디제시스적 미장아빔으로서의 이차프레임 - 반 에이크와 다 메시나의 회화를 중심으로

초록

This study focuses on the following two cases among the various cases of diegetic mise en abyme in Renaissance paintings. One is the case where the space of painting is expanded to the area beyond the frame based on the perception of the physical exterior of the frame, and the other is the case where the painting is sublimated into a comprehensive area that encompasses both physical and mental reality. First, we will analyze Portrait of the Couple Arnolfini(1434) by Jan van Eyck, a painter representing Flemish painting in the first half of the 15th century, and then St. Jerome in his Study(1474-1475) by Antonello da Messina, a representative Italian painting of the late 15th century. In the first picture, the mirror-second frame allows the outside and inside of the picture to communicate with each other and extends the area of the picture to the outside of the frame. In addition, while igniting viewers’ imagination of both the visible and invisible areas of the painting, the diegesis of the painting itself is transformed into a unique, infinitely expandable world. In the second picture, the window-second frame expresses the mental image formed in a person’s head as a symbolic image with similarities. Furthermore, the diegesis of a painting deepens and expands into the spirit world of the person in the picture or the spirit world of the viewer who sees the painting, rather than extending outside the frame.

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