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ใ€ŠFalconry(๋งค์‚ฌ๋ƒฅ)ใ€‹

 

๊ถŒํ˜œ์ธ(์„œ์šธ์‹œ๋ฆฝ๋ฏธ์ˆ ๊ด€ ํ•™์˜ˆ์—ฐ๊ตฌ์‚ฌ)

 

๋งค๋ ฅ์ ์ธ ์ธ๋ฌผ ๋„์ƒ๊ณผ ์—๋„ˆ์ง€ ๋„˜์น˜๋Š” ์ƒ์ƒ์˜ ์„ธ๊ณ„๊ฐ€ ํž˜ ์žˆ๋Š” ๋ถ“์งˆ๋กœ ์™„์„ฑ๋˜๋Š” ์ •์ˆ˜์ •์˜ ์ž‘ํ’ˆ์€ ์ง๊ด€์ ์ธ ์ดํ•ด๋กœ๋„ ์ถฉ๋ถ„ํžˆ ๊ฐ๊ฐ์  ๋งŒ์กฑ์„ ์ฃผ์ง€๋งŒ ํ•˜๋‚˜ํ•˜๋‚˜ ํ•ด์„ํ•ด๋ณด๋Š” ์žฌ๋ฏธ๊ฐ€ ์žˆ๋Š” ์ž‘ํ’ˆ๋“ค์ด๋‹ค. ์ด ๊ธ€์—์„œ๋Š” ํ™œ๋ฐœํ•œ ํ™œ๋™์œผ๋กœ ์ง€๋‚œ ๋ช‡ ๋…„๊ฐ„ ์ถ•์ ๋˜์–ด ์˜จ ์ •์ˆ˜์ •์˜ ์ž‘ํ’ˆ๋“ค์„ ๊ตฌ์กฐ์  ์ธก๋ฉด์—์„œ ํŒŒ์•…ํ•ด ์ž…์ฒดํ™”ํ•ด๋ณด๊ณ ์ž ํ•œ๋‹ค.

 

์ •์ˆ˜์ •์˜ ์ž‘ํ’ˆ์„ธ๊ณ„๋ฅผ ๊ตฌ์„ฑํ•˜๋Š” ์ถ•์€ ์„ธ ๊ฐ€์ง€์ด๋‹ค. ์ฒซ ๋ฒˆ์งธ๋Š” ์ž์—ฐ๊ณผ ์ธ๊ฐ„๋ฌธ๋ช…๊ณผ์˜ ๊ด€๊ณ„์— ๋Œ€ํ•œ ์ž‘๊ฐ€ ์ž์‹ ์˜ ์„ธ๊ณ„๊ด€์œผ๋กœ, ์ž์‹ ์˜ ๊ฒฝํ—˜๊ณผ ์ฒ ํ•™์— ๊ธฐ๋ฐ˜ํ•˜๊ณ  ์žˆ๋‹ค. ์ž์—ฐ๊ณผ ์ธ๊ฐ„์˜ ๊ณต์กด, ์„ ์•…์œผ๋กœ ๊ตฌ๋ถ„ํ•  ์ˆ˜ ์—†๋Š” ์ˆœ์ˆ˜ํ•œ ๋Œ€์ž์—ฐ์˜ ์›๋ฆฌ, ์ž‘๊ณ  ํฌ๋ฏธํ•œ ์กด์žฌ๋“ค์ด ๋งŒ๋“ค์–ด๋‚ด๋Š” ์ƒ๋ช…๋ ฅ๊ณผ ์—ญํ•  ๊ฐ™์€ ๊ฒƒ๋“ค์ด๋‹ค. ์ด๊ฒƒ์€ ๋˜ํ•œ ์ž‘๊ฐ€ ์ž์‹ ์˜ ์กด์žฌ๋ก ์  ์ฃผ์ œ์™€๋„ ์—ฐ๊ฒฐ๋˜๊ธฐ๋„, ๋Œ€์ฒด๋˜๊ธฐ๋„ ํ•œ๋‹ค.

 

๋‘ ๋ฒˆ์งธ๋Š” ๋ฌธํ™”์  ๋„์ƒ๊ณผ ํ‘œํ˜„ ์–‘์‹์˜ ์‚ฌ์šฉ์ด๋‹ค. ๊ณ ์ „ ํšŒํ™”์—์„œ๋ถ€ํ„ฐ ์˜ํ™”, ์• ๋‹ˆ๋ฉ”์ด์…˜, ๋ฎค์ง๋น„๋””์˜ค, ๊ด‘๊ณ  ๊ฐ™์€ ๋Œ€์ค‘๋ฌธํ™” ์‹œ๊ฐ๋ฌผ๋“ค์— ์ด๋ฅด๊ธฐ๊นŒ์ง€ ๊ทธ๊ฒƒ๋“ค์ด ๋ณด์—ฌ์ฃผ๋Š” ์ฃผ์ œ, ๊ทธ ์•ˆ์— ๋“ฑ์žฅํ•˜๋Š” ํ˜•ํƒœ๋“ค์ด ์ƒ์ง•ํ•˜๋Š” ์˜๋ฏธ, ํฌ์ฆˆ๋‚˜ ๋™์„ธ๊ฐ€ ๋ณด์—ฌ์ฃผ๋Š” ๊ฐ๊ฐ๋“ค์„ ์—ฐ๊ตฌํ•˜๊ณ  ํ˜„์žฌํ™” ํ•œ๋‹ค.

 

์„ธ ๋ฒˆ์งธ๋Š” ํ˜„์‹ค์—๋Š” ์กด์žฌํ•˜์ง€ ์•Š๋Š” ‘์ƒ์ƒ ์†์˜ ์„ธ๊ณ„’๋ฅผ ํšŒํ™”์  ์žฅ๋ฉด์œผ๋กœ ๊ตฌํ˜„ํ•ด๋‚ด๋Š” ๊ฒƒ์ด๋‹ค. ์ด๊ฒƒ์€ ์‹ค์ œ๋กœ ์กด์žฌํ•˜์ง€ ์•Š๋Š” ์„ธ๊ณ„๋ฅผ ์˜๋ฏธํ•˜๊ธฐ๋„ ํ•˜์ง€๋งŒ ์ž‘ํ’ˆ์„ ๊ตฌ์„ฑํ•˜๋Š” ์ฒซ ๋ฒˆ์งธ ์ถ•์ธ ์ž์‹ ์˜ ์„ธ๊ณ„๊ด€์„ ‘ํ˜„์‹ค์˜ ๋ชจ์‚ฌ’๊ฐ€ ์•„๋‹Œ ํšŒํ™”์˜ ์–ธ์–ด๋กœ ํ‘œํ˜„ํ•˜๊ฒ ๋‹ค๋Š” ์˜๋ฏธ์ด์ž, ๋‘ ๋ฒˆ์งธ ์ถ•์ธ ๋ฌธํ™”์  ๋„์ƒ๊ณผ ํ‘œํ˜„ ์–‘์‹์ด ๊ฐ€์ง„ ์ธ๊ณต์ ์ธ ์†์„ฑ์„ ํƒ๊ตฌํ•˜๊ณ  ์žฌ๊ตฌ์„ฑํ•˜์—ฌ ํšŒํ™”์˜ ์ˆœ์ˆ˜์„ฑ์„ ํš๋“ํ•˜๊ฒ ๋‹ค๋Š” ์„ ์–ธ์œผ๋กœ๋„ ์ฝํžŒ๋‹ค.

 

์ด๋ ‡๊ฒŒ ์ž‘๊ฐ€์˜ ‘์„ธ๊ณ„๊ด€ - ํ‘œํ˜„ ์–‘์‹์˜ ์‹คํ—˜ - ํšŒํ™”์  ์ง€ํ–ฅ’์€ ๊ฐ๊ฐ ๊ฑฐ๋Œ€ํ•œ ์„ธ๊ณ„(‘์ž์—ฐ๊ณผ ์ธ๊ฐ„๋ฌธ๋ช… - ๋ฌธํ™”์  ๋„์ƒ - ์ƒ์ƒ๊ณผ ์ˆœ์ˆ˜์„ฑ’์ด๋ผ๋Š” ๊ทธ ์ž์ฒด๋กœ ์ˆ˜๋งŽ์€ ์ž‘๊ฐ€๋“ค์ด ์˜ค๋žœ ์—ญ์‚ฌ๋ฅผ ๊ฐ€์ง€๊ณ  ์ฒœ์ฐฉํ•ด์˜จ)๋ฅผ ์ฐธ์กฐํ•˜๋ฉด์„œ, ์„œ๋กœ๋ฅผ ์ถ”๋™ํ•˜๋Š” ๊ด€๊ณ„๋กœ ํ•˜๋‚˜์˜ ํ™”๋ฉด์—์„œ ๋™์‹œ์— ๊ตฌ์ถ•๋œ๋‹ค. ํ•˜์ง€๋งŒ ์ด ์„ธ ๊ฐ€์ง€ ์ถ•์€ ๋ณ„๊ฐœ๋กœ ์กด์žฌํ•˜์ง€ ์•Š๊ณ  ๋Œ€๊ฐœ ์ „์‹œ๋ณ„๋กœ ํ•˜๋‚˜์˜ ์†Œ์žฌ๋ฅผ ์ค‘์‹ฌ์œผ๋กœ ์ž์—ฐ์Šค๋Ÿฝ๊ฒŒ ๊ฒฐํ•ฉ๋˜๊ณ  ์žˆ๋‹ค.

 

๊ทธ๋ ‡๋‹ค๋ฉด ์ด๋ฒˆ ์ „์‹œ์—์„œ ์ด๋Ÿฌํ•œ ํŠน์„ฑ๋“ค์€ ์–ด๋–ป๊ฒŒ ๋“œ๋Ÿฌ๋‚˜๊ณ  ์žˆ์„๊นŒ?

 

๊ฐœ์ธ์ „ ใ€ŠSweet Sirenใ€‹(๋ ˆ์ธ๋ณด์šฐํ๋ธŒ ๊ฐค๋Ÿฌ๋ฆฌ, 2018)์—์„œ ์‹ ๊ณผ ๋‹˜ํ”„์˜ ๋„์ƒ, ใ€ŠA Homing Fishใ€‹(๊ฐค๋Ÿฌ๋ฆฌ ๋ฐˆ, 2019)์—์„œ ํšŒ๊ท€์„ฑ ๋ฌผ๊ณ ๊ธฐ์ฒ˜๋Ÿผ ์ž์—ฐ์ด๋ผ๋Š” ๊ณ ํ–ฅ์œผ๋กœ ๋Œ์•„๊ฐ€๋Š” ๊ฒƒ๋“ค, ใ€Š๋นŒ๋Ÿฐ๋“ค์˜ ๋ณ„ใ€‹(OCI ๋ฏธ์ˆ ๊ด€, 2020)์—์„œ ์˜ํ™” ์†์˜ ๋นŒ๋Ÿฐ ์œ ํ˜•์ด ๋“ฑ์žฅํ•˜์˜€๋‹ค๋ฉด ์ด๋ฒˆ ์ „์‹œ ใ€ŠFalconry(๋งค์‚ฌ๋ƒฅ)ใ€‹์—๋Š” ์ฃผ๋กœ ์—ฌ์„ฑ๊ณผ ์ƒˆ, ๋™๋ฌผ๋“ค์ด ๋“ฑ์žฅํ•œ๋‹ค. ์ฐธ๋งค๋กœ๋ถ€ํ„ฐ ์˜๊ฐ์„ ๋ฐ›์•„ ์ „์‹œ๋ฅผ ์•„์šฐ๋ฅด๋Š” ์ฃผ์ œ๋ฅผ ์ƒˆ, ๋™๋ฌผ, ๋‚ ๋‹ค, ๋ถ€์œ ํ•˜๋‹ค, ์ •์ง€ํ•˜๋‹ค, ๊ณต์กดํ•˜๋‹ค ๋“ฑ์œผ๋กœ ์žก์•˜๋‹ค๊ณ  ํ•œ๋‹ค. ๋•Œ๋ฌธ์— ์ด๋ฒˆ ์ „์‹œ์—์„œ๋Š” ์ธ๊ฐ„๊ณผ ์ƒˆ, ๋™๋ฌผ์ด๋ผ๋Š” ์†Œ์žฌ๋ฅผ ์ค‘์‹ฌ์œผ๋กœ ํ‘œํ˜„ ์–‘์‹๊ณผ ์„ธ๊ณ„๊ด€, ์ƒ์ƒ์˜ ํ‘œํ˜„์ด ์–ด์šฐ๋Ÿฌ์ง„๋‹ค.

