|
|
|
Çѱ¹Á¶°æÇÐȸ / v.38, no.4, 2010³â, pp.84-95
|
Á¤¿ø ¹Ì·ÎÀÇ ÇüÅÂ¿Í Àǹ̿¡ °üÇÑ ¿ª»çÀû °íÂû
( A Historical Study of the Form and Meaning of the Garden Labyrinth ) |
| ȲÁÖ¿µ;Á¶°æÁø; ¼¿ï´ëÇб³ ´ëÇпø Çùµ¿°úÁ¤ Á¶°æÇÐ;¼¿ï´ëÇб³ ȯ°æ´ëÇпø ȯ°æÁ¶°æÇаú;
|
|
|
 |
|
| |
| ÃÊ ·Ï |
| º» ¿¬±¸´Â Á¤¿øÀÇ ÇÑ ¿ä¼ÒÀÎ Á¤¿ø ¹Ì·ÎÀÇ À¯Çü°ú ÇüÅ ±×¸®°í ±×°÷¿¡¼ÀÇ ÇàÀ§ÀÇ Æ¯Á¤°ú Àǹ̸¦ »ìÆìº½À» ¸ñÀûÀ¸·Î ÇÑ´Ù. ÀηùÀÇ ¹®¸í»ç¿¡¼ °¡Àå ¿À·¡µÈ »óÁ¤ Áß ÇϳªÀÎ ¹Ì·Î´Â ¾î¿øÀû Á¤Àdzª ¹°¸®Àû ÇüÅ»ó ±âº»ÀûÀ¸·Î À§¿äµÈ Àå¼ÒÀÎ Á¤¿ø°ú ¸¹Àº ¿ä¼Ò¸¦ °øÀ¯Çϰí ÀÖ´Ù. °í´ëºÎÅÍ ¹ßÀüÇØ¿Â ¹Ì·Î´Â ¸£³×»ó½º ½Ã±â¿¡ Á¤¿øÀÇ ¿ä¼Ò·Î º»°ÝÀûÀ¸·Î µµÀÔµÇ¾î ´Ù¾çÇÑ ÇüÅ·Π¹ß´ÞÇÑ´Ù. Æò¸éÀûÀÌ°í »ó¡Àû Á¾±³Àû Àǹ̰¡ °Çß´ø °í´ë¿Í Áß¼¼ÀÇ ¹Ì·Î¿Í ´Þ¸® ÀÔüÀûÀ¸·Î Á¶¿µµÈ Á¤¿ø ¹Ì·Î¿¡´Â °ø°¨°¢Àû À¯ÈñÀû ¼º°ÝÀÌ °ÇÏ°Ô ³ªÅ¸³´Ù. ÀÌ ½Ã±â¿¡´Â ¹®ÇÐÀÛǰ°ú ȸȸ¦ ÅëÇØ Á¤¿ø ¹Ì·ÎÀÇ °³³äÀÌ ¸ÕÀú º¸±ÞµÇ¾ú°í, ÀÌ Áß¿¡¼µµ ƯÈ÷ '»ç¶ûÀÇ Á¤¿ø' À¯ÇüÀÇ Á¤¿ø ¹Ì·Î°¡ À¯ÇàÇß´Ù. À̾î 17¼¼±â º£¸£»çÀ¯ Á¤¿ø¿¡ À̸£·¯¼´Â ÇϳªÀÇ ±æÀ» µû¶ó °¡´Â ÇüŸ¦ ¹þ¾î³ª ´Ù¾çÇÑ ¹æ½ÄÀ¸·Î Áñ±æ ¼ö ÀÖ´Â »õ·Î¿î ¹Ì·ÎÀÇ ÇüŰ¡ ³ªÅ¸³´Ù. ±âÇÏÇÐÀûÀÎ ÇüÅ»ó Á¤Çü½Ä Á¤¿ø¿¡ µµÀÔÀÌ ¿ëÀÌÇß´ø Á¤¿ø ¹Ì·Î´Â ÀÌÈÄ ÃëÇâÀÇ º¯È µîÀ¸·Î Á¤¿øÀÇ ¿ä¼Ò·Î¼´Â Á¡Â÷ ¼èÅðÇÏÁö¸¸, ±× Àǹ̴ ´Ù¸¥ ÇüÅ·ΠÀ̾îÁø´Ù. º» ¿¬±¸¿¡¼´Â ½ÇÁ¦ °ø°£ÀÌ¸é¼ µ¿½Ã¿¡ »ó¡ÀûÀÎ Àå¼ÒÀ̱⵵ ÇÑ ¹Ì·Î¿Í Áö»ó¿¡¼ °¡Àå ¾È¶ôÇÑ Àå¼ÒÀÎ Á¤¿øÀ̶ó´Â µÎ ¿ä¼Ò°¡ ¸¸³ª Á¤¿ø ¹Ì·Î¶ó´Â »õ·Î¿î Àǹ̸¦ Çü¼ºÇØ °¡´Â °úÁ¤À» Á¶¸ÁÇØ º»´Ù. |
|
| This study is an introductory survey of the labyrinth/maze in gardens. The term 'garden labyrinth' may seem an oxymoron given that the garden represents the terrestrial paradise, while the labyrinth is a symbol of the most chaotic face of the world. In etymological and ontological terms, however, gardens are enclosed places and this characteristic corresponds to the character of the labyrinth, which is the one of the oldest signs in human civilization, symbolizing the paths of human life filled with uncertainty and complexity. The garden labyrinth has developed in various forms and shapes since the Renaissance period. Literature and paintings contributed to the dissemination of the concepts of the garden labyrinth, especially in the form of the 'garden of love'. While the labyrinths in ancient and medieval times focused on plane shapes and symbolic and/or spiritual meanings, later garden labyrinths emphasized the three dimensional form and synesthetic pleasures. New patterns, which deviated from the classical unicursal form, emerged in the Petit Parc at Versailles in the 17th century. The garden labyrinth/maze was easy to adopt in formal gardens because of its geometric form, but for that reason, it went on to decline during the fad of picturesque garden. In this study, a brief history of labyrinths, the patterns, forms, and arrangement of the garden labyrinths in the formal gardens of the Renaissance and Baroque periods and its meanings are reviewed. |
| |
| Ű¿öµå |
| ¹Ì±Ã;Á¤¿ø ¿ä¼Ò;¸£³×»ó½º Á¤¿ø;»ç¶ûÀÇ Á¤¿ø;Maze;Garden Element;Renaissance Garden;Garden of Love; |
| |
|
|
 |
|
Çѱ¹Á¶°æÇÐȸÁö / v.38, no.4, 2010³â, pp.84-95
Çѱ¹Á¶°æÇÐȸ
ISSN : 1225-1755
UCI : G100:I100-KOI(KISTI1.1003/JNL.JAKO201013240702410)
¾ð¾î : Çѱ¹¾î |
|
| ³í¹® Á¦°ø : KISTI Çѱ¹°úÇбâ¼úÁ¤º¸¿¬±¸¿ø |
|
|
|
|
|
|