현대미술에서 성(聖)과 속(俗)

한의정 ( Eui Jung Han ) 한국미학예술학회 2013 美學·藝術學硏究 Vol.38 No.-

현대미술은 종교와 결별하여 독립성을 찾은 듯하여, 현대 미술에 ``성`` (聖)을 다시 연결시킨다는 것은 시대착오적으로 보인다. 그러나 우리는 현대 작품에서 예수의 십자가, 마리아의 피에타, 천국과 지옥 등 기독교 도상을 자주 발견한다. 현대작품의 이러한 ``성``의 흔적을 어떻게 해석해야 할까? 어떤 작가들은 기독교 도상에 도발적, 충격적인 표현을 가함으로 신성모독 논란의 중심에 있다. 우리는 안드레 세라노(Andres Serrano)의 <오줌 예수>, 크리스 오필리(Chris Ofili)의 <성모 마리아>, 로버트 고버(Robert Gober)의 <무제>를 중심으로 이 작품들이 다수의 기독교인들이 받아들이듯이 신성모독으로 해석할 수밖에 없는지 짚어본다. 미르치아 엘리아데에 의하면, 성의 세계와 속의 세계는 서로 분열을 일으키면서도 동시에 공존한다. 성과 속은 인간 실존의 본질을 구성하는 두 가지 경험 양식으로, 그들은 하나이지만 둘이다. 비록 현대인이 비종교적인 특성을 갖고 있어 인간 외부에서 초월성을 찾으려 하지 않지만, 은밀하게 그들에게 종교적 공간이 발견된다. 인간은 신성을 추구하는 원형적 본성이 있기 때문이다. 우리가 다시 신성을 발견하려면 어떤 경계를 통과해야만 하는데, 바로 이때 우리는 성현(聖現), ``히에로파니``(hierophany)에 이르게 된다. 히에로파니를 통하여 그 장소나 시간이 성스러워지는 것을 엘리아데는 ``중심``(center)이라고 불렀다. 엘리아데는 예술을 중심의 예로 제시한다. 우리는 예술을 통하여 성을 발견하고, 성을 기억함으로 우 리의 원형으로 다가간다. 이러한 원형으로의 복귀, 즉 입문식(initiation)의 경험을 우리는 미술관에서도 할 수 있다. 특히 시간 차원이 개입된 퍼포먼스나 비디오, 설치작업을 볼 때 이 경험은 증폭된다. 예를 들어, 빌 비올라(Bill Viola)의 작품이 만드는 소리와 이미지에 둘러싸인 공간에서 관객은 어떤 트랜스 상태, 세속적인 공간에서 초월적인 공간으로 넘어가는 신비 체험을 경험한다. 조르조 아감벤이 말한 ``호모 사케르``(Homo sacer)는 벌거벗은 생명 외에는 지닌 것이 없는 자이다. 그는 신적 질서에도 세속적 질서에도 속하지 않는, 오로 지 배제를 통해 두 질서에 포함되는 경계인이다. 외부와 내부, 배제와 포함, 비식 별 영역에 속한다. 아감벤은 나치 강제수용소의 수감자 무젤만(Muselmann)을 그 예로 들며, 오늘날에도 현대적 의미의 ``수용소``가 존재함을 말한다. 개인을 통제하 는 장치를 극복하기 위해서는 신에게 속했던 것을 ``세속화``(profanation)해야 하다. 세속화 전략은 신성한 것을 완전히 엉뚱하게 사용하는 것 혹은 재사용하는 것, 즉 놀이와 관련된다. 우리는 이를 수용소 이미지들로 설명할 수 있다. 현대작가들이 반복적으로 신성한 주제로 돌아오는 것은 인간존재가 ``성``을 배제한 ``속``으로 존재하지 않는다는 것을 암시한다. 엘리아데에 의하면, 현대인은 종교적 인간의 행동의 흔적들을 간직하고 있으며 그것은 예술작품을 동해 드러난다. 아감벤에 의하면, 현대의 잠재적인 호모 사케르인 우리는 세속화 전략을 사용하여 신성한 것을 공통의 사용으로 돌리고 있다. As art is already separated and independent of religion, the temptation to rebind the art and the sacred seems to be an anachronism. However, we often found Christian iconography in contemporary works, such as the cross of Jesus, the Virgin Mary, Heaven and Hell. The traces of these sacred in contemporary works, how do we interpret? Giving provocative and shocking expressions to these motives, some artists are at the center of the controversy for blasphemy. Observing three works of art, <Piss Christ> of Andres Serrano, <The Virgin Mary> of Chris Ofili, and <Untitled> of Robert Gober, we will point out if these works should be interpreted as blasphemy. According to Mircea Eliade, the world of the sacred and the world of the profane are separated but co-exist. The sacred and the profane are two aspects of experience which constitute the essence of human existence, and they are one but two. Though the modern man has a non-religious character and is not supposed to find the transcendence, but he can not deny there is the religious room in him, in confidence. This is the archetypal nature of human beings, to seek the sacred. To re-discover the sacred, we should pass a boundary. It is at that moment that we are arrived at ``hierophany``(manifestation of the sacred). To get the place and the time sacred through hierophany, Eliade named it ``center``. He suggests the art as an examples of center. Through arts, we discover and remember the sacred, and approach to our archetype. The return to archetype happens in museums. This experience is amplified when we appreciate the works of performance, video, or installation which show the time. For example, in a space which is surrounded by sounds and images by Bill Viola, the spectator experiences a trance, that is, a mysterious feeling by transferring himself from a secular space to a transcendent space. ``Homo sacer`` said by Giorgio Agamben is the man who has nothing but the bare life. He does not belong to the divine order, nor the secular order. He is the liminal figure who belongs to both of orders solely by the exclusion. He dwells in the zone of indistinction: inside and outside, inclusion and exclusion. Agamben used the example of ``Muselmann`` as prisoners in Nazi`s concentration camp for Homo sacer, and said that the ``camps`` in modern sense exist today. In order to overcome the device to control the individual, it should do ``profanation`` of what belongs to God. The strategy of ``profanation`` relates to use irrelevantly or reuse the sacred, that is ``the play``. We can explain it by the images of camps. Return to the sacred as an artistic motif among contemporary artists, suggest that human beings cannot exist as ``beings profane`` without ``the sacred``. According to Eliade, a modern man retrains the traces of human religion and it is revealed through the works of art. According to Agamben, as the potential of modern Homo sacer, we are repositioning the sacred for the common use.