 

์šฐ์„  ์ƒˆ๊ฐ€ ๋“ฑ์žฅํ•˜๋Š” ์ž‘ํ’ˆ๋“ค์ด ์—ฌ๋Ÿฟ ๋ˆˆ์— ๋„๋Š”๋ฐ, ์–ด๋”˜๊ฐ€๋กœ ๋‚ ์•„๊ฐ€๋Š” ์ƒˆ๋“ค์˜ ๋ฌด๋ฆฌ๋Š” ใ€ŠA Homing Fishใ€‹์—์„œ์˜ ๋ฌผ๊ณ ๊ธฐ์ฒ˜๋Ÿผ ์ž์—ฐ์— ์†ํ•ด์žˆ๋Š” ์ˆ™๋ช…์ ์ธ ์กด์žฌ๋กœ ๋ณด์ธ๋‹ค. ๋˜ ์ด ์ž‘ํ’ˆ๋“ค์€ ๊ธฐ์กด ๋งค์ฒด๊ฐ€ ์‹œ๊ฐํ™”ํ•ด ์˜จ ์ „ํ˜•์ ์ธ ‘๋‚ ๊ฑฐ๋‚˜ ๋ถ€์œ ํ•˜๋Š”’ ๋™์ ์ธ ๋ฌ˜์‚ฌ๋ฅผ ํšŒํ™”์  ํ•œ ์žฅ๋ฉด์œผ๋กœ ์••์ถ•ํ•˜๊ฑฐ๋‚˜ ์กฐํ˜• ์š”์†Œ๋กœ ๋ณ€ํ™˜์‹œ์ผœ ํŠน๋ณ„ํ•œ ์ •์กฐ๋ฅผ ์ž์•„๋‚ด๊ณ  ์žˆ๋‹ค.

 

ํ•œํŽธ, ์ธ๋ฌผํ™”์— ๋Œ€ํ•œ ์—ฐ๊ตฌ๋„ ์ด๋ฃจ์–ด์ง€๊ณ  ์žˆ๋‹ค. <Tronie>์‹œ๋ฆฌ์ฆˆ๋Š” 17์„ธ๊ธฐ ๋„ค๋œ๋ž€๋“œ์˜ ์ธ๋ฌผํ™” ‘ํŠธ๋กœ๋‹ˆ(Troni)’์— ๋Œ€ํ•œ ์ž‘๊ฐ€์˜ ๊ด€์‹ฌ์œผ๋กœ๋ถ€ํ„ฐ ์‹œ์ž‘๋˜์—ˆ๋‹ค. ์ •ํ˜•ํ™”๋œ ๊ท€์กฑ๋“ค์˜ ์ดˆ์ƒ์ด ์•„๋‹ˆ๋ผ ํ‘œ์ • ์œ„์ฃผ์˜ ์ƒ๋™๊ฐ ๋„˜์น˜๋Š” ์Šค๋ƒ…์ƒท ๊ฐ™์€ ํŠธ๋กœ๋‹ˆ๋Š” ๊ทธ ์ž์ฒด๋กœ๋„ SNS ์‚ฌ์ง„ ๊ฐ™์€ ๋А๋‚Œ์„ ์ฃผ๋Š”๋ฐ๋‹ค, ์‹ค์ œ๋กœ ์กด์žฌํ•˜๋Š” ๋ชจ๋ธ์„ ๊ทธ๋ฆฐ ๊ฒƒ์ด ์•„๋‹Œ ํ—ˆ๊ตฌ์˜ ์ธ๋ฌผ์„ ์ฐฝ์กฐํ•ด๋‚ธ ๊ฒƒ์ด๋ผ, ์ž‘๊ฐ€๋Š” ์ด๋ฅผ ๋™์‹œ๋Œ€ ์ƒ์ƒ ์ธ๋ฌผํ™”์— ๋Œ€ํ•œ ์‹คํ—˜์„ ์œ„ํ•œ ์†Œ์žฌ๋กœ ์ ํ•ฉํ•˜๋‹ค๊ณ  ํŒ๋‹จํ–ˆ๋˜ ๊ฒƒ ๊ฐ™๋‹ค. ์ด์ „์—๋„ ๊พธ์ค€ํžˆ ์ธ๋ฌผ ํ‘œํ˜„์„ ์‹คํ—˜ํ•ด์™”๋˜ ์ž‘๊ฐ€๋Š” ๊ตฌ์ฒด์ ์ธ ์ƒ๊น€์ƒˆ๋ณด๋‹ค ๋‰˜์•™์Šค๋กœ ๊ทธ ์บ๋ฆญํ„ฐ๋ฅผ ๋ณด์—ฌ์ค€๋‹ค๊ฑฐ๋‚˜, ์ธ๋ฌผ์˜ ํฌ์ฆˆ์™€ ์—ฐ๊ฒฐ๋˜๋Š” ๋ถ„์œ„๊ธฐ๋ฅผ ์–ผ๊ตด์— ๋‹ด์•„๋‚ธ๋‹ค๊ฑฐ๋‚˜, ์ž์„ธํ•˜๊ณ  ํŠน์ •ํ•œ ํ‘œ์ •๋ณด๋‹ค๋Š” ๊ฐ์ • ์ž์ฒด๋ฅผ ํšŒํ™”์  ํ‘œํ˜„์œผ๋กœ ๋‹ด์•„๋‚ด๋Š” ๋ฐฉ์‹์„ ์ทจํ•ด์™”๋‹ค.

์ด๋ฒˆ์—๋„ ๊นƒํ„ธ์ด ๋‹ฌ๋ฆฐ ์˜ท์„ ์ž…์€ ์—ฌ์„ฑ(๋˜๋Š” ๋ฐ˜์ธ๋ฐ˜์กฐ(ๅŠไบบๅŠ้ณฅ))๊ตฐ์ƒ์˜ ์—ฌ๋Ÿฌ ํ‘œ์ •์„ ํ•œ ํ™”๋ฉด์—์„œ ๋ณด์—ฌ์ค€๋‹ค๊ฑฐ๋‚˜ ๋™๋ฌผ๋“ค์ด ์‚ฌ๋žŒ๊ณผ ํ•จ๊ป˜ ๋“ฑ์žฅ์‹œํ‚ค๋Š” ๋ฐฉ์‹์œผ๋กœ ํ‘œํ˜„์„ ๋ณตํ•ฉํ™”, ํ™•์žฅ์‹œํ‚ค๊ณ  ์žˆ๋‹ค. ๋™๋ฌผ๋“ค์€ ์—ฌ์„ฑ๋“ค๊ณผ ๊ฐ์ •์ ์œผ๋กœ ๋™๊ธฐํ™”๋˜์–ด ์žˆ์„ ๋ฟ ์•„๋‹ˆ๋ผ ์—ฌ์„ฑ์˜ ์–ด๊นจ ์œ„์— ์•‰๊ฑฐ๋‚˜ ํ’ˆ์— ์•ˆ๊ฒจ์žˆ๋Š” ๋“ฑ์˜ ํฌ์ฆˆ๋ฅผ ํ†ตํ•ด ์‹ ์ฒด์ ์œผ๋กœ๋„ ์—ฐ๊ฒฐ๋˜์–ด ์žˆ๋‹ค. ๊ณ ๊ฐœ๋ฅผ ๋Œ๋ฆฐ ์—ฌ์„ฑ ๋Œ€์‹  ๊ฐ์ƒ์ž ์ชฝ์„ ๋ฐ”๋ผ๋ณด๊ณ  ์žˆ๋Š” ํ‘œ๋ฒ”์€ ํ•˜๋‚˜์˜ ์—ฐ์žฅ๋œ ์ธ๋ฌผ ํ‘œํ˜„์ด๋ผ๊ณ  ํ•  ์ˆ˜ ์žˆ๋‹ค.

๋˜ํ•œ ์ด ์—ฌ์„ฑ๊ณผ ๋™๋ฌผ์˜ ์Œ, ํŠนํžˆ ์ฐธ๋งค๋ฅผ ์–ด๊นจ์— ์–น์€ ์—ฌ์„ฑ์€, ํŠธ๋กœ๋‹ˆ ์ด์™ธ์—๋„ ๋˜ ํ•œ ๊ฐ€์ง€ ์ค‘์š”ํ•œ ๋„์ƒ์„ ์—ฐ์ƒ์‹œํ‚ค๋Š”๋ฐ, ๊ทธ๊ฒƒ์€ ๋ฐ”๋กœ ์• ๋‹ˆ๋ฉ”์ด์…˜ <๋ฐ”๋žŒ๊ณ„๊ณก์˜ ๋‚˜์šฐ์‹œ์นด>๋‚˜ <์›๋ น๊ณต์ฃผ>์˜ ์—ฌ์„ฑ๊ณผ ๋™๋ฌผ์ด๋‹ค. ์ „์‹œ๋˜๋Š” ๋ชจ๋“  ์ž‘ํ’ˆ์— ๋‚˜ํƒ€๋‚˜๊ณ  ์žˆ๋Š” ๊ฒƒ์€ ์•„๋‹ˆ์ง€๋งŒ ์ด๋ฒˆ ์ „์‹œ์˜ ์„ธ๊ณ„๊ด€๊ณผ๋„ ๋งž๋‹ฟ์•„ ์žˆ์–ด ์–ธ๊ธ‰ํ•˜๊ณ ์ž ํ•œ๋‹ค.

๋„์ƒ์ด๋ผ๋Š” ๊ฒƒ์ด ์‚ฌํšŒ ๋ฌธํ™”์ ์œผ๋กœ ์•ฝ์†๋œ ์‹œ๊ฐ์  ๊ธฐํ˜ธ๋ผ๊ณ  ๋ณด์•˜์„ ๋•Œ, ๋ฌธ์ž๊ฐ€ ์กฐํ•ฉ๋˜์–ด ๋‹จ์–ด์™€ ๋ฌธ์žฅ์ด ๋˜๋“ฏ ๋Œ€์ค‘๋ฌธํ™”์˜ ์ด๋ฏธ์ง€๋‚˜ ํ˜•์‹์ด ์กฐํ•ฉ๋˜๋ฉด ๊ฐ์ƒ์ž๋Š” ์ผ์ฐจ์ ์œผ๋กœ ํ•ด๋‹น ๋ ˆํผ๋Ÿฐ์Šค๋ฅผ ๋– ์˜ฌ๋ฆฌ๋ฉฐ ์˜๋ฏธ๋ฅผ ์ธ์ง€ํ•˜๊ฒŒ ๋œ๋‹ค. ๋Œ€์ค‘๋ฌธํ™”์˜ ๋„์ƒ๋“ค์€ ๋Œ€๋ถ€๋ถ„ ๋ฏธ๋””์–ด ๋…ธ์ถœ๋กœ ์ƒํ™œ๋ฐ˜๊ฒฝ ์•ˆ์—์„œ ์ž์‹ ๋„ ๋ชจ๋ฅด๊ฒŒ ์ ‘ํ•œ ์ ์ด ์žˆ๋Š” ๊ฒƒ๋“ค์ด๋ผ์„œ ๊ฐ์ƒ์ž๊ฐ€ ์ด๋ฅผ ์ž์—ฐ์Šค๋Ÿฝ๊ฒŒ ์•Œ๊ณ  ์žˆ๋Š” ๊ฒฝ์šฐ๊ฐ€ ๋งŽ๊ธฐ ๋•Œ๋ฌธ์ด๋‹ค. ๋”ฐ๋ผ์„œ ์ด๋ฒˆ ์ž‘ํ’ˆ์—์„œ ๋™๋ฌผ๋“ค๊ณผ ํ•จ๊ป˜ ํ˜ธํกํ•˜๊ณ  ์žˆ๋Š” ์—ฌ์„ฑ์˜ ์ด๋ฏธ์ง€๋Š” ‘๋‚ ๊ฑฐ๋‚˜ ๋‹ฌ๋ฆฐ๋‹ค’ ๋˜ ‘๋ฌด์—‡์ธ๊ฐ€๋ฅผ ํ–ฅํ•ด ์ „์ง„ ํ•œ๋‹ค’๋Š” ์—ญ๋™์ ์ธ ์ด๋ฏธ์ง€์™€ ํ•จ๊ป˜ ‘์—ฐ์•ฝํ•ด ๋ณด์ด๋Š” ์†Œ๋…€๊ฐ€ ์ž์—ฐ์„ ์œ„ํ•ด ๋™๋ฌผ๋“ค๊ณผ ํ•จ๊ป˜ ์ธ๊ฐ„ ๋ฌธ๋ช…์— ๋งž์„ ๋‹ค’ ๋˜๋Š” ‘์ธ๊ฐ„๊ณผ ์ž์—ฐ์ด ๊ณต์กด ํ•ด์•ผ ํ•œ๋‹ค’ ๊ฐ™์€ ์ž‘๊ฐ€์˜ ์„ธ๊ณ„๊ด€๊นŒ์ง€ ์•”์‹œํ•˜๊ฒŒ ๋œ๋‹ค.

