of picture from viewers, but at the same time connects the two.

참고자료

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