지원사업
학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
커뮤니티
연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
초록· 키워드
오류제보하기
Images of Eve as an agent of temptation or an object of lust, were counterparts to the images of the Virgin Mary in the Medieval period, and underwent changes in the 14th-15th centuries. Earlier Medieval images of Eve in which the artist had avoided a detailed representation of the female body, changed to beautiful female nude like Venus and was given a saintly halo. Eve was admired as the originary mother of the humankind and also as a the first woman to take on female role within the family.
As the figure of Eve allowed artists to paint the female nude in a Biblical context, it reflected certain social implications for the female body. Pictorial interpretations of Adam and Eve provided an image of sex partners between men and women and of the institution of marriage.
Under the ascetic values of the Church Fathers, relatively liberal relationships between men and women, as they had existed in earlier ancient society, were received as negative relationships. Sexual relations, marriage and Paradise were believed to be as incompatible as the Paradise and death. The new ascetic doctrines held that it was only possible to ascend to the Paradise through the protecting of one's virginity or by practicing celibacy.
This renunciation of the body by the Church Fathers proscribed that one refuses the woman equated as they were designed to tempt men For The Church Fathers, woman was the origin of temptation and, in consequence, Eve was seen as its representative figure. Woman, Eve, the snake, and the feeling of lust, became vaguely related in the collective sense of misogynistic imaginary(fig 4).
As a counterpart to the seductive Eve, the Virgin Mary was exulted as the ideal woman, an exemplary figure to represent the ideologies of obedience, virginity and modesty. Mary was the figure who might redeem man for Eve's sin. And an image in the manuscription from Salzburg illustrates the distinction between Mary and Eve as a virgin and a lust, as life and death(fig 5)
The Maesta(figs. 6~8) of Ambrogio Lorenzetti was based upon these doctrines, but represents a new Eve at the same time. In this Image of Eve, positioned at the feet of the Virgin Mary, shows us her inscription, "I committed the sin for which Christ, whom this Queen bore m her womb, suffered the Passion for our Salvation." Despite the aforementioned doctrinal dualism of the two types of women, Eve is shown reclining and adorned in a diaphanous gown like Venus. Interestingly, this is not a misogynistic representation. In her hand Eve holds not the apple of temptation but a fig as a symbol of the humankind.
In other examples of this type, Eve is no longer a sinful temptress but a respectable woman. In Madonna and Child (figs. 11, 12) by Paolo di Giovanni Fei, Eve has a polygonal halo indicative of a non-Christian holy figure Eve reclines wearing a semi-transparent gown and, accompanied by her two sons showing us her inscription: "In sorrow I bring forth." In this panel Eve is represented not as a temptation for Adam, but as a mother who brought humankind.
The idea of Eve as an ancestor of Jesus is illustrated clearly in the altarpiece of The tree of life in Landesmuseum (fig. 13). Adam and Eve stand under a tree with a Crucifix and are crowned with perfectly circular halos. The ideal halos here represent the doctrine that Christ, his redemption of mankind originated with these first humans.
An Eve figure, holding a distaff like lance on the mid-15th century fresco, The Great Men and Women, in the Villa Carducci, near Firenze contributes yet another different representation from the lustrous Eve that we have seen. Painted by Andres del Castagno, his illusionistic view makes Eve's image appear more heroic(figs. 15~17) The distaff, a symbol of woman's labor, is a new element which appeared after the 14th century, when the importance of labor and professoin was beginning to be recognized. In his text on Art, Cennino d' Andrea Cennini begins with the book of Genesis. According to Cennini, as a result of God's punishment, "Adam, the beginning and father of us all realized theoretically that some means of living by means of labor had to be found And so he started with the spade, and Eve, with spinning. Man afterward pursued many useful occupations. Labor was no longer seen as a punishment, it was a gift through which humankind could find meaning. Andres del Castagno's Eve in Villa Carducci was depicted as a famous woman with her merit of being called as the first worker.