์ฆ‰ ์ž‘๊ฐ€๋Š” ์ž์—ฐ๊ณผ ์ธ๊ฐ„ ๋ฌธ๋ช…์˜ ๊ณต์กด์ด๋ผ๋Š” ์„ธ๊ณ„๊ด€์„ ๋ฐ”ํƒ•์œผ๋กœ, ์ธ๋ฌผํ™”์™€ ์• ๋‹ˆ๋ฉ”์ด์…˜ ์–‘์‹์˜ ๋ณ€ํ˜•์„ ํ†ตํ•ด, ์ž์‹ ๋งŒ์˜ ํšŒํ™”์  ์žฅ๋ฉด์„ ๋งŒ๋“ค๊ณ  ์ƒ์ƒ์˜ ์„ธ๊ณ„๋ฅผ ๊ตฌํ˜„ํ•ด๋‚ด๊ณ  ์žˆ๋Š” ๊ฒƒ์ด๋‹ค.

 

์ด๋ ‡๊ฒŒ ์ž‘๊ฐ€์˜ ์„ธ๊ณ„๊ด€์„ ์ „๋‹ฌํ•˜๋Š”๋ฐ ์ค‘์‹ฌ์ด ๋˜๋Š” ์—ฌ์„ฑ๊ณผ ์ƒˆ, ๋™๋ฌผ ๋„์ƒ์€ ์ „์‹œ์˜ ์„œ๋‘์—์„œ ๋งŒ๋‚˜๊ฒŒ ๋˜๋Š” ์ž‘ํ’ˆ <Mating(๊ต๋ฏธ)>์—์„œ ๋”์šฑ ๋…์ž์ ์ด๊ณ  ๋ฐœ์ „์ ์œผ๋กœ ๋“œ๋Ÿฌ๋‚˜๊ฒŒ ๋œ๋‹ค. <Mating(๊ต๋ฏธ)>์€ ๊ธธ์ด ์•ฝ 7m์˜ ๋Œ€ํ˜• ์ž‘ํ’ˆ์œผ๋กœ ๊ณ ์ „์ ์ธ ๋ฒฝ๊ฐ ์•„์น˜ ํ˜•ํƒœ๋ฅผ ์•”์‹œํ•˜๋Š” ์ƒ‰๋ฉด์œผ๋กœ๋ถ€ํ„ฐ ์Ÿ์•„์ ธ ๋‚ด๋ ค์˜ค๋Š” ์ € ๋„ˆ๋จธ ์„ธ๊ณ„์˜ ํญํฌ์™€ ๋‹ค์–‘ํ•œ ์ƒ๋ช…์ฒด๋“ค์„ ๋‹ด์•„๋‚ด๊ณ  ์žˆ๋‹ค. ์›€์ง์ด๊ธฐ ์ „ ์‘์ถ•๋œ ๊ธด์žฅ๊ฐ์„ ๊ฐ€์ง€๊ณ  ์žˆ๋Š” ์ •์ ์ธ ํ˜•ํƒœ์˜ <Tronie>์‹œ๋ฆฌ์ฆˆ๋“ค๊ณผ๋Š” ๋‹ฌ๋ฆฌ ์—ญ๋™๊ฐ์ด ๋„˜์น˜๋Š” ์ด ์ž‘ํ’ˆ์€ ์ œ๋ชฉ์ฒ˜๋Ÿผ ๋™๋ฌผ๋“ค๊ณผ ์—ฌ๋Ÿฌ ์ƒˆ๋“ค์ด ํ™˜ํฌ์˜ ์ˆœ๊ฐ„์„ ์ˆ˜๋†“๊ณ  ์žˆ๋Š” ์ƒ์ƒ๋„์ด๋‹ค.

๋“ฑ์žฅํ•˜๋Š” ๋™๋ฌผ๋“ค(๋˜๋Š” ์ƒ๋ช…์ฒด๋“ค)์˜ ํ‘œํ˜„์€ ํŽธ๊ฒฌ๊ณผ ๊ณ ์ •๊ด€๋…์„ ๋„˜์–ด์„œ๋ ค๋Š” ์ž‘๊ฐ€์˜ ์˜๋„ ์†์—์„œ ๋งˆ์น˜ ํ•œ ์—ฌ์„ฑ ๋ž˜ํผ์˜ ๋ฎค์ง ๋น„๋””์˜ค์ฒ˜๋Ÿผ ์—ฌ์„ฑ ์ฃผ๋„์  ์„ฑ์  ํ‘œํ˜„์„ ๊ฐ€๋“ ๋‹ด๊ณ  ์žˆ๋Š” ์ „๋žต์ ์ด๊ณ  ์ƒ์ง•์ ์ธ ์œ ์พŒํ•œ ๋ฐˆ(์ด ๋˜ํ•œ ํ•˜๋‚˜์˜ ํ˜„๋Œ€์  ๋„์ƒ์ด๋‹ค)๊ณผ ๊ณต๋ช…ํ•˜๋ฉฐ, ์ž์œ ๋กญ๊ณ  ๋ณธ๋Šฅ์— ์ถฉ์‹คํ•œ ์ž์—ฐ์ด ๋ฐœํœ˜ํ•  ์ˆ˜ ์žˆ๋Š” ์ตœ๊ณ ์˜ ์—๋„ˆ์ง€์™€ ์ƒ๋ช…๋ ฅ์„ ํ™•์ธ์‹œ์ผœ์ฃผ๊ณ  ์žˆ๋‹ค.

๋ฐ˜๋ฉด ์—ฌ์„ฑ์€ ์ž‘ํ’ˆ์ƒ์—์„œ ๋ณด์ด์ง€ ์•Š๋Š”๋ฐ, ์ด์— ๋Œ€ํ•œ ์ˆจ๊ฒจ์ง„ ํžŒํŠธ๋Š” ์ž‘ํ’ˆ์˜ ์ดˆ๊ธฐ ๋“œ๋กœ์ž‰์—์„œ ๋“œ๋Ÿฌ๋‚œ๋‹ค. ํญํฌ ์ค‘์•™์— <๋ฐ”๋žŒ ๊ณ„๊ณก์˜ ๋‚˜์šฐ์‹œ์นด>์— ๋‚˜์˜ค๋Š” ‘์˜ค๋ฌด’ ๊ฐ™์€ ์ƒ์ƒ ์† ์ƒ๋ช…์ฒด์˜ ํ˜•์ƒ์ด ๊ธˆ๋ชฉ๊ฑธ์ด ๊ฐ™์€ ๊ฒƒ์„ ํ•˜๊ณ  ์žˆ๋Š”๋ฐ, ์ดˆ๊ธฐ ๋“œ๋กœ์ž‰์—๋Š” ๊ทธ ์•ˆ์— ํญํฌ๋ฅผ ๋“ฑ์ง€๊ณ  ๋ฌด๋ฆŽ์„ ๊ฟ‡๊ณ  ์žˆ๋Š” ์—ฌ์„ฑ์˜ ๋ชจ์Šต์ด ๋ณด์ธ๋‹ค. ํ˜๋Ÿฌ๊ฐ€๋Š” ํญํฌ ์•ˆ์—์„œ ๋ฌด์–ธ๊ฐ€๋ฅผ ํ•˜๊ณ  ์žˆ๋Š” ๊ทธ๋…€๋Š” ๊ณง ์˜ค๋ฌด ๊ฐ™์€ ํ˜•์ƒ์œผ๋กœ ๋’ค๋ฎ์ด๊ณ , ๊ทธ๊ฒƒ์€ ๋ฌผ๋ณด๋ผ ์ด๋Š” ํญํฌ ์•„๋ž˜, ๋งˆ์น˜ ์ƒ๋ช…๋ ฅ์˜ ๊ทผ์›์ฒ˜๋Ÿผ ์ž๋ฆฌ ์žก๊ฒŒ ๋˜์—ˆ๋˜ ๊ฒƒ์ด๋‹ค. ๊ทธ๋ ‡๋‹ค๋ฉด <Mating>์€ ๋งˆ๋ฒ•์†Œ๋…€์˜ ๋ณ€์‹  ์ˆœ๊ฐ„์ฒ˜๋Ÿผ, ์ˆจ๊ฒจ์ ธ ์žˆ๋˜ ์—ฌ์„ฑ์„ฑ๊ณผ ์ž์—ฐ์˜ ์ƒ๋ช…๋ ฅ์ด ํญ๋ฐœํ•˜๋Š” ์ˆœ๊ฐ„์„ ์žฅ๋ฉดํ™” ํ•œ ๊ฒƒ์ผ ์ˆ˜๋„ ์žˆ๊ฒ ๋‹ค.

 

๋˜ํ•œ ์ด ์ž‘ํ’ˆ์€ ์ž‘๊ฐ€๊ฐ€ ์‹ค์ œ ํญํฌ๊ฐ€ ํ˜๋Ÿฌ๋‚ด๋ฆฌ๋“ฏ 3์ฐจ์›์œผ๋กœ ํšŒํ™”๋ฅผ ๊ตฌ์„ฑํ•œ ์ฒซ ์‹œ๋„๋กœ, ๋งŽ์€ ์ž‘ํ’ˆ๋“ค์ด ๋น„๋Œ€๋ฉด์„ ์ „์ œ๋กœ ๊ตฌ์ƒ๋˜๋Š” ์ƒํ™ฉ์—์„œ ์ง์ ‘ ํ˜„์žฅ์—์„œ ์ด ์ž‘ํ’ˆ์„ ๋ณด์•„์•ผ๋งŒ ํ•˜๋Š” ์ค‘์š”ํ•œ ์ด์œ ๊ฐ€ ๋œ๋‹ค.(ํญํฌ๊ฐ€ ์Ÿ์•„์ง€๊ณ  ํ˜๋Ÿฌ๊ฐ€๋Š” ๋ฐฉ์‹์œผ๋กœ ์กด์žฌํ•˜๋Š” ๋ฌผ๊ฐ์„ ์ƒ์ƒํ•ด๋ณด๋ผ)

 

 

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<Mating>์˜ ์ดˆ๊ธฐ ๋“œ๋กœ์ž‰, ๋ถ€๋ถ„

 

๋งŽ์€ ์ž‘๊ฐ€๋“ค์ด ํšŒํ™”๋กœ ์Šคํฌ๋ฆฐ์ด๋‚˜ ๋ชจ๋ฐ”์ผ์˜ ๊ฐ๊ฐ, ์ผ์ƒ์„ฑ์˜ ์ด๋ฏธ์ง€๋ฅผ ์—ฐ๊ตฌํ•˜๋Š” ํ๋ฆ„ ์†์—์„œ ‘๋„์ƒ’์ด๋ผ๋Š” ํ˜•์‹์„ ๋™์‹œ๋Œ€์ ์œผ๋กœ ๋ฒˆ์•ˆํ•˜๊ณ  ์žฌ๊ตฌ์„ฑํ•˜๋Š” ์ •์ˆ˜์ •์˜ ‘์ƒ์ƒ์˜ ์„ธ๊ณ„’๋Š” ๋ฌด์—‡๋ณด๋‹ค ํ•œ๊ณ„ ์—†์ด ์—ญ๋™์ ์ธ ํšŒํ™”์  ํ‘œํ˜„์„ ์‹œํ—˜ํ•  ์ˆ˜ ์žˆ๋Š” ์ข‹์€ ๊ทผ๊ฑฐ๋ฅผ ๊ฐ€์ง€๊ณ  ์žˆ๋‹ค. ๋˜ํ•œ ๊ฐ์ƒ์ž์—๊ฒŒ (๋„์ƒ์„) ์ธ์ง€ํ•˜๋Š” ์ฆ๊ฑฐ์›€๊ณผ ๊ณต๊ฐ, ๊ทธ๋ฆฌ๊ณ  ๊ทธ๊ฒƒ์ด ๋˜ ๋‹ค๋ฅธ ๋งฅ๋ฝ์ด๋‚˜ ์ธต์œ„์™€ ๋’ค์„ž์ด๊ฒŒ ๋  ๋•Œ ์‹ ์„ ํ•œ ๊นจ๋‹ฌ์Œ์„ ์•ˆ๊ธด๋‹ค. ‘์„ธ๊ณ„๊ด€ - ํ‘œํ˜„ ์–‘์‹์˜ ์‹คํ—˜ - ํšŒํ™”์  ์ง€ํ–ฅ’์˜ ์กฐํ•ฉ์ด๋ผ๋Š” ๋…ํŠนํ•œ ๊ตฌ์กฐ๋ฅผ ๊ฐ€์ง€๊ณ  ์žˆ๋Š” ์ •์ˆ˜์ • ์ž‘๊ฐ€์˜ ์ž‘ํ’ˆ์„ ์ฃผ๋ชฉํ•˜๋Š” ์ด์œ ์ด๋‹ค.

