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We tend to view cities and their architecture in terms of practical, functional and abstract forms. However, the layout of a city or the design and location of an architecture contains not only aesthetic ideals, but also political agendas. The act of erecting statues of political leaders in the center of the city or constructing monuments symbolizing such leaders, thus transforming the city itself as into a symbolic statement of political might, can be traced back to ancient times, such as with the Roman Empire. In the 20th century, this has been revived most dramatically by Adolph Hitler in Nazi Germany, and then the socialist states of the Soviet Union, China and North Korea.
In this paper, I attempt the most literal interpretation of the theme of this symposium-The Spatial Politics of Art’ -by examining the examples of the Red Square in Moscow, Tiananmen Square in Beijing, and the city and monuments of Pyongyang. Central to the iconography of these political spaces is the image of ‘the leader.’ Vladimir Lenin’s statue, with his hand stretching forward and striding dynamically towards the future, was based on the image of Roman emperors or the religious images of blessings being bestowed, and it was this iconography that was once again used in the statues of Josef Stalin, Mao Ze-dong and Kim Il-sung, with their grand scale and sturdiness symbolizing the perpetualness of these leaders.
As the worship of images and statues is a reflection of the worship bestowed upon that who is portrayed, the desire to destroy the images sterns from the desire to destroy the power represented by those images. The destruction of these statues with the fall of socialism reflects the fact that these images, constructed hand in hand with politics, functioned primarily as manifestations of politics and power, rather than as artistic images themselves. And it is due to this that the fate of these images was ultimately tied to the rise and fall of political powers.
In this paper, I attempt the most literal interpretation of the theme of this symposium-The Spatial Politics of Art’ -by examining the examples of the Red Square in Moscow, Tiananmen Square in Beijing, and the city and monuments of Pyongyang. Central to the iconography of these political spaces is the image of ‘the leader.’ Vladimir Lenin’s statue, with his hand stretching forward and striding dynamically towards the future, was based on the image of Roman emperors or the religious images of blessings being bestowed, and it was this iconography that was once again used in the statues of Josef Stalin, Mao Ze-dong and Kim Il-sung, with their grand scale and sturdiness symbolizing the perpetualness of these leaders.
As the worship of images and statues is a reflection of the worship bestowed upon that who is portrayed, the desire to destroy the images sterns from the desire to destroy the power represented by those images. The destruction of these statues with the fall of socialism reflects the fact that these images, constructed hand in hand with politics, functioned primarily as manifestations of politics and power, rather than as artistic images themselves. And it is due to this that the fate of these images was ultimately tied to the rise and fall of political powers.
목차
Ⅰ. 서론
Ⅱ. 도시와 통치자의 이미지
Ⅲ. 우상으로서의 기념상
Ⅳ. 결론
참고문헌
Abstract
「유토피아의 신기루: 정치적 공간으로서의 사회주의 도시와 모뉴먼트」에 대한 질의(송혜영)
송혜영 선생님의 질의에 대한 답변(김영나)
참고문헌 (0)
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