During the 14th~15th centuries, the earlier dualistic representation of a sinful Eve and redeeming Virgin Mary was reformed. Eve, the first mother of humankind, came to represent the virtue of labor. Her image was employed not as an Illustration of the Genesis story but as the first working woman among the famous men and women represented on the walls of room m a private Villa Carducci.
As the figure of Eve allowed artists to paint the female nude in a Biblical context, it reflected certain social implications for the female body. Pictorial interpretations of Adam and Eve provided an image of sex partners between men and women and of the institution of marriage.
Under the ascetic values of the Church Fathers, relatively liberal relationships between men and women, as they had existed in earlier ancient society, were received as negative relationships. Sexual relations, marriage and Paradise were believed to be as incompatible as the Paradise and death. The new ascetic doctrines held that it was only possible to ascend to the Paradise through the protecting of one's virginity or by practicing celibacy.
This renunciation of the body by the Church Fathers proscribed that one refuses the woman equated as they were designed to tempt men For The Church Fathers, woman was the origin of temptation and, in consequence, Eve was seen as its representative figure. Woman, Eve, the snake, and the feeling of lust, became vaguely related in the collective sense of misogynistic imaginary(fig 4).
As a counterpart to the seductive Eve, the Virgin Mary was exulted as the ideal woman, an exemplary figure to represent the ideologies of obedience, virginity and modesty. Mary was the figure who might redeem man for Eve's sin. And an image in the manuscription from Salzburg illustrates the distinction between Mary and Eve as a virgin and a lust, as life and death(fig 5)
The Maesta(figs. 6~8) of Ambrogio Lorenzetti was based upon these doctrines, but represents a new Eve at the same time. In this Image of Eve, positioned at the feet of the Virgin Mary, shows us her inscription, "I committed the sin for which Christ, whom this Queen bore m her womb, suffered the Passion for our Salvation." Despite the aforementioned doctrinal dualism of the two types of women, Eve is shown reclining and adorned in a diaphanous gown like Venus. Interestingly, this is not a misogynistic representation. In her hand Eve holds not the apple of temptation but a fig as a symbol of the humankind.
In other examples of this type, Eve is no longer a sinful temptress but a respectable woman. In Madonna and Child (figs. 11, 12) by Paolo di Giovanni Fei, Eve has a polygonal halo indicative of a non-Christian holy figure Eve reclines wearing a semi-transparent gown and, accompanied by her two sons showing us her inscription: "In sorrow I bring forth." In this panel Eve is represented not as a temptation for Adam, but as a mother who brought humankind.
The idea of Eve as an ancestor of Jesus is illustrated clearly in the altarpiece of The tree of life in Landesmuseum (fig. 13). Adam and Eve stand under a tree with a Crucifix and are crowned with perfectly circular halos. The ideal halos here represent the doctrine that Christ, his redemption of mankind originated with these first humans.
An Eve figure, holding a distaff like lance on the mid-15th century fresco, The Great Men and Women, in the Villa Carducci, near Firenze contributes yet another different representation from the lustrous Eve that we have seen. Painted by Andres del Castagno, his illusionistic view makes Eve's image appear more heroic(figs. 15~17) The distaff, a symbol of woman's labor, is a new element which appeared after the 14th century, when the importance of labor and professoin was beginning to be recognized. In his text on Art, Cennino d' Andrea Cennini begins with the book of Genesis. According to Cennini, as a result of God's punishment, "Adam, the beginning and father of us all realized theoretically that some means of living by means of labor had to be found And so he started with the spade, and Eve, with spinning. Man afterward pursued many useful occupations. Labor was no longer seen as a punishment, it was a gift through which humankind could find meaning. Andres del Castagno's Eve in Villa Carducci was depicted as a famous woman with her merit of being called as the first worker.