์ดˆ๊ธฐ ๋“œ๋กœ์ž‰.jpg

๋ถˆ์ˆœํ•˜๊ธฐ ์œ„ํ•œ ํ•‘๊ณ„๋“ค

 

์œ ์ง€์›

 

1. ์ •์ˆ˜์ •์€ ๋ณด์Šค์— ์‘๋‹ตํ•œ๋‹ค(<Giving answers to Bosch>). ํ•˜์ง€๋งŒ ๋ณด์Šค๊ฐ€ ์งˆ๋ฌธ์„ ํ•œ ์ ์ด ์žˆ์—ˆ๋˜๊ฐ€?

 

15-16์„ธ๊ธฐ ๋„ค๋œ๋ž€๋“œ์— ์‚ด์•˜๋˜ ํ™”๊ฐ€ ํžˆ์—๋กœ๋‹ˆ๋ฌด์Šค ๋ณด์Šค(Hieronymus Bosch)๋Š” ์•„๋ฌด๋Ÿฐ ์ผ๊ธฐ๋‚˜ ํŽธ์ง€๋ฅผ ๋‚จ๊ธฐ์ง€ ์•Š์•˜๋‹ค. ์‹ฌ์ง€์–ด ์ƒ์ „์— ์ž์‹ ์˜ ๊ทธ๋ฆผ์— ์„œ๋ช…์กฐ์ฐจ ํ•˜์ง€ ์•Š๋Š” ์ผ์ด ๋นˆ๋ฒˆํ–ˆ๋‹ค. ์ด ๋•Œ๋ฌธ์— ์—ฐ๊ตฌ์ž๋“ค์€ ๋ณด์Šค๊ฐ€ ๊ทธ๋ฆฐ ๊ทธ๋ฆผ์ด ๋ฌด์—‡์ธ์ง€๋ฅผ ๊ณ ์ฆํ•˜๊ณ , ๊ฐ ์ž‘ํ’ˆ์˜ ๋งฅ๋ฝ๊ณผ ์˜๋„๋ฅผ ํŒŒ์•…ํ•˜๋Š” ๋ฐ์— ์ ์ž–์€ ์• ๋ฅผ ๋จน์—ˆ๋‹ค. ํŠนํžˆ ์‚ผ๋ฉด์ œ๋‹จํ™”์ธ <์ง€์ƒ์˜ ํ™˜๋ฝ์˜ ์ •์›>์„ ๋†“๊ณ ๋Š” ์˜๊ฒฌ์ด ๋ถ„๋ถ„ํ–ˆ๋‹ค. ๋‹น์‹œ ์ข…๊ตํ™”๊ฐ€ ๋งˆ๋•…ํžˆ ์ง€๋…€์•ผ ํ•  ๊ตํ›ˆ์ ์ธ ๋ฉ”์‹œ์ง€์™€ ์‚ฌ๋ญ‡ ๋Œ€์กฐ์ ์ธ ์‹œ๊ฐ์  ์พŒ๊ฐ์€ ๋งŽ์€ ์—ฐ๊ตฌ์ž๋“ค์„ ๊พ€๋Š” ๋งˆ์„ฑ์˜ ๋งค๋ ฅ์ด ์žˆ์—ˆ๋˜ ๋ชจ์–‘์ด๋‹ค. ๊ทธ๋ ‡์ง€ ์•Š์•˜๋‹ค๋ฉด (๋ณด์Šค๊ฐ€ ์ด๊ต๋„์— ๋ฌผ๋“ค์–ด ์žˆ์—ˆ๋‹ค๊ฑฐ๋‚˜ ๊ทธ๊ฐ€ ์—ฐ๊ธˆ์ˆ ์‚ฌ์˜€๋‹ค๊ฑฐ๋‚˜ ํ™˜๊ฐ์ œ๋ฅผ ์‚ฌ์šฉํ–ˆ๋‹ค๋Š”) ์˜จ๊ฐ– ์„ค์ด ๋‚˜๋„๋Š” ๋ฐ”๋žŒ์— ๋ฏธ์ˆ ์‚ฌ๊ฐ€๋“ค์ด ์•ž๋‹คํˆฌ์–ด ์ฃผ์ง€์˜ ์„ธํญํ™”์— ๋„์ž…๋œ ์ „ํ†ต์  ๋„์ƒ์„ ๋ถ„์„ํ•˜์—ฌ ์ค‘์„ธ ๋ฌธํ•™์—์„œ ์ฐพ์•„๋ณผ ์ˆ˜ ์žˆ๋Š” ๋ชจํ‹ฐํ”„์™€ ๋ฐ€์ ‘ํ•œ ์—ฐ๊ด€์ด ์žˆ๋‹ค๊ณ  ์ฆ๋ช…ํ•ด์•ผ ํ•  ๊ฐ•๋ฐ•์„ ์•“๋Š” ์ผ๋„ ์—†์—ˆ์„ ๊ฒƒ์ด๋‹ค.[1]

 

๋ณด์Šค์— ์‘๋‹ตํ•œ๋‹ค๋‹ˆ, ์ •์ˆ˜์ •๋„ ๋งˆ์ฐฌ๊ฐ€์ง€๋กœ ๋ณด์Šค์˜ ๋ฐ˜์ „ ๋งค๋ ฅ์— ๋งค๋ฃŒ๋˜๊ณ  ๋ง์•˜๋˜ ๊ฒƒ์ผ๊นŒ? <Giving answers to Bosch>๋ฅผ ๋“ค์—ฌ๋‹ค๋ณด์ž. ์šฐ์„  ์„œ์‚ฌ์˜ ์ „๊ฐœ๋ฅผ ์ „์ œํ•˜๋Š” ์‚ผ๋ฉด์ œ๋‹จํ™”(์—๋ด-์„ธ์ƒ-์ง€์˜ฅ)์™€ ๋‹ฌ๋ฆฌ ์ •์ˆ˜์ •์˜ ํ™”๋ฉด์€ ๋‹ค์„ฏ ํญ์œผ๋กœ ๋˜์–ด ์žˆ๊ณ , ์ขŒ์—์„œ ์šฐ๋กœ ์ „๊ฐœ๋˜๋Š” ๋ช…ํ™•ํ•œ ์„œ์‚ฌ๋ฅผ ์ฐพ์•„๋ณด๊ธฐ ์–ด๋ ต๋‹ค. ๋ณด์Šค๋Š” ๋‚จ๊ณผ ์—ฌ, ์ธ๊ฐ„๊ณผ ๋™๋ฌผ, ํ˜น์€ ๊ฐ์ข… ํ•˜์ด๋ธŒ๋ฆฌ๋“œ๋ฅผ ํฌํ•จํ•œ ๋‹ค์ฑ„๋กœ์šด ์กด์žฌ๋“ค์„ ๊ทธ๋ ค๋ƒˆ์ง€๋งŒ, ์ •์ˆ˜์ •์˜ ์‘๋‹ต์—์„œ๋Š” ํ–‰๋™์ด๋‚˜ ๋น„์œจ์—๋Š” ์ฐจ์ด๊ฐ€ ์žˆ์ง€๋งŒ ๋Œ€์ฒด๋กœ ๋™์งˆ์ ์ธ, ์•ณ๋œ ์–ผ๊ตด์— ํ”ผ๋ถ€๊ฐ€ ๋ณด๋ผ์ƒ‰์ธ ์กด์žฌ๋“ค์ด ์ž”๋œฉ ๊ทธ๋ ค์ ธ ์žˆ๋‹ค. ๋ณด์Šค๊ฐ€ ์„ธ ํญ์˜ ํ™”๋ฉด์„ ์กฐ๋ฐ€ํ•˜๊ฒŒ ์ฑ„์šฐ๋˜ ์ง€ํ˜•์ง€๋ฌผ์„ ์ค‘์‹ฌ์œผ๋กœ ๊ท ์ผํ•œ ๊ตฌ๋„๋ฅผ ์„ค์ •ํ•œ ๊ฒƒ์— ๋ฐ˜ํ•ด ์ •์ˆ˜์ •์˜ ํ™”๋ฉด์—๋Š” ํ˜•์ƒ๋“ค์ด ์„œ๋กœ๋ฅผ ๋ฌด์งˆ์„œํ•˜๊ฒŒ ๊ฒน์ณ์ ธ ๋ณ„๋‹ค๋ฅธ ์‹œ์„ ์˜ ์ธ๋ ฅ์ด๋‚˜ ์ฒ™๋ ฅ์„ ๋А๋‚„ ์ˆ˜ ์—†๋‹ค. ๋ฌผ๋ก  ์ œ๋ชฉ์ด ์—†๋”๋ผ๋„ ๋ณด์Šค์˜ ๊ทธ๋ฆผ์„ ์ฐธ์กฐํ–ˆ๋‹ค๋Š” ์ ์„ ์•Œ๊ธฐ๋Š” ์–ด๋ ต์ง€ ์•Š์€๋ฐ, ๊ทธ๊ฒƒ์€ ๋‹จ์ง€ ์ „๊ฒฝ๊ณผ ๋ฐฐ๊ฒฝ์˜ ๊ตฌ๋ถ„์ด ์—„๊ฒฉํ•˜์ง€ ์•Š์€ ๊ตฌ์„ฑ๊ณผ ์ธ๊ฐ„(์„ ๋‹ฎ์€) ํ˜•์ƒ๋“ค์ด ์บ”๋ฒ„์Šค๋ฅผ ๊ฐ€๋“ ์ฑ„์šฐ๊ณ  ์žˆ๊ธฐ ๋•Œ๋ฌธ์ผ ๊ฒƒ์ด๋‹ค.

 

๋ณด์Šค๊ฐ€ ์ •์ˆ˜์ •์—๊ฒŒ ์–ด๋–ค ์งˆ๋ฌธ์ด ๋˜์–ด ๋‹ค๊ฐ€์™”๋˜ ๊ฑธ๊นŒ? ์• ์ดˆ์— ๋ณด์Šค๋ฅผ ํ–ฅํ•ด ๋Œ€๋‹ตํ•˜๊ณ  ์žˆ๊ธฐ๋Š” ํ•œ ๊ฑธ๊นŒ? ๊ตณ์ด 500๋…„์ฏค ์ „์— ํƒ„์ƒํ•œ ๊ทธ๋ฆผ์„ ์†Œํ™˜ํ•˜๋Š” ๊ฒƒ์€ ์–ด์ฉŒ๋ฉด ๊ทธ๊ฒƒ์ด ์—ฐ์ƒ์‹œํ‚ค๋Š” ๋ถ„์œ„๊ธฐ๋‚˜ ์˜จ๋„์— ํŽธ์Šนํ•˜์—ฌ ๋ฌด์–ธ๊ฐ€๋ฅผ ๊ทธ๋ฆฌ๊ณ  ์‹ถ์€ ์‚ฌ๋žŒ์œผ๋กœ์„œ ์ž์œ ๋ฅผ ์ตœ๋Œ€ํ•œ์œผ๋กœ ๋ˆ„๋ฆด ์ˆ˜ ์žˆ๋Š” ์ „๋žต์ด์—ˆ์„์ง€๋„ ๋ชจ๋ฅด๊ฒ ๋‹ค. ์ œ๋ฉ‹๋Œ€๋กœ ๊ตฌ๋Š” ๋ฐ˜์ธ๊ฐ„๋“ค์„ ์ž”๋œฉ ๊ทธ๋ ค ๋„ฃ์„ ํ•‘๊ณ„, ์„ฑ๋ณ„์ด๋‚˜ ํ–‰๋™์˜ ๋ชฉ์ ์„ ํŒŒ์•…ํ•˜๊ธฐ ์–ด๋ ค์šด, ๋ฐ”๋กœ ๊ทธ ์ˆœ๊ฐ„์—๋งŒ ์ง‘์ค‘ํ•˜๋Š” ์ด ์กด์žฌ๋“ค๋กœ ํ™”๋ฉด์„ ๊ฐ€๋“ ์ฑ„์šธ ๋ช…๋ถ„. ๋ฌด๊ฑฐ์šด ํ•จ์˜๊ฐ€ ๋‹ฌ๋ผ๋ถ™๋Š” ์ฝ”๋“œ๋ฅผ ์‚ฌ์ „์— ์ฐจ๋‹จํ•œ ์ฑ„ ์ Š๊ณ  ๋งค๋ˆํ•˜๊ณ  ํ–‰๋™ํ•˜๋Š” ๋ชธ์„ ๊ทธ๋ฆด ์ˆ˜ ์žˆ๋Š” ๊ตฌ์‹ค. 