대순진리회의 성지와 순례의 의미

허남진 대진대학교 대순사상학술원 2014 대순사상논총 Vol.22 No.-

This paper provides the meaning of sacred places and pilgrimages in Daesoonjinrihoe, the most representative of the new religions in Korea. Daesoonjinrihoe stipulates Dojang(道場, it means temple complex) as the sacred places, which presently functions as the center of their religious faith. Also, The Daesoonjinrihoe devotees worship 15 deities at a sacred place, Yeongdae(靈臺). By seeing meanings of sacred places and pilgrimage in Daesoonjinrihoe, This article focuses on the process of the sacrificial rite of Daesoonjinrihoe related to the importance of religious ritual or place of faith and sacred places as pilgrimage sites. At this time, I explain the properties of sacrificial rite of it. The sacrificial rite of Daesoonjinrihoe, one of its major rites, is performed at both regular and irregular intervals. It is performed by either an individual or a group at a fixed time and place. The study of sacred places should focus not only artificial structures such as buildings but also the meanings given to them and the mechanism that created these meanings. Pilgrimage is journey undertaken by person who consider their destination sacred. By seeing meaning of pilgrimage, this paper focus on Daesoonjinrihoe’ role in making a place pilgrimage sites and pilgrimage functions. The reason I focus on sacred places and pilgrimage in Daesoonjinrihoe is that these sacred places reflect people`s attempt to invent religious memory and identity. Thus, I elucidate the role that Daesoonjinrihoe’s sacred places and pilgrimage plays in remembering religious memory. I examine the messages that Daesoonjinrihoe’s sacred places intend to convey to the followers through the created sacred places and pilgrimage. Sacred places are significant because it reflect important symbolic features of religion. Sacred places and pilgrimage are vehicles for remembering the religious memory and reinforcing various memories. Finally, Handing down of our valuable Daesoonjinrihoe’s cultural heritage is our duty. So it is necessary to make an effort to conserve Daesoonjinrihoe’s cultural heritage such as sacred places and concentration upon our interest continuously.