During the 14th~15th centuries, the earlier dualistic representation of a sinful Eve and redeeming Virgin Mary was reformed. Eve, the first mother of humankind, came to represent the virtue of labor. Her image was employed not as an Illustration of the Genesis story but as the first working woman among the famous men and women represented on the walls of room m a private Villa Carducci.
목차
Ⅰ. 들어가는 글
Ⅱ. 육신의 거부, 여성의 거부: 금욕주의 여성관
Ⅲ. 이브의 죄와 마리아의 구원
Ⅳ. 인류의 조상, 이브
Ⅴ. 이브의 물렛가락과 인류의 노동
Ⅵ. 나가는 글
참고문헌
Abstracts
참고문헌 (0)
참고문헌 신청함께 읽어보면 좋을 논문
논문 유사도에 따라 DBpia 가 추천하는 논문입니다. 함께 보면 좋을 연관 논문을 확인해보세요!
-
조선시대 흉례도감의궤에 나타난 오봉병 연구
미술사논단
2009 .06
-
20세기 후반 현대미술에 나타나는 〈성모마리아〉 도상의 차용과 재해석 연구
현대미술사연구
2014 .06
-
Woman
한국디자인학회 국제초대전도록
2019 .06
-
참회의 막달라 마리아 : 중세 말 이탈리아의 막달레나 이미지와 신앙
서양미술사학회논문집
2009 .02
-
근대의 기획, ‘ 현모양처’에 대한 여성화가들의 상징투쟁
한국근현대미술사학
2013 .12
-
마리아의 도상 변천과 종교상의 역할 변천 : 이탈리아 13~14세기를 중심으로
서양미술사학회논문집
1992 .12
-
19세기 중국의 반봉건적 여성의식과 시각적 표현 : 『경화연(鏡花緣)』 삽도를 중심으로
한국근현대미술사학
2015 .07
-
20-30대 미혼여성의 자아이미지가 남성이미지 선호도에 미치는 영향
대한미용학회지
2018 .01
-
발레작품에 나타난 여성의 이미지에 관한 연구 : 지젤 , 라일락정원 , 로데오를 중심으로
움직임의 철학: 한국체육철학회지
1998 .12
-
해방기 남북한 영화에 나타난 근대성과 여성담론 비교 연구
현대영화연구
2011 .01
-
천경자의 여인상 연구 : 시기별 특징과 변화를 중심으로
한국근현대미술사학
2016 .07
-
1970년대 한국의 이상적 여성상과 패션
한국의류학회지
2015 .01
-
한국 중년 여성의 실제이미지와 이상적이미지에 대한 연구 : 연령별 비교를 중심으로
한복문화
2011 .12
-
20대와 30~40대 여성의 상반신 신체치수 및 체형 비교 연구 : 30, 40대 여성의 영캐주얼 브랜드 선호 현상에 따른 문제점 파악을 중심으로
한국의상디자인학회지
2016 .06
-
여성의 자기 이미지와 이상적 이미지의 일치성이 우울 및 심리적 안녕감간의 관계
한국인체미용예술학회지
2017 .01
-
15~16세기 회화에 나타난 여성의 인체미와 복식 -흑사병으로 인한 인구감소의 영향을 중심으로-
한국의류학회지
1994 .01
-
Body Image and Body Satisfaction Among Korean College Women
한국의류산업학회지
2008 .01
-
13세기 프랑스 북부의 〈성모와 아기 예수〉조각상 : 설치 공간과 표현성의 문제
서양미술사학회논문집
2009 .02
-
여성의 바디이미지가 신체훈련 참가에 미치는 영향
한국체육과학회지
2006 .02
-
직장여성의 self Image Making 인식정도에 관한 연구
한국패션뷰티학회지
2004 .01
이 논문의 저자 정보
이 논문과 함께 이용한 논문
최근 본 자료
댓글(0)
0
UCI(KEPA) : I410-ECN-0101-2009-650-014417431