 

 

2. ๋‹˜ํ”„๊ฐ€ ์›๋ž˜ ์ด๋ ‡๊ฒŒ ์ƒ๊ฒผ์—ˆ๋˜๊ฐ€?

 

์ ๋‹นํ•œ ๋ช…๋ถ„ ์œ„์— ๋“ฑ์žฅํ•œ ์ธ๋ฌผ๋“ค์„ ์‚ดํŽด๋ณด์ž. <Giving answers to Bosch> ์† ๋ณด๋ž๋น› ์กด์žฌ๋“ค์˜ ์–ผ๊ตด์€ ๊ตณ์ด ๋”ฐ์ ธ๋ณด๋ฉด ์†Œ๋…€ ์ชฝ์— ๊ฐ€๊น์ง€๋งŒ ๋ชธ์€ ์ข€ ์• ๋งคํ•˜๋‹ค. ๋‚จ์ž๋„ ์—ฌ์ž๋„, ์†Œ๋…€๋„ ์†Œ๋…„๋„ ์•„๋‹Œ ๋ฏธ๋ˆํ•œ ๋ชธํ†ต๊ณผ ํŒ”๋‹ค๋ฆฌ. ์ด๋“ค์€ ๋ถˆ์— ํƒ€๊ณ  ์žˆ๋Š” ์ฑ…์„ ๊ณ์— ๋‘๊ณ  ๋‚˜ ๋ชฐ๋ผ๋ผ ์ž ๋“ค๊ณ , ๋‚˜๋ฌด๋ฅผ ํƒ€๊ณ , ์„œ๋กœ ๋ชฉ์„ ์กฐ๋ฅด๊ณ , ์Šค๋งˆํŠธํฐ์„ ๊บผ๋‚ด ์‚ฌ์ง„์„ ์ฐ๊ณ , ๊ธฐํƒ€๋ฅผ ์น˜๊ฑฐ๋‚˜ ๋…ธ๋ž˜๋ฅผ ๋ถ€๋ฅธ๋‹ค. ์ด์„ ๊ฒจ๋ˆ„๋Š” ์ผ๋„ ์žˆ์ง€๋งŒ, ๋”ฑํžˆ ์ค‘๋ฒ”์ฃ„๋ฅผ ์ €์ง€๋ฅด๊ฑฐ๋‚˜ ํŒŒ๊ฒฉ์ ์ธ ์ผํƒˆ์„ ์ผ์‚ผ์„ ๊ฒƒ ๊ฐ™์ง€๋Š” ์•Š๋‹ค. ์ด ์กด์žฌ๋“ค์˜ ๋™๋ ฅ์€ ๋ถˆํƒ€์˜ค๋ฅด๋Š” ์›์ดˆ์  ์š•๋ง๋ณด๋‹ค ๊ฒฝ์†”ํ•œ ์ถฉ๋™์— ๋” ๊ฐ€๊น๋‹ค. ์ž‘๊ฐ€๋Š” ์น˜๋ช…์ ์ด๊ธฐ๋ณด๋‹ค ์„ฑ๊ฐ€์‹œ๊ณ , ๋„‹์„ ๋นผ๋†“์„ ๋งŒํ•œ ๋งค๋ ฅ์„ ํ’๊ธฐ๊ธฐ๋ณด๋‹ค ๋Œ€์ฒด๋กœ ๋ฌด์‹ฌํ•œ ์ด ์กด์žฌ๋“ค์„ ๊ทธ๋ฆด ๋•Œ ๊ทธ๋ฆฌ์Šค ๋กœ๋งˆ ์‹ ํ™” ์† ๋‹˜ํ”„ ํ˜น์€ ์ •๋ น์„ ๋– ์˜ฌ๋ ธ๋‹ค๊ณ  ํ–ˆ๋‹ค.  

 

๋‹˜ํ”„๋Š” ๋ฏธ์ˆ ์‚ฌ์—์„œ ๋Œ€์ฒด๋กœ ๋งคํ˜น์ ์ธ ์—ฌ์ฒด๋กœ ํ‘œ์ƒ๋˜๋Š”๋ฐ, ๋Œ€ํ‘œ์ ์œผ๋กœ ๊ฑฐ๋ก ๋˜๋Š” ์œŒ๋ฆฌ์—„ ๋ถ€๊ฒŒ๋กœ๋‚˜ ์กด ์œŒ๋ฆฌ์—„ ์›Œํ„ฐํ•˜์šฐ์Šค์˜ ์ž‘ํ’ˆ์—์„œ ๊ทธ ์ „ํ˜•์„ ๋ฐœ๊ฒฌํ•  ์ˆ˜ ์žˆ๋‹ค. ๋ถ€๊ฒŒ๋กœ์˜ <๋‹˜ํ”„์™€ ์‚ฌํ‹ฐ๋กœ์Šค>(1873)์—์„œ ๋‹˜ํ”„๋“ค์˜ ๋ชธ์€ ๋ฐ˜์ธ๋ฐ˜์ˆ˜์ธ ์‚ฌํ‹ฐ๋กœ์Šค๋ฅผ ์ œ์••ํ•  ๋•Œ์กฐ์ฐจ ๋ง๋ž‘ํ•˜๊ณ  ๋ณด๋“œ๋ž๋‹ค. ์›Œํ„ฐํ•˜์šฐ์Šค๊ฐ€ <ํž๋ผ์Šค์™€ ๋‹˜ํ”„๋“ค>(1896)์—์„œ ๊ตฌํ˜„ํ•œ ์ •๋ น๋“ค์€ ํˆฌ๋ช…ํ•œ ํ”ผ๋ถ€์— ์—ฐ์•ฝํ•œ ๊ด€์ ˆ์„ ์ง€๋‹Œ ํ•œํŽธ ๋ชธ์— ์žˆ๋Š” ๋ชจ๋“  ์—๋„ˆ์ง€๊ฐ€ ๋ชฝํ™˜์ ์ธ ํ‘œ์ •์„ ์ง“๋Š” ๋ฐ์— ์ง‘์ค‘๋œ ๊ฒƒ์ฒ˜๋Ÿผ ๋ณด์ธ๋‹ค. ๋งˆ์น˜ ์ง€๋‚œ ์ˆ˜ ์„ธ๊ธฐ ๋™์•ˆ ๋‹˜ํ”„๊ฐ€ ๋‚จ์„ฑ ํ™”๊ฐ€๋“ค์—๊ฒŒ ์ Š์€ ์—ฌ์ž๋ฅผ ๊ทธ๋ฆด ์ˆ˜ ์žˆ๋Š” ๊ตฌ์‹ค์ด์—ˆ๋‹ค๋Š” ๋“ฏ์ด. ๋ฌผ๋ก  ๋ถ€๊ฒŒ๋กœ์™€ ์›Œํ„ฐํ•˜์šฐ์Šค๊ฐ€ ๊ฐ์ž ์›ํ•˜๋Š” ๋Œ€๋กœ ์—ฌ์ฒด๋ฅผ ๊ทธ๋ฆฌ๋Š” ๋ฐ์— ๋ˆˆ์น˜ ๋ณผ ์ผ์€ ์—†์—ˆ์„ ํ…Œ์ง€๋งŒ.

 

๊ทธ๋ ‡๋‹ค๋ฉด ์ •์ˆ˜์ •์€ ์ด์ฒ˜๋Ÿผ ๋‹˜ํ”„๊ฐ€ ๋Œ€์ƒํ™”๋œ ์‹ ์ฒด๋กœ ์žฌํ˜„๋˜์–ด ์˜จ ๊ด€์Šต์— ๋„์ „ํ•˜๊ณ ์ž ํ•˜๋Š”๊ฐ€? ๋ฌผ๋ก  ํ•ด์„์˜ ์—ฌ์ง€๊ฐ€ ์žˆ๊ฒ ์œผ๋‚˜ ์ž‘๊ฐ€๊ฐ€ ๋ณด์Šค์˜ ์„ธํญํ™”๋ฅผ ๊ตฌ์‹ค ์‚ผ์•˜๋˜ ๊ฒƒ์„ ๊ฒฌ์ฃผ์–ด ๋ณด๊ฑด๋Œ€ ์ •๋ น์„ ์žฌํ•ด์„ํ•˜๋Š” ๊ฒƒ์ด ๋”ฑํžˆ ์ค‘์š”ํ•˜์ง€๋Š” ์•Š์•˜๋˜ ๊ฒƒ ๊ฐ™๋‹ค. ์˜คํžˆ๋ ค ๋‹˜ํ”„๋ฅผ ์ด์šฉํ•œ๋‹ค๋Š” ์ ์€ ์„ ๋Œ€์˜ ํ™”๊ฐ€๋“ค๊ณผ ๋‹ค๋ฅผ ๋ฐ” ์—†๋‹ค. ๋‹ค์‹œ ๋งํ•ด, ์ž‘๊ฐ€๋Š” ๋ถ€๊ฒŒ๋กœ๋‚˜ ์›Œํ„ฐํ•˜์šฐ์Šค์™€ ์–ด๋–ค ๋ฉด์—์„œ๋Š” ๋™์งˆ์ ์ธ ์š•๋ง์„ ์ˆจ๊ธฐ์ง€ ๋ชปํ•œ๋‹ค. ์ Š๊ณ  ๊ฑด๊ฐ•ํ•œ ๋ชธ, ๊ทธ์ค‘์—์„œ๋„ ์—ฌ์ฒด๋ฅผ ๊ทธ๋ฆฌ๊ณ  ์‹ถ์€ ์ถฉ๋™ ๊ฐ™์€ ๊ฒƒ. ๊ทธ๊ฒƒ์ด ๋ฏธ์ˆ ์‚ฌ์  ๋งฅ๋ฝ์—์„œ ํ•™์Šต๋œ ๊ฒƒ์ธ์ง€ ์—ฌ์„ฑ์„ ์ง‘์š”ํ•˜๊ฒŒ ๋Œ€์ƒํ™”ํ•˜๋Š” ์‹œ๊ฐ ์ฒด๊ณ„๊ฐ€ ์ด๋ฏธ ์ฒดํ™”๋˜์–ด ๋ฒ„๋ฆฐ ๊ฒฐ๊ณผ์ธ์ง€๋Š” ์•Œ ์ˆ˜ ์—†์ง€๋งŒ. ์ •์ˆ˜์ •์˜ ๋‹˜ํ”„๋Š” ์ „ํ˜•์ ์ธ ๋ฐฉ์‹์œผ๋กœ ์„ฑ์• ํ™”๋˜์ง€ ์•Š์•˜์„ ๋ฟ ๊ตณ์ด ์˜ˆ์˜์žฅํ•˜๊ธฐ๋ฅผ ๊ทธ๋งŒ๋‘์ง€๋Š” ์•Š๋Š”๋‹ค. ์—ฌ์ „ํžˆ ๊ท€์—ฌ์šด ์—‰๋ฉ์ด๋ฅผ ๊ฐ–๊ณ  ์žˆ๊ณ , ๋ถ€๋“œ๋Ÿฌ์šด ์„ ์˜ ์ด๋ชฉ๊ตฌ๋น„์— ๋‹จ๋ฐœ๋จธ๋ฆฌ๊ฐ€ ์ž˜ ์–ด์šธ๋ฆฐ๋‹ค. ๋‹ค๋งŒ ์ด ๋‹˜ํ”„๋“ค์˜ ๋ชธ์€ ๋Œ€์ฒด๋กœ ๋ฐ‹๋ฐ‹ํ•˜๊ณ , ๊ทธ์ € ๊ฐ์ž์˜ ํฌ์ฆˆ์™€ ๋™์ž‘์„ ๋ช…ํ™•ํžˆ ๋“œ๋Ÿฌ๋‚ด๋Š” ๊ฒƒ์œผ๋กœ ์ œ ์—ญํ• ์„ ๋‹คํ•˜์—ฌ ๋˜ ๋‹ค๋ฅธ ์ถฉ๋™์„ ๋“œ๋Ÿฌ๋‚ด๊ธฐ์— ์ ํ•ฉํ•œ ๊ฒƒ์œผ๋กœ ๋ณด์ธ๋‹ค. ๊ฐ€์Šด์ด๋‚˜ ์„ฑ๊ธฐ์™€ ๊ฐ™์€ ๋ถˆํ•„์š”ํ•œ ํ‘œ์‹๋“ค์ด ์‚ฌ๋ผ์ง€๊ณ , ๊ฐ ์ธ๋ฌผ์€ ์ž์‹ ์˜ ์œ„๋Œ€ํ•  ๊ฒƒ ์—†๋Š” ์˜์ง€์— ๋”ฐ๋ผ ์ˆœ๊ฐ„์ ์œผ๋กœ ๋ฐ˜์‘ํ•˜์—ฌ ์›€์ง์ธ๋‹ค. ์ธ๊ฐ„๋„ ์‹ ๋„ ์•„๋‹ˆ๋ฏ€๋กœ ๋ฌด์ฑ…์ž„ํ•˜๊ฒŒ ํ–‰๋™ํ•ด๋„ ๋น„๋‚œ์„ ๋น„๊ปด๊ฐ€๋Š” ์ •๋ น์€ ‘๋™์‚ฐ์—์„œ’ ํ˜น์€ ‘๋ถ‰์€ ์„์–‘๊ณผ ํ•จ๊ป˜ ํƒ„์ƒ’ํ•˜์—ฌ ‘๋ฐค์˜ ์‚ฐ์„ ๊ฐ€๋ฅด’๊ณ , ‘๋™์ชฝ ์ˆฒ’์ด๋‚˜ ‘๊ฐ€์„ ์‚ฐ์„ ์ง€’ํ‚ฌ ์ •๋„์˜ ๋Šฅ๋ ฅ์„ ์ง€๋‹ˆ๊ณ  ์—๋„ˆ์ง€๋ฅผ ๋ถ„์ถœํ•ด๋‚ธ๋‹ค.