유교 윤리의 성(聖)과 속(俗)

채석용 사단법인 인문사회과학기술융합학회 2018 예술인문사회융합멀티미디어논문지 Vol.8 No.12

According to Kim sangjoon's theory of multistory modernity, modernization is not unique to Europe. He argues that Asia, Europe and the Globe jointly contributed to universal modernization. Kim explains the universal characteristic of modernization as the encompassing structure of the Profane over the Sacred. This study accepts Kim Sangjoon's attempt to explain the universality of modernization through two concepts the Sacred and the Profane. However, this study disagrees with Kim's explanation that the relation of encompassing changes from the encompassing of the Profane by the Sacred to the encompassing of the Sacred by the Profane. This problem of theory og multistory modernity originates from a misunderstanding of M. Weber's theory of modernization. The modernization of Europe is not achieved through the process of encompassing the Sacred by the Profane as Kim explains. However, the characteristic of European modernization is a separation of the Sacred and the Profane. Protestantism's disenchantment view on the world played a central role in dualizing the Sacred and the Profane. Protestantism has maximized value-rationality by absoluteizing God's power. Therefore, it could have maximized the purpose-rationality in the real world. This characteristic made possible the modernization of the real world. There has never been encompassing of the Sacred over the Profane in Confucian history. The Sacred had never surpassed the Profane. From primitive Confucianism to modern one, Confucianism has gradually suppressed the power of the sacred. Moreover contemporary biology based on evolutionary theory is being developed to reduce the meaning of the sacred. This development aspect of contemporary science is consistent with the aspect of Confucianism that has continuously reduced the meaning of the Sacred. 김상준의 중층근대성론에 의하면 근대화는 유럽만의 고유한 특성이 아니다. 그는 아시아와 유럽을 비롯한 전 세계가 보편적 근대화에 공동으로 이바지했다고 주장한다. 김상준은 근대화의 보편적 특징을 성(聖)에 대한 속(俗)의 통섭 구조로 설명한다. 본 연구는 성과 속이라는 두 가지 개념으로 근대화의 보편성을 설명하는 김상준의 시도를 받아들인다. 그러나 근대화 과정을 성에 의한 속의 통섭으로 부터 속에 의한 성의 통섭으로 통섭 관계가 변화하는 것이라는 김상준의 설명에는 동의하지 못한다. 중층근대성론의 이러한 문제점은 베버의 근대화론에 대한 오해에서 비롯한다. 유럽의 근대화는 김상 준이 이해하는 것처럼 속이 성을 통섭하는 과정을 통해 달성된 것이 아니다. 유럽 근대화의 특징은 오히려 성과 속의 분리라고 보아야 한다. 프로테스탄티즘의 탈주술적 세계관은 성과 속을 이원화하는 중심적 역할을 했다. 프로테스탄티즘은 신의 권능을 절대화함으로써 가치합리성을 극대화했다. 이에 따라 현실 세계에서는 목적합리성을 극대화할 수 있었다. 이런 특성은 현실 세계를 근대화할 수 있게 했다. 유교에는 성이 속을 통섭한 역사가 없다. 성은 늘 속을 뛰어넘지 못했다. 원시유교부터 현대유교에 이르기까지 유교는 성의 권능을 점진적으로 억제해 왔다. 진화론을 기반으로 하는 현대 생물학 역시 성의 의미를 축소하는 방향으로 전개되고 있다. 이러한 현대과학의 발전 양상은 성의 의미를 지속해서 축소해온 유교의 변화양상에 들어맞는다.

