원근법(Perspective)의 신학적 함의: 중세부터 바로크까지 = The Theological Implications of the ‘Perspective’ : From the Medieval to Baroque Ages

다국어 초록 (Multilingual Abstract)

This paper looks into the ‘Perspective’ and its theological implications in the context of European Christianity. Since Medieval Ages, Perspective was developed in close relationship with geometry, optics and catoptrics. During the Medieval Ages, Perspective had optic implications in principle and was developed theoretically under the influence of the Greek and Arabic geometry and optics. Many Medieval preachers developed the ‘spiritual geometry’ which connected geometry, optics and God’s and Creatures’ attributes.
During the Renaissance Ages, Perspective was applied to the art and Linear-perspective appeared in this context. During this period in which many people experienced hardships, people wanted to see the concrete and touchable God rather than abstract God. This demand was strengthened by the appearance of Copernicus’s heliocentric theory. Linear-perspective was devised by Brunelleschi and established as an art theory by Alberti. Alberti started to separate between perspective and theological implications.
During the Baroque Ages, under the influence of the Galileo’s heliocentric theory, another new world-view was appeared. In this period, there appeared tendency to connect Perspective with theological implication on the one part and separated two dimensions on the other part. Galileo’s new invention of telescope and new discovery of the Moon was influential on these tendencies. Since the Aristoteles’ world-view which believed heavenly body’s perfection and constancy was changed into adopting its imperfection and volatility.
This paper which approached Perspective historically shows the theological endeavor to understand general revelation by clarifying how people made efforts to understand God and Creature in a rational way and put this understanding into art.

다국어 초록 (Multilingual Abstract)

This paper looks into the ‘Perspective’ and its theological implications in the context of European Christianity. Since Medieval Ages, Perspective was developed in close relationship with geometry, optics and catoptrics. During the Medieval Ages, Perspective had optic implications in principle and was developed theoretically under the influence of the Greek and Arabic geometry and optics. Many Medieval preachers developed the ‘spiritual geometry’ which connected geometry, optics and God’s and Creatures’ attributes.
During the Renaissance Ages, Perspective was applied to the art and Linear-perspective appeared in this context. During this period in which many people experienced hardships, people wanted to see the concrete and touchable God rather than abstract God. This demand was strengthened by the appearance of Copernicus’s heliocentric theory. Linear-perspective was devised by Brunelleschi and established as an art theory by Alberti. Alberti started to separate between perspective and theological implications.
During the Baroque Ages, under the influence of the Galileo’s heliocentric theory, another new world-view was appeared. In this period, there appeared tendency to connect Perspective with theological implication on the one part and separated two dimensions on the other part. Galileo’s new invention of telescope and new discovery of the Moon was influential on these tendencies. Since the Aristoteles’ world-view which believed heavenly body’s perfection and constancy was changed into adopting its imperfection and volatility.
This paper which approached Perspective historically shows the theological endeavor to understand general revelation by clarifying how people made efforts to understand God and Creature in a rational way and put this understanding into art.

목차 (Table of Contents)

• I. 들어가며
• II. 중세의 원근법
• III. 르네상스 원근법
• IV. 바로크 시대
• V. 나가며
• 참고문헌
• Abstract

참고문헌 (Reference)

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