 

๊ฒฐ๊ตญ ์ •์ˆ˜์ •์€ ์กฐ์—ฐ์— ๋ถˆ๊ณผํ•œ ๋‹˜ํ”„๊ฐ€ ์‹ค์€ ์š•๋ง์„ ์ฃผ์ฒดํ•˜์ง€ ๋ชปํ•˜์—ฌ ๊ฐ„ํ˜น ๋ฏธ์†Œ๋…„์„ ๋‚ฉ์น˜ํ•œ๋‹ค๋“ ์ง€ ์‹ ๋“ค๊ณผ ๋†€์•„๋‚œ๋‹ค๋Š” ์‹ ํ™”์  ์„ค์ •์„ ๊ตณ์ด ๋– ๋‚˜์ง€ ์•Š๋Š”๋‹ค. ์˜คํžˆ๋ ค ์ˆ˜ ์„ธ๊ธฐ๋ฅผ ๊ฑฐ๋“ญํ•˜์—ฌ ๋งค๋ ฅ์ ์ธ ์†Œ์žฌ๊ฐ€ ๋  ์ˆ˜๋ฐ–์— ์—†์—ˆ๋˜ ์ด๋Ÿฌํ•œ ์„ค์ •์— ๊ฐ€๋ณ๊ฒŒ ํŽธ์Šนํ•˜์—ฌ ๋ป”๋ป”ํ•˜๊ฒŒ ํ•˜๊ณ  ์‹ถ์€ ๊ฒƒ์„ ํ•˜๋Š” ์กด์žฌ๋ฅผ ๊ทธ๋ ค๋‚ธ๋‹ค. ์ด๋ ‡๊ฒŒ ์ž‘๊ฐ€๋Š” ๊ณต์œ ๋œ ๊ฑฐ๋Œ€ํ•œ ์œ ์‚ฐ ํ˜น์€ ๋ฐ์ดํ„ฐ๋ฒ ์ด์Šค์—์„œ ๊ฒฐ๊ตญ ์ž์‹ ์ด ๊ทธ๋ฆฌ๊ณ  ์‹ถ์€ ๊ฒƒ์„ ๊ทธ๋ฆฌ๊ธฐ ์œ„ํ•œ ์ ๋‹นํ•œ ์ „๊ฑฐ๋ฅผ ์ถ”์ถœํ•œ๋‹ค.  

 

 

3. ์‚ฌ์†Œํ•œ ์ถฉ๋™์— ์ž์‹ ์„ ๋‚ด๋งก๊ธฐ๋Š” ์ •๋ น์ด ํšŒํ™” ๋ชธ์ฒด๋ฅผ ์–ป๋Š”๋‹ค๋ฉด?

 

๋ณด์Šค์˜ ์„ธํญํ™”๋ฅผ ๋‹ด๋ณด ์žก๊ณ , ์ •๋ น์˜ ์‹ ํ™”๋ฅผ ์ž์› ์‚ผ์•„ ๊ทธ๋ ค๋‚ธ ์ œ๋ฉ‹๋Œ€๋กœ์ธ ๋‹˜ํ”„๋“ค. ๊ทธ๋Ÿฐ๋ฐ ์ด์ฒ˜๋Ÿผ ์ •์ˆ˜์ •์˜ ๋‹˜ํ”„๊ฐ€ ๊ฐ€๋Šฅํ–ˆ๋˜ ์กฐ๊ฑด์€ ๋ณด๋ž๋น› ๋ชธ์˜ ์œค๊ณฝ์„ ๋น ์ ธ๋‚˜์™€ ํšŒํ™”๋ฅผ ๊ตฌ์„ฑํ•˜๋Š” ์—ฌ๋Ÿฌ ์š”์†Œ์—์„œ๋„ ๋“œ๋Ÿฌ๋‚˜๊ธฐ ์‹œ์ž‘ํ•œ๋‹ค.

 

<๊ฐ€์„ ์‚ฐ์„ ์ง€ํ‚ค๋‹ค>, <๋„ˆ์—๊ฒŒ ์„์–‘์„ ๋ณด๋‚ด๋‹ค>, <Heaven’s Door>, <์‹ ์„ ํ•œ ์—ด๋งค์˜ ๊ฒฐ์‹ค์— ๋Œ€ํ•œ ๋‹ดํ™”>. ์ด ์ž‘ํ’ˆ๋“ค์€ ์ขŒ์šฐ ๋Œ€์นญ์„ ์ด๋ฃจ๊ณ  ์žˆ๋‹ค. ํ‰๋ฉด ์† ๋Œ€์นญ์„ฑ์€ ์ˆœ์‹๊ฐ„์— ์•ˆ์ •๊ฐ์„ ์„ ์‚ฌํ•œ๋‹ค. ์ด๋ฅผ ๋ฐ”ํƒ•์œผ๋กœ ์ด์งˆ์ ์ธ ๋ฉด๊ณผ ์ƒ‰๊ณผ ๋‘๊ป˜์™€ ์งˆ๊ฐ์ด ๋’ค์„ž์ธ๋‹ค. ์ขŒ์šฐ ํ˜น์€ ์ƒํ•˜๋กœ ์ ‘ํžˆ๋Š” ์œค๊ณฝ ์œ„์—์„œ๋Š” ๋ฐฐ๊ฒฝ์ด ํ”ผ์‚ฌ์ฒด๋ฅผ ๋šซ๊ณ  ๋“œ๋Ÿฌ๋‚  ์ˆ˜๋„ ์žˆ๊ณ , ์บ”๋ฒ„์Šค์— ๊ณง๋ฐ”๋กœ ๊ทธ๋ ค์ง„ ์—ฐํ•„ ์Šค์ผ€์น˜๊ฐ€ ์„œ๋กœ ๋‹ค๋ฅธ ๋‘๊ป˜๋กœ ์–นํžŒ ๋ฌผ๊ฐ๊ณผ ๋‚˜๋ž€ํžˆ ๋†“์ผ ์ˆ˜๋„ ์žˆ๋‹ค. ๋Œ€์นญ์„ ์ด๋ฃจ์ง€ ์•Š๋Š” ๊ฒฝ์šฐ๋ผ๋„ <๋ถ‰์€ ์„์–‘๊ณผ ํ•จ๊ป˜ ํƒ„์ƒํ•œ ์ž>๋‚˜ <๋™์‚ฐ์—์„œ ํƒœ์–ด๋‚œ ์ž>์˜ ๊ฒฝ์šฐ ์บ”๋ฒ„์Šค ์ค‘์•™์— ์‹ ์ ์ธ ์กด์žฌ๊ฐ€ ์ „๊ฒฝ์— ๋ฐฐ์น˜๋˜์–ด ๋Œ€์ฒด๋กœ ๊ท ํ˜•๊ฐ์„ ํ™•๋ณดํ•œ๋‹ค. ํšŒํ™” ํ‘œ๋ฉด์— ๋ฌผ๊ฐ์„ ๋‘๊ป๊ฒŒ ์˜ฌ๋ ค ๋งˆ๋ ์—๋ฅด๋กœ ๋ณด์ด๊ธฐ๋ณด๋‹ค ์–‘๊ฐ์œผ๋กœ ๋ฌด๋Šฌ๋ฅผ ๋”ํ•œ ๊ฒƒ ๊ฐ™์ด ๋ณด์ด๋Š” ํ‘œํ˜„์ด๋‚˜ ํ•˜๋‚˜์˜ ๊ทธ๋ฆผ์œผ๋กœ ๋…น์•„๋“ค๊ธฐ๋ณด๋‹ค ์ธ์œ„์ ์ธ ์žฅ์‹์ฒ˜๋Ÿผ ๋ถ€์ฐฉ๋œ ํ…Œ๋‘๋ฆฌ. ์ „ํ˜•์ ์ธ ๊ตฌ๋„๋‚˜ ๋Œ€์นญ์„ฑ์€ ๋ชจ์ข…์˜ ๋ ˆ๋ฒ„๋ฆฌ์ง€๋กœ ์ž‘๋™ํ•˜์—ฌ์„œ ํ•œ ์บ”๋ฒ„์Šค ์•ˆ์— ๋’ค์—‰ํ‚จ ์—ฌ๋Ÿฌ ์งˆ๊ฐ๊ณผ ๋ถ€ํ”ผ๊ฐ์˜ ์ถฉ๋Œ์„ ์™„๊ฒฐ๋œ ์ž‘์—…์œผ๋กœ ํŒฝํŒฝํ•˜๊ฒŒ ๋ถ™์žก๋Š”๋‹ค. ์‹œ์‹œ๊ฐ๊ฐ ๋ณ€ํ•˜๋Š” ์ถฉ๋™์„ ๋”ฐ๋ผ ๊ทธ์ € ์ œ๋ฉ‹๋Œ€๋กœ ํ–‰๋™ํ•  ๋ฟ์ธ ์ธ๋ฌผ๋“ค์ด ๋‹˜ํ”„๋ผ๋Š” ์„ค์ •์„ ๊ทผ๊ฑฐ๋กœ ๊ทธ ์–ด๋–ค ํ•ด๋ช…๋„ ํ•  ํ•„์š”๊ฐ€ ์—†์—ˆ๋˜ ๊ฒƒ์ฒ˜๋Ÿผ. ๊ทธ๋ ‡๊ฒŒ ์ •์ˆ˜์ •์˜ ํšŒํ™”๋Š” ๊ฐˆ์ˆ˜๋ก ์ตœ์†Œํ•œ์˜ ํ˜•์‹์  ์•ˆ์ „์žฅ์น˜๋ฅผ ๋งˆ๋ จํ•ด๋‘๊ณ  ์–ด๋””๊นŒ์ง€ ์ง“๊ถ‚์„ ์ˆ˜ ์žˆ๋Š”์ง€๋ฅผ ์‹œํ—˜ํ•˜๊ณ  ์žˆ๋Š” ๋“ฏํ•˜๋‹ค. ๊ฐˆ์ˆ˜๋ก ์ •๋ น์€ ์ดˆ์ƒ์œผ๋กœ ๋‚จ๊ฑฐ๋‚˜ ์•„์˜ˆ ์›๋ž˜ ๊ฐ–๊ณ  ์žˆ๋˜ ๋ชธ์„ ์•„์˜ˆ ํฌ๊ธฐํ•œ๋‹ค. ์ด์ œ ํšŒํ™” ์ž์ฒด๊ฐ€ ์ •๋ น๊ณผ ๊ฐ™์€ ๊ฒƒ์ด ๋˜๋ ค๋Š” ๊ฒƒ์ผ์ง€๋„ ๋ชจ๋ฅด๊ฒ ๋‹ค.   