성역의 탄생과 성역정치

강인철(Kang, In-Cheol) 한신대학교 종교와문화연구소(구 한신인문학연구소) 2011 종교문화연구 Vol.- No.17

This paper deals with two questions: (1) the birth of ‘religio-political sacred zones’, that is, religious spaces which are widely recognized as ‘political sacred-places’; (2) the evolution of ‘sacred-zone politics’, that is, religion-state conflicts triggered by state’s intervention into the specific religious spaces. In Korea, religio-political sacred zones emerged in the 1970s. Among them, Myeongdong Cathedral(명동성당) and Korean Christian Center(기독교회관) became well-known. In these religious spaces, ‘religious’ sacredness is firmly combined with political sacredness. Sacred-zone politics appeared in the late 1970s and was considerably activated in the 1980s. Nevertheless, the sacred-zone politics in the 1970s and 1980s (i.e. in the pre-democratization era) contrasts sharply with that of the post-democratization era in four respects: (1) subjective and social recognition of the existence and importance of sacred zones; (2) the degree of sacred zones’ solidification; (3) the degree of sacred-zone politics’ activation; and (4) the range of participants in the sacred-zone politics. In the pre-democratization era, religio-political sacred zones emerged only from Christian churches. In this paper, I suggest ‘regulation gap’ as the structural basis of organizational autonomy which is essential to political opposition. In peripheral societies like Korea, considerable regulation gaps may exist between religious and non-religious realms and between Christian religions - which receive support from churches in the core nations - and other religions. If this regulation gap indeed exists, Korean Christian churches are very likely to enjoy exceptional autonomy from the interventionist state in social and religious realms. Therefore, it is necessary to emphasize the fact that the states external dependency restricts its control over Christian religions and secures the political/organizational autonomy of Korean Christian churches linked with U.S. churches. In short, the regulation gap between U.S.-related Christian religions and other non-Christian religions can be considered as the most important structural basis for the birth and survival of religio-political sacred zones.

철학자를 조롱하는 철학자 - 슈티르너의 ‘기만당한 자기중심성’을 중심으로 -

박종성 한국철학사상연구회 2023 시대와 철학 Vol.34 No.2

This study examines Stirner's efforts to destroy the sacred in the texts of Unique and Its Property(1844), “Stirner’s Critics”(1845), and “The Philosophical Reactionaries”(1847). To this end, Stirner first ridicules the philosophers of his time as those who see the sacred in the unholy. In Stirner's view, the philosophers of his time were Enlightenment philosophers. Enlightenment philosophers, however, had fervent beliefs in ghosts. Romantics here mean Enlightenment philosophers. Furthermore, he sees as brazen and shrewd those who sway his ardent belief in ghosts. Therefore, the philosophers he criticizes and ridicules are the romantics, the philosophers of the Enlightenment, and the philosophers he defends are brazen and shrewd. The philosopher he mocks is the one who sees only the object in the object, the one who sees the hereafter in the present world, the heavenly in the earthly, and the divine in the unholy, and proves or argues. The philosopher he advocates, the wise man, is one who has really opened his eyes to the existence of the world, who sees the world with an insightful and undeceptive gaze, who judges it rightly. But what is sacred is not sacred in itself, but rather because I have proclaimed it sacred. It is sacred because of my proclamation and my proclamation. For this reason, it is impossible to be liberated from the sacred without ‘denying’ the ‘I’ who declared the sacred. What can be liberated from the sacred is sacrilege through self-denial. Also, the way to be freed from the sacred is blasphemy. And one of the weapons of blasphemy is ridicule. A speculative philosopher means a 'human critic'. The ‘human critic’ called himself an atheist, but in Stirner’s view, the atheists at the time, that is, the human critic, were still religious men. So the human critic opposes egoism. For what they claim is a deceived egoism. Unavailability to the self, deceived egoism, makes us forget the very fact that the world belongs to us. He had the intention of destroying everything that was considered sacred. He knows and practices that the best weapon to destroy the sacred is a mocking laugh. This is also the way out of the deceived self-centeredness. Stirner also plays on words, often using similar words to ridicule. This, too, can be said to be a kind of mockery with the intention of destroying the sacred. He constantly ridicules, satirizes, and sarcastically plays with words as a weapon to destroy the sacred. All these efforts are declarations and practices to escape from the enslavement of the sacred. This is not the wisdom that the old philosophers sought, but the wisdom of the new philosophers.

