초기 르네상스 회화에 나타난 이차프레임의 의미작용 연구 - 마사초의 <성삼위일체>와 프라 안젤리코의 <수태고지>를 중심으로

초록

This work aims to examine various functions and meanings of secondary frames in Renaissance paintings, and in particular, two major works: Masaccio’s The Holy Trinity(1427-1428) and Fra Angelico’s The Annunciation(1440-1445). In these two works, different types of secondary frames are used to create depth and volume in the painting, and also to form implicit and significant spaces. Furthermore, the secondary frames assume the role of the intermediary between different domains in the frame, and between the interior and the exterior of the image. In The Holy Trinity and The Annunciation, the techniques and methodologies characteristic of the Renaissance are utilized in the secondary frames reflect the medieval spirit of the age, in their own respective way. The former work emphasizes the absolute majesty of God by abnormally increasing the figures in the second frame, while the latter seeks to represent the ‘in-representable’, namely the god, by creating an absolute vacuum of emptiness through the second frames.

키워드