 

[1] ์ฐธ๊ณ : ์›”ํ„ฐ S. ๊ธฐ๋ธŒ์Šจ, ๊น€์ˆ™ ์—ญ, ใ€Žํžˆ์—๋กœ๋‹ˆ๋ฌด์Šค ๋ณด์Šค: ์ค‘์„ธ๋ง์˜ ํ™˜์ƒ๊ณผ ์—ฝ๊ธฐใ€, ์„œ์šธ: ์‹œ๊ณต์‚ฌ, 2001.

Justifying Mischief

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Jiwon Yu

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1. If Soojung Jung is Giving Answers to Bosch, Then What Were His Questions?

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Dutch painter, Hieronymus Bosch (c.1450-1516), didn’t leave a diary—or any letters. It was rare for him to sign his paintings. In light of this, researchers have had great difficulty even confidently attributing Bosch’s paintings, let alone deciphering each painting’s context and meaning. Notably, there has been a great divergence of opinion about his triptych, The Garden of Earthly Delights. The palpable visual pleasure which Bosch took in the painting sits in stark contrast to the didactic messages which were considered essential to religious painting at the time; this has proved a quandary to researchers who to try and find a close connection between the motifs and icons Bosch used and those found in wider medieval culture and literature. Such enquiries stand in opposition to more idiosyncratic notions of Bosch as a pagan, an alchemist, or as an imbiber of hallucinogenic drugs[1].

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In answering Bosch, was Soojung Jung fascinated by this same twisted attraction? Let’s look at her painting, Giving Answers to Bosch. The picture consists of five panels while Bosch’s work is made up of three. In Bosch’s garden, a clear narrative reads from left to right. This is not the case in Jung’s. Bosch painted men, women, humans, animals, and various other creatures—including all sorts of hybrid creatures. Jung’s response is populated by creatures with youthful faces and violet colored bodies, they share a general homogeneity even if there are certain differences in their actions or scale. While Bosch fills his three panels densely, letting a uniformed composition pivot on geographic features, Jung’s picture doesn’t create such a specific gravitation or repulsion because she overlaps her figures in a chaotic way. Jung’s reference to Bosch’s painting is clear, if only because the composition is not strictly divided into foreground and background—and human-like figures fill the canvas.

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But what questions did Bosch provoke in Jung? Is she giving answers to Bosch? In fact, summoning a 500-year-old painting might reveal a more conscious strategy, allowing the painter freedom to paint whatever s/he wants while riding on the mood or the temperature that the older painting suggests. It may be an excuse to paint half-humans behaving as they please; a justification for making a picture full of these creatures, focusing on our own moment with a fluidity of gender and behavior. It might also be a pretext for painting young, smooth bodies, perhaps disabling a weighty historical subtext.

 

2. Did Nymphs Always Look Like This?

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Let’s look at the figures in more detail. The violet figures’ faces in Giving Answers to Bosch lean towards the feminine, but their bodies are more androgynous: well-toned torsos and limbs which cannot certainly be assigned as those of men, women, girls, or boys. They fall asleep, unconcerned by burning books next to them; they climb trees; throttle each other; or take photos on their smart phones; they play guitars and sing songs. One figure takes aim with a gun, but even this doesn’t seem a serious offence—or a preposterous deviation. The figures’ motivation seems closer to rash impulse than deep instinct. Jung says she was thinking of nymphs or spirits from Greek and Roman mythology when she painted these mischievous rather than sinister. They have an air of casual disregard, they are cute rather than drop-dead gorgeous.  

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Historically, nymphs have been represented as alluringly feminine—as embodied by the paintings of William-Adolphe Bouguereau and John William Waterhouse. In Bouguereau’s Nymphs and Satyr (1873), the bodies of the nymphs remain soft and smooth even as they suppress the powerful Satyr, half-man and half-beast. The spirits represented by Waterhouse in his Hylas and the Nymphs (1896), have transparent skin and delicate joints, it appears all their energy is concentrated into assuming ethereal, dream-like expressions. In truth, for several centuries, nymphs have been an excuse for lascivious male painters to depict dangerously young women. Of course, Bouguereau and Waterhouse didn’t need to worry about any kind of judgement, they were free to paint young female bodies in precisely the way they wanted to.

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So, did Jung consciously try to resist this custom of presenting nymphs as feminine objects? Of course, there is room for interpretation here. It doesn’t seem like the reinterpretation of nymphs was a priority for Jung, judging by her relationship with Bosch’s triptych. She does not use nymphs so differently from her predecessors. In other words, Jung can’t really separate her homogeneous desire from Bouguereau’s or Waterhouse’s—being as it is a desire to paint young, healthy bodies. Whether this has been learned in an art-historical context, or is the result of an inherent visual system which continues to stubbornly objectify the female body is a moot point. Jung’s nymphs don’t stop being lovely just because they are sexualized in an ‘atypical’ way. They still have cute butts and soft lined features; they still look good—complete with neat bobbed hairstyles. They merely look suitable for satisfying another urge, with their flat bodies and the ritualized ways in which they complete their duties. They display their postures and actions all too clearly. After unnecessary signs like breasts and genitals are gone, each figure moves in a flash, and according to its will. We cannot really call them noble. But neither can these spirits be castigated for their irresponsible behavior, because they are not humans—and neither are they gods. Their energy erupts ‘on the hill’ and in a ‘birth with red sunset’. They have the ability to walk ‘across the mountain of nights.’ They protect the ‘east forest’ and ‘autumn mountain’.

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Jung didn’t need to abandon the mythical milieu in which nymphs succumb to desire, where they kidnap Adonis, or frolic with a god. Instead, she happily hitches a ride on this set-up, which has been an irresistible subject across several centuries, and paints figures who do whatever they want to do in an utterly shameless way. In this sense, Jung extracts an appropriate reference point from an enormous legacy or database and, in parallel with it, paints whatever she wants.

 

3. What If Spirits Were Reborn as Paintings?

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So, arbitrary nymphs are painted on the canvas, they hold Bosch’s triptych as security and take the long mythology of nymphs as their sources. But the same conditions which make Jung’s nymphs possible are also revealed in several formal elements of her paintings.

Look After Autumn Mountains, Send you Sunset, Heaven’s Door, and Talk about Fruition of Fresh Fruit all contain a bilateral symmetry. Symmetry on a flat surface presents us with stability in an instant. On the basis of this, disparate surfaces, colours, thicknesses, and textures meet. Here, we might find a pencil sketch drawn directly onto canvas; next to it, heavier paint; next to this, the background becomes foreground by obscuring figures horizontally or perpendicularly. Jung’s pieces without symmetry, like Person Born with Red Sunset, or Person Born on the Hill, usually retain perspective by placing a god-like figure in the central foreground. Other elements in the paintings, such as thicker, more expressive paint, look more like embossed patterns than natural Matière. Composition and symmetry function as an armature for tangled textures and create the paintings’ senses of mass. Like Jung’s figures, who behave as they please and follow temptation—Jung’s paintings seem to examine just how mischievous they can be. In formal terms, they operate without much of a safety net. As time goes by, spirits exist only as portraits, they give up their original bodies. Maybe Jung’s painting is attempting to move into the spaces they have left—and become something like a spirit itself.

 

[1] Gibson, Walter S. (trans. Kim Sook) Hieronymous Bosch: Fantasy and the Bizarre in the Late Medieval Age, Sigongsa, (Seoul), 2001

“๋ฏฟ๊ณ  ์‹ถ์€ ๊ฒƒ๊ณผ ๋ฏฟ์„ ์ˆ˜๋ฐ–์— ์—†๋Š” ๊ฒƒ ์‚ฌ์ด์˜ ์„ธ๊ณ„”

 

์ „์˜์ง„

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์ •์ˆ˜์ •์˜ ์ž‘ํ’ˆ๋“ค์€ ํ•˜๋‚˜ํ•˜๋‚˜ ๋…๋ฆฝ๋œ ์กด์žฌ๊ฐ€ ์•„๋‹ˆ๋ผ ์ž‘๊ฐ€๊ฐ€ ๋งŒ๋“ค์–ด ๋‚ธ ์„ธ์ƒ์˜ ํƒ„์ƒ์œผ๋กœ๋ถ€ํ„ฐ ์‹œ์ž‘๋˜๋Š” ๊ธด ์„œ์‚ฌ์˜ ๋‹จํŽธ๋“ค์„ ๋‹ด์€ ์ด๋ฏธ์ง€๋‹ค. ์ž‘๊ฐ€๋Š” ๊ธ€์ž ์—†๋Š” ๊ทธ๋ฆผ์ฑ…์˜ ๋ถ€๋ถ„๋“ค์„ ํ•œ ์žฅ๋ฉด์”ฉ ๊ทธ๋ฆฌ๊ณ  ๋˜ ๋ณด์ด๋ฉฐ ์ด๊ฒƒ์ด ์ด์•ผ๊ธฐ์˜ ์–ด๋””์ฏค ์œ„์น˜ํ•  ์žฅ๋ฉด์ธ์ง€, ์–ด๋–ค ๋ถ€๋ถ„์„ ์˜๋ฏธํ•  ๊ฒƒ์ธ์ง€์— ๋Œ€ํ•œ ์˜๋ฌธ์„ ์œ ๋„ํ•œ๋‹ค. ๊ด€๊ฐ์€ ๋ณธ๋Šฅ์ ์œผ๋กœ ์ด ๊ทธ๋ฆผ์ฑ…์˜ ์ค„๊ฑฐ๋ฆฌ๋ฅผ ์ฝ์œผ๋ ค ํผ์ฆ์„ ๋งž์ถ”๋“ฏ ์ž‘ํ’ˆ์˜ ์ˆœ์„œ๋ฅผ ๊ณ ๋ฏผํ•  ๊ฒƒ์ด๋‹ค. ์ž‘๊ฐ€๋Š” ์–ธ๋œป ๋ณด๊ธฐ์— ๋ช…ํ™•ํ•˜์ง€ ์•Š์€ ์žฅ๋ฉด์— ์ˆœ์„œ๋ฅผ ์ถ”์ธกํ• ๋งŒํ•œ ํžŒํŠธ๋ฅผ ๋‚จ๊ฒจ ๋†“์•˜๋‹ค. ๊ด€๊ฐ์€ ๋ฐ˜๋ณต๋œ ๊ต์œก์œผ๋กœ ๋ชธ์— ์ต์€ ํ”ํ•œ ์„œ์ˆ ๊ตฌ์กฐ์— ๋”ฐ๋ผ ์„ธํฌ ํ˜น์€ ์šฐ์ฃผ๋กœ ๋ณด์ด๋Š” ์ด๋ฏธ์ง€์—์„œ ํƒ„์ƒ์ด๋ผ๋Š” ์‹œ์ž‘์„, ๊ฟˆํ‹€๊ฑฐ๋ฆฌ๋ฉฐ ์„ธ์ƒ ๋ฐ–์œผ๋กœ ๋‚˜์˜ค๋ ค๋Š” ์ถ”์ƒ์ ์ธ ์ด๋ฏธ์ง€์—์„œ ์œ ์˜๋ฏธํ•œ ์ƒ๋ช…์ฒด๋ฅผ, ๊ทธ๋ ‡๊ฒŒ ์ž๋ผ๋‚œ ์ธ๊ฐ„์˜ ํ˜•ํƒœ๋ฅผ ๋ค ์ƒ๋ช…์ฒด์˜ ์ผ๊ณผ๋ฅผ, ๊ทธ๋“ค์ด ๋ชจ์—ฌ ๋งŒ๋“ค์–ด ๋‚ธ ๋ฏธ์ง€์˜ ์„ธ๊ณ„๋ฅผ ์ฐจ๋ก€๋กœ ๋А๋ผ๊ฒŒ ๋œ๋‹ค.