조선후기 판소리에 나타난 聖과 俗의 統攝 양상과 의미 -<춘향전>을 중심으로-

신호림 한국고전문학회 2022 古典文學硏究 Vol.62 No.-

The purpose of this article is to explore the relationship between sacred and profane appeared in Pansori literature in the late Choson Dynasty. It can be said that it is close to a theory that focuses on the “Hwangneung-myo” section of "Chunhyangjeon" to understand the pattern of the unity of the sacred and profane, and to apply the results of exploring its meaning to the entire pansori literature. In the early version of “Chunhyang-jeon”, the profane problem is solved through the intervention of the sacred by arranging Tae-mong and Paekyung-mong, but it does not secure enough narrative logic for the love between Chunhyang and Lee Mong-ryong. It seems that a new scene was created in Okjun-ga or Mongjun-ga because it was not enough to draw out the manifestation of the sacred itself, and the scene was the section of the Hwangneung-myo. The section of the Hwangneung-myo in “Yeolnyeo Chunhyang sujeol ga” provides a transcendent basis for Chunhyang's resistance to death through Ibi, Nongok, Wangso-gun, Nongae, Nongae, Nongae, Wolseon, and Cheok-buin. Based on the domain of the sacred, the norm of profane is linked to the act of Chunhyang, and by doing so, Chunhyang’s act is reborn as a realistic behavior that has secured a transcendental basis. Through this short scene, the area of the sacred, which did not function much in "Chunhyang-jeon," becomes fully established, and by functioning to support profane, the composition of the sacred is completed. On the other hand, in “Shin Jae-hyo Namchang Chunhyang-ga”, the main section of the Hwangneung-myo is replaced with the “Chunjangjeon section” to change the pattern of relationship between the sacred and profane. In the Cheonjangjeon section, Chunhyang explains that she will meet Lee Mong-ryong, break up, go through all kinds of hardships, and form a love with Lee Mong-ryong again, and Chunhyang is already set by her previous life. In “Shin Jae-hyo Namchang Chunhyang-ga”, the part of the Hwangneung-myo was replaced with the section of the Cheonjangjeon, and the sacred world which intervened in the existing <Chunhyangjeon> was also adjusted, weaving the narrative logic of the sacred. In other words, it is being evangelized by the intervention of profane by sacred. As a way to solve the same realistic deficiency, the consensus between the sacred and profane was attempted, and the opposite views of the people of the time were seen to logically resolve the conflict prescribed in “Chunhyang-jeon” at both extremes. The relationship between sacred and profane can also be applied to other pansori literature. The composition of sacred and profane is found not only in “Chunhyang-jeon”, but also in “Simcheong-jeon” and “Heungbu-jeon”. “Tokki-jeon” or “Jangki-jeon” borrows the form of fable and shows the refracted form of sacred and profane, and “Byeongangsoe-ga” and “Jukbeuk-ga” reveal the pattern of conflict between sacred and profane. “Baebijang-jeon”, “Gangneung Maehwa-Taryeong” and “Gajjashinsun-taryeong” make the sacred world a ‘fake,’ and in “Musuki-taryeong”, even these fake sacred are replaced by deception and disguise. Pansori literature mixed the relationship between sacred and profane in one way or another, functioning as a kind of ‘field of experimentation’ that contained the unity of sacred and profane, or vice versa, and the conflict between sacred and profane, and the refraction of sacred and profane. By doing so, it was possible to portray various aspects of life in a specific era called the late Choson Dynasty. Although the experiment was not concluded by consciously denying the world of sacred by the Western modern logic that was forcibly introduced from the outside in the early 20th century, the substance of pansori literature can be found in this incomplete conclusion. 본고에서는 <춘향전>을 연구 대상으로 삼아, 조선후기 판소리 문학에 나타난 聖과 俗의 관계에 주목했다. <춘향전>의 ‘黃陵廟’ 대목에 주목하여 聖과 俗의 統攝 양상을 파악하고 그 의미를 탐색한 결과를 판소리 전반에 적용시켜보자는 試論에 가까운 글이라고 할 수 있다. 초기 <춘향전>에서는 胎夢과 破鏡夢을 삽화로 배치함으로써 聖의 개입을 통해 俗의 문제를 해결하려고 했지만, 춘향과 이몽룡이 맺어질 수 있는 내적 논리를 충분히 확보하지 못했다. 태몽과 파경몽만으로는 聖의 현현을 이끌어내기에 부족했기 때문에 옥중가 또는 몽중가에서 새로운 장면을 짜서 넣었던 것으로 보이는데, 그 장면이 바로 황릉묘 대목이라고 할 수 있다. <완판 84장본 열녀춘향수절가>의 황릉묘 대목에서는 춘향이 만나는 二妃, 弄玉, 王昭君, 論介, 月仙, 戚夫人 등을 통해 죽음을 무릅쓴 춘향의 항거에 초월적 근거를 제공한다. 聖의 영역을 근거로 俗의 규범을 춘향의 행위와 연결시키고, 그럼으로써 춘향의 행위는 초월적 근거를 확보한 현실적인 행동 양태로 거듭나게 된다. 이 짧은 대목을 통해 <춘향전>에서 별다른 기능을 하지 못했던 聖의 영역이 온전히 자기 자리를 잡게 되며, 俗을 뒤받쳐주는 기능을 함으로써 俗이 聖을 통섭하는 구도를 완성시킨다. 한편, <신재효 남창 춘향가>에서는 황릉묘 대목을 ‘天障殿 대목’으로 대체함으로써 聖과 俗의 통섭 양상을 전환시킨다. 천장전 대목에서는 춘향이 이몽룡을 만나 이별을 하고 온갖 고난을 겪은 후 다시 이몽룡과 부부의 연을 맺을 것을 天命으로 설명하며, 춘향은 이미 전생에서부터 정해진 천명에 의한 삶을 살고 있는 것으로 그려진다. <신재효 남창 춘향가>에서는 황릉묘 대목을 천장전 대목으로 대체하고 기존의 <춘향전>에 개입했던 聖의 세계 또한 조정하면서 聖에 의한 俗의 서사논리를 직조한다. 즉, 聖에 의한 俗의 통섭으로 전도시키고 있는 것이다. 동일한 현실적 결핍을 해결하기 위한 방도로 聖과 俗의 통섭이 시도되었고 그 방향성이 보여주는 양 극단에서 <춘향전>에 노정된 갈등을 논리적으로 해소하고자 했던 당대 향유층의 상반된 시각을 엿볼 수 있다. 聖과 俗의 관계는 여타 판소리 문학에서도 적용될 수 있다. 俗이 聖을 통섭하는 구도는 <춘향전>뿐 아니라 <심청전>과 <흥부전>에서도 발견된다. <토끼전>이나 <장끼전>은 ‘우화’의 형식을 빌려 聖과 俗이 굴절된 형태를 보여주며, <변강쇠가>나 <적벽가>에서는 聖과 俗의 갈등양상이 드러난다. <배비장전>, <강릉매화타령>, <가짜신선타령>은 聖의 세계를 ‘가짜’로 만들어버리며, <무숙이타령>에서는 이런 가짜 聖마저 속임수와 변장으로 대체된다. 판소리 문학은 聖과 俗의 관계를 이러저러한 방식으로 뒤섞으면서 聖에 의한 俗의 통섭, 俗에 의한 聖의 통섭, 聖과 俗의 갈등, 聖과 俗의 굴절 등을 담아냈던 일종의 ‘실험의 장’으로 기능했다. 그럼으로써 조선후기라는 특정한 시대의 다양한 삶의 양태를 그려낼 수 있었던 것이다. 20세기에 외부에서 강제로 유입된 서구적 근대 논리에 의해 聖의 세계를 의식적으로 부정당함으로써 그 실험의 결론을 내지 못했지만, 오히려 미완의 결론 속에서 판소리 문학의 의의를 찾을 수 있다.

