공간과 시간의 매개체로서의 이차프레임 - 피에로 델라 프란체스카의 ˂그리스도의 채찍질˃을 중심으로

초록

Piero della Francesca's Flagellation of Christ (1445-78) is the most outstanding work among Renaissance paintings in which the various meanings and narrative functions of the second frame stand out. Piero della Francesca, who is regarded as a true perfectionist of perspective in painting, made painting into a space of complex and exciting sign action by using accurate perspective and clever second frame arrangement. The various second frames arranged in the picture primarily serve to further reinforce the sense of depth and space created by perspective, and function as a visual boundary and a formative frame at the same time. In particular, the ancient-style patterns and motifs added to and engraved on the second frame as a formative frame express the Renaissance spirit of the revival of the ancient Greek and Roman styles, and at the same time contribute to strengthening the ‘three-dimensionality’ of the painting. In addition, the second frame plays a role in attracting the audience's gaze and emphasizing the meaning of the elements inside. In this painting, Jesus Christ and Pontius Pilate were arranged in small sizes on the left rear side away from the center of the painting, but their existence and characteristics were emphasized as much as in other works thanks to the second frame that cleverly induces the viewer's gaze. Furthermore, in this figure, the second frame performs the mediating function, which is an essential function of the frame. The main entrance of the building, which is the largest second frame of the painting, plays a kind of spatial mediating role, and the inside and outside of the building are connected through the morphological similarity between the figures, and thus two heterogeneous events are placed in a close relationship. In addition, the second frame also performs a temporal mediating function together with the frame, because the gaze of the characters who are connected to each other inside and outside the second frame beyond the chronological difference goes outside the frame and leads to the gaze of the future audience looking at the picture.

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