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์ž‘ํ’ˆ์—์„œ ์ž์ฃผ ๋“ฑ์žฅํ•˜๋Š” ๋ชจํ‹ฐ๋ธŒ๋Š” ‘์‹ god’์ด๋‹ค. <Nymph, 2018>, <์—ด๋งค๋ฅผ ๊ธฐ๋ฆฌ๋Š” ํ—ฌํผ, 2018>, <๋™์‚ฐ์—์„œ ํƒœ์–ด๋‚œ ์ž, 2018> ๋“ฑ์˜ ์ž‘ํ’ˆ ์ œ๋ชฉ์—์„œ๋„ ์•Œ ์ˆ˜ ์žˆ์ง€๋งŒ, ์‹ ํ™”๋ฅผ ๋ฐ”ํƒ•์œผ๋กœ ํ•œ ๋ณดํ‹ฐ์ฒผ๋ฆฌSandro Botticelli์˜ ์ž‘ํ’ˆ์„ ์ฐจ์šฉํ•œ ์žฅ๋ฉด์˜ ๊ตฌ๋„๋ฅผ ํ†ตํ•ด์„œ๋„ ์•Œ ์ˆ˜ ์žˆ๋‹ค. ์ด ์‹ ๋“ค์€ ์ •๋ฉด์„ ์‘์‹œํ•จ์œผ๋กœ์จ ‘๊ฐ์‹œ์žbig brother[1]’๊ฐ€ ๋˜๊ธฐ๋„ ํ•˜๊ณ , ๋‘ ์†์„ ๊ณฑ๊ฒŒ ๋ชจ์•„ ๋งˆ๋ฆฌ์•„Maria๊ฐ€ ๋˜๊ธฐ๋„ ํ•˜๋ฉฐ, ๋™๋ฌผ์˜ ๋ชจ์Šต์„ ๋‹ฎ์€ ๋‹˜ํ”„Nymph๊ฐ€ ๋˜๊ธฐ๋„ ํ•œ๋‹ค. ํŽธํ•˜๊ณ  ์ต์ˆ™ํ•œ ์ธ๊ฐ„์˜ ๋ชจ์Šต์„ ํ•œ ํ”ผ์กฐ๋ฌผ์€ ์‹œ์ ์ด๋‚˜ ์ž์„ธ, ํ–‰๋™์— ๋”ฐ๋ผ ์—ฌ๋Ÿฌ ํ˜•ํƒœ์˜ ์‹ ์ด ๋œ๋‹ค. ๊ณง ์ž‘ํ’ˆ ๋Œ€๋ถ€๋ถ„์€ ์ด๋Ÿฌํ•œ ์‹ ๋“ค์˜ ํƒ„์ƒ๊ณผ ์ž๋žŒ, ์‘์‹œ, ํ™œ๋™์˜ ์žฅ๋ฉด์„ ๋‹ด์€ ๊ฒƒ์œผ๋กœ ๊ทธ ์ž์ฒด๊ฐ€ ์ž‘๊ฐ€๊ฐ€ ๋งŒ๋“  ์„ธ๊ณ„์— ๋Œ€ํ•œ ๋ฌ˜์‚ฌ๋“ค์ด๋‹ค.

๋ณด์‰ฌHieronymus Bosch์˜ <The Garden of Earthly Delight ์พŒ๋ฝ์˜ ์ •์›, 1504>์— ๋Œ€ํ•œ ๋‹ต์œผ๋กœ ๊ทธ๋ ธ๋‹ค๋Š” ์ž‘๊ฐ€์˜ ์ž‘ํ’ˆ < Giving Answer to Bosch ๋ณด์‰ฌ์— ๋‹ตํ•˜๋‹ค, 2018>์—์„œ ๊ทธ์˜ ์„ธ๊ณ„์™€ ์„ธ๊ณ„๊ด€์„ ์ด์ฒด์ ์œผ๋กœ ์•Œ ์ˆ˜ ์žˆ๋‹ค. ๋จผ์ € ๋ณด์‰ฌ์˜ <The Garden of Earthly Delight>์€ ๊ฐ€๋กœ ์•ฝ 4m์˜ ์—ฌ๋‹ซ์„ ์ˆ˜ ์žˆ๋Š” ์„ธ ํญ ์ œ๋‹จํ™”triptych๋กœ ์™ผ์ชฝ๋ถ€ํ„ฐ ‘์—๋ด๋™์‚ฐ-์—ฐ์˜ฅ(ํ˜น์€ ์œ ํ† ํ”ผ์•„utopia[2])-์ง€์˜ฅ’์ด ์—ฌ๋Ÿฌ ์ƒ์ง•์œผ๋กœ ํ‘œํ˜„๋œ ์ž‘ํ’ˆ์ด๋‹ค. ๋น„๊ต์  ๋ช…ํ™•ํ•˜๊ฒŒ ์—๋ด๋™์‚ฐ๊ณผ ์ง€์˜ฅ์œผ๋กœ ํ‘œํ˜„๋œ ์ขŒ์šฐ ๋‚ ๊ฐœWing ๋ถ€๋ถ„๊ณผ ๋‹ฌ๋ฆฌ ์ค‘์•™์˜ ํŒจ๋„์— ๋Œ€ํ•œ ํ•ด์„์€ ๋‹ค์–‘ํ•˜๊ฒŒ ๋‚˜๋‰˜๋Š”๋ฐ, ์ •์ˆ˜์ •์˜ <Giving Answer to Bosch>๋Š” ํŠนํžˆ ์ด ์ค‘์•™๋ถ€๋ถ„๊ณผ ๋‚ด์šฉ์œผ๋กœ ๊ถค๋ฅผ ๊ฐ™์ดํ•˜๋ฉฐ ํ˜•ํƒœ์  ์œ ์‚ฌ์„ฑ์„ ๋ค๋‹ค.

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์ •์ˆ˜์ •์˜ ์ž‘ํ’ˆ์€ ์—ฐ๊ฒฐ ๋˜๋Š” ๋ถ„๋ฆฌ๋˜๋Š” 5ํญ์˜ ๊ฐ€๋กœ๋กœ ๊ธด ๊ทธ๋ฆผ์œผ๋กœ ๋ณด์‰ฌ์˜ ๊ฒƒ๊ณผ ๋‹ฌ๋ฆฌ ๊ณต๊ฐ„์„ ๋‚˜๋ˆ„์ง€ ์•Š๊ณ  ์ „์ฒด๋ฅผ ํ•˜๋‚˜์˜ ์‹œ๊ณต๊ฐ„์œผ๋กœ ๊ท ๋“ฑํ•˜๊ฒŒ ํ‘œํ˜„๋˜์—ˆ๋Š”๋ฐ, ๋งˆ์ฐฌ๊ฐ€์ง€๋กœ ์œ ํ† ํ”ผ์•„, ํ˜น์€ ๋””์Šคํ† ํ”ผ์•„dystopia[3] ๋“ฑ ์—ฌ๋Ÿฌ ์˜๋ฏธ๋กœ ํ•ด์„์˜ ์—ฌ์ง€๋ฅผ ๋‚จ๊ธฐ๊ณ  ์žˆ๋‹ค. ์—ฌ๋Ÿฌ ๋ฏธ์ˆ ์‚ฌ๊ฐ€๊ฐ€ ๋ณด์‰ฌ์˜ ์ž‘ํ’ˆ์„ ํ•ด์„ํ•ด์˜จ ๊ฒƒ๊ณผ ๊ฐ™์ด ๊ด€๊ฐ ์—ญ์‹œ ์ •์ˆ˜์ •์˜ ์ž‘ํ’ˆ์— ์—ฌ๋Ÿฌ ํ•ด์„์„ ๋‚จ๊ธธ ๊ฒƒ์ด๋‹ค. ๊ทธ๋Ÿฌ๋‚˜ ์ˆ˜๋งŽ์€ ๊ฐ์ž์˜ ๋ชจ๋“  ํ•ด์„์˜ ์„ธ๊ณ„์—๋Š” ๊ณตํ†ต์œผ๋กœ ํ˜„์‹ค์— ์กด์žฌํ•˜๋Š” ์ˆ˜๋งŽ์€ ์ด๋ถ„๋ฒ•์ด ์—†๋‹ค. ์‹ค์ œ์™€ ํ™˜์ƒ, ์„ ๊ณผ ์•…, ๋‚จ๊ณผ ์—ฌ, ์ Š์Œ๊ณผ ๋Š™์Œ, ๊ธฐ์จ๊ณผ ์Šฌํ”” ๋“ฑ. ์‚ฌ์‹ค ์ž‘๊ฐ€๊ฐ€ ๊ด€๊ฐ์—๊ฒŒ ์˜๋„์ ์œผ๋กœ ์š”๊ตฌํ•˜๋Š” ์œ ์ผํ•œ ๋ฐ”๋Š” ๊ทธ ‘๊ตฌ๋ถ„๋˜์ง€ ์•Š์Œ’์— ์žˆ๋‹ค. ๊ทธ๋Ÿฌ๋‚˜ ์—ญ์„ค์ ์œผ๋กœ ์ด ๊ตฌ๋ถ„๋˜์ง€ ์•Š์Œ์€ ๊ฒฐ๊ตญ ๋ณด์‰ฌ์˜ ์ž‘ํ’ˆ ์ค‘ ์ขŒ์ธก ๋‚ ๊ฐœ์— ํ‘œํ˜„๋œ ์—๋ด๋™์‚ฐ๊ณผ ์—ฐ๊ฒฐ๋œ๋‹ค. ์—๋ด๋™์‚ฐ ์žฅ๋ฉด์€ ๋ชจ๋“  ์ž์—ฐ์˜ ํ”ผ์กฐ๋ฌผ๋“ค์ด ๊ณต์กดํ•˜๊ณ , ๊ตฌ๋ถ„๊ณผ ๊ฒฝ๊ณ„๊ฐ€ ๋ชจํ˜ธํ•˜๋ฉฐ ์™„๋ฒฝํ•œ ์„ธ์ƒ์„ ๊ทธ๋ฆฌ๊ณ  ์žˆ๋‹ค. ๋‚˜์•„๊ฐ€ ๋ณด์‰ฌ ์ž‘ํ’ˆ์˜ ์šฐ์ธก ๋‚ ๊ฐœ์— ํ‘œํ˜„๋œ ‘์ž์—ฐ’์ด ์™„์ „ํžˆ ๋ฐฐ์ œ๋œ ์ง€์˜ฅ์€ ์ •์ˆ˜์ •์˜ ์ž‘ํ’ˆ์—์„œ ๋ฌธ๋ช…์„ ๋Œ€๋ณ€ํ•˜๋Š” ์ด, ๊ธฐํƒ€, ๊ณต, ์ฑ…, ์•ผ๊ตฌ ๋ฐฐํŠธ ๋“ฑ์˜ ๊ณต์‚ฐํ’ˆ์œผ๋กœ ์ƒ์ง•ํ™”๋˜์–ด ์ž‘ํ’ˆ ์†์œผ๋กœ ์Šค๋ฉฐ๋“ค์—ˆ๋‹ค. ๊ทธ๋Ÿฌ๋‚˜ ์žฅ๋ฉด์„ ์˜ฎ๊ฒจ์˜ค๋ฉด์„œ ์ƒ์ง•์ด ๊ฐ€์ง„ ๋ถ€์ •์  ์ด๋ฏธ์ง€๋Š” ์‚ฌ๋ผ์ง€๊ณ , ์ž‘๊ฐ€์˜ ์˜๋„๋Œ€๋กœ ๊ฐ๊ด€์ ์ด๊ณ  ๋‹ด๋‹ดํ•˜๊ฒŒ ๋‹ด๊ฒผ๋‹ค. ๊ฒฐ๋ก ์ ์œผ๋กœ ์ •์ˆ˜์ •์˜ ์„ธ๊ณ„๋Š” <์พŒ๋ฝ์˜ ์ •์›>์˜ ์„ธ ํŒจ๋„์˜ ํ•ฉ์ณ์ง„ ๊ณต๊ฐ„, ์ฆ‰ ‘์ž์—ฐ-์ธ๊ฐ„-๋ฌธ๋ช…’์˜ ๊ฒฝ๊ณ„๊ฐ€ ๋ชจ๋‘ ๋ฌด๋„ˆ์ง„ ํ•œ ์ธต ๋” ํ˜„๋Œ€์ ์ธ ์—๋ด๋™์‚ฐ์„ ์˜๋ฏธํ•˜๋Š” ๊ฒƒ์œผ๋กœ ๋ณผ ์ˆ˜ ์žˆ๋‹ค. ์ด๋กœ์จ ์ž‘์€ ์žฅ๋ฉด๋“ค๋กœ ๋นฝ๋นฝํ•˜๊ฒŒ ์ฑ„์›Œ์ง„ ๊ธด ํ•˜๋‚˜์˜ ์žฅ๋ฉด์€ ๋ณด์‰ฌ๊ฐ€ ์ œ์‹œํ•œ ์„ธ๊ณ„์— ๋Œ€ํ•ด ํ˜„์‹œ์ ์œผ๋กœ ์‘๋‹ตํ•œ๋‹ค. ๊ทธ ์†์—์„œ ๊ด€๊ฐ์€ ๋งˆ์Œ