인스톨레이션 공간의 신성(神聖)적 표현 특성 - 왕립예술학회 회원을 중심으로 -

조은환 ( Cho Eunwhan ),이찬 ( Lee Chan ) 한국공간디자인학회 2021 한국공간디자인학회논문집 Vol.16 No.5

(Background and Purpose) We face and experience transcendent emotions beyond the scope of human cognition, and while expressing spatial design, we often recognize and portray such spatial experience and space as being sacred. The purpose of this study is to let sacred recognitions be understood as universal expressions of spatial design beyond religious understanding. It does so by examining how sacred expressions can be embodied in spatial design while exploring how the understanding of sacredness has been interpreted and used along with the development of human beings. (Method) This study attempts to understand the concept of sacredness based on what is derived from the science of religion. The scope of analysis of spatial design is limited to installation, which embodies a work with spatial experience. Additionally, it is identified as independent work in modern art. Installation artists especially, among the incumbent members of Royal Academicians (RA), were included as subjects. The Royal Society, which is the most authoritative organization, endows such membership by evaluating the entire life of each artist. This study draws sacred spatial structures and words by investigating the concepts suggested by Rudolf Otto and Mircea Eliade, comparative religious scholars who independently examined the sacredness in the science of religion. Therefore, it comprehensively arranges installation expressions about sacredness and deduces a conclusion by analyzing the installation space arranged by artists selected as Royal Academicians. (Results) The sacred spatial expressions appearing in RA’s installation works were analyzed to show that first, such expressions are accompanied with ambivalent ones as paradoxical and dual styles. For expressions, the artists prefer producing contrast or contradictory deployment in a space or connecting incompatible expressions in spatial sequence. Second, sacred expressions for installation allow cognizant subjects to recognize the religious “Absolute Other” by imitating human original cognition and archetypes that existed in the beginning of time based on a priori cognition. For such recognition, Third, sacred expressions separate cognizant subjects from secularity(俗) by using absolutely different spaces and expressions. For such separation, artists produce installations which are out of ordinary, marvelous, and strange by mobilizing high-technology or machinery, or encourage cognizant subjects to undergo experiences completely detached from secularity. This is done by letting them recognize installation works as tremendous ones from scale structures contrary to those of cognizant subjects as well as by a visual extension effect. (Conclusions) It was possible to analyze what expressions used by actual artists can reveal sacred expressive characteristics by referencing to the installation space cases in which the concept of religious sacredness was actively expressed. This study’s results would promote the possibility of using the concept of sacredness, which has been a religious notion, as a universal one that could be used for expressions of spatial design.

특집논문 : 섹슈얼리티의 성스러움: 금기 너머의 더럽고 위험한 성스러움과정상(正常) 섹슈얼리티

심형준 ( Hyoung June Shim ) 한국종교문화연구소(종교문화비평학회) 2013 종교문화비평 Vol.23 No.23

이 글은 섹슈얼리티의 성스러움, 특히 그것의 부정적 측면에 관심을 두고 있다. 섹슈얼리티의 성스러움은 종교학에서 익숙한 주제이다. 그렇지만 그 관심이 성스러움의 긍정적 측면에 머물러 있다. ``위험``이나 ``더러움``으로 불리는 부정적 성스러움은 성스러움 의 양가성을 이해하기 위해서 주목할 필요가 있다. 성스러움의 위상학이 이해된다면 그양가성 문제는 풀리게 될 것이다. 에밀 뒤르켐은 성스러움의 양가성이, 긍정적 성스러움 (순수)과 부정적 성스러움(불순)이 서로 변형 가능하기 때문에 발생하는 것이라고 설명 했다. 그는 변형의 기준으로 집단의 감정 상태를 제시했다. 이 글은 그의 의견을 따라서 섹슈얼리티 차원에서 성스러움의 변형 문제에 주목한다. 남성적 섹슈얼리티에서 조형적 섹슈얼리티(앤소니 기든스)로 변화하면서 성에 관한 과거의 환상은 깨지게 되었다. 성에 관한 과거의 환상이라는 성스러운 멍에는 사라지고 성과 사랑에 관한 새로운 담론이 구축되고 있다. 그러한 이행은 다양하고 복잡한 합리적 이해, 제도화 그리고 도덕의 변화를 수반한다. 이러한 이행과정에서 성스러움의 변화 메커니즘이 주목된다. This article has focused on the issue of the sacred of sexuality, especially its negative aspect. The sacred of sexuality has been a familiar issue in the study of religion. But the interest has been limited to its positive aspect. The negative sacred called ‘the danger’ or ‘the dirty’ has to be given attention to understand the ambivalence of the sacred. The ambivalence gets solved if the topology of the sacred can be understood. E. Durkheim explained that this ambivalence is caused by the possibility of transformations between the positive sacred (the pure) and negative one (the impure). He claimed that the criterion for transformation is the emotional state of the group. According to his opinion, I pay attention to the matter of the transformation of the sacred in sexuality. The transition from the masculine sexuality to plastic sexuality (Anthony Giddens) is the deconstruction of the past fantasy about sex. The sacred yoke of the past fantasy on sex has disappeared, a new discourse on sex and love is constructed. Such transition is accompanied by the diverse and intricate processes of rational understandings, institutionalizations, and even changes in the morals. In this transition, I give attention to the mechanism of transformation of the sacred.

