인스톨레이션 공간의 신성(神聖)적 표현 특성 - 왕립예술학회 회원을 중심으로 - = Sacred Expressive Characteristics of Installation Space - Focusing on Royal Academicians -

다국어 초록 (Multilingual Abstract)

(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.

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