신성한 메데아의 탄생 - 파졸리니의 영화 『메데아』 -

김용민 ( Kim Yong Min ) 연세대학교 인문학연구원 2016 人文科學 Vol.107 No.-

Pier Paolo Pasolini`s Film Medea, which is less an adaptation of the Euripides play than an interpretation of it, includes a lot of themes such as the sacred and the profane, man and women, reason and emotion, civilization and barbarism, the first and the third world. This article analyzes the film from the perspective of the sacred and the profane. Pasolini gave attention to the ancient Myth of Medea, because he saw in it the root of problems of contemporary society that has lost the sacred. It is his fundamental idea that modern people who has lost the sacred and that the capitalistic society which puts top priority on material value causes necessarily the tragedy. So the Myth of Medea ends tragically in his movie. Pasolini describes vividly the process of collapse from the sacred to the profane world. It must of necessity be that the sacred is ruined in a civilized and profane world. But Medea recovers in the end the sacred and revenges herself on her antagonist. Through it Pasolini tried to express that the traces of the sacred is still present in a modern world. Pasolini has visualized in Medea his mythological world view that the catastrophe of modern society is rooted in the separation of the sacred and the profane, so salvation is only possible when we return from the profane to the sacred and from the division to the wholeness.

1954년 한국 가톨릭 〈성미술 전람회〉에 관한 고찰

정수경(Jung Su-kung) 한국교회사연구소 2015 敎會史硏究 Vol.0 No.47

In 1954, the “Exhibition of Sacred Art” was held at Midopa Department Store to celebrate the Virgin’s Holy Year, from October 5th to 12th. It is one of the classic examples among Korean Catholic art exhibitions in which architects, painters, sculptors, and craft masters participated altogether for the development of Korean Catholic church art. This exhibition was composed with the works of twenty four representative artists at the time, including Chang Bal who was the first Dean of the Department of Art at Seoul National University. In 1950~60s as Myungsoodae and Hewhadong catholic churches in Seoul, Korean artists collaborated to complete the liturgical spaces with the pieces of sacred art in modern and Korean unique style. The “Exhibition of Sacred Art” in 1954 showed the new tendency of the sacred art influenced by the movement of renewal of Sacred Art before the Second Vatican Council pioneering the Korean style of sacred art. Therefore it could be considered as a very important exhibition in the Catholic Art History in Korea. An article of Kyunghyang Magazine records that all their works submitted in the exhibition were donated for the church. Nevertheless, it is hard to find exactly where these works are now ; only eight pieces have been identified as submitted in the exhibition, including some of them appearing in photographs. Along with the tasks of identifying the works kept in the Catholic Liturgical Museum as anonymous are actually the entries submitted in the 1954 exhibition by Kim Byungki(1916~ ), Nam Yongwoo(1931~ ), and Kim Jeongwhan, this research made an effort to shed new light on the history of Korean Catholic churches as well as art historical significance, according to the testimony of surviving artists. In particular, we studied on the direct and indirect influence of the Movement Art Sacré of the Dominican Order in France in 1940~1950s on the contemporary sacred art in Korea. And we tried to investigate available references of the “Sacred Art Exhibition” in 1954 and to reevaluate as the precious cultural heritages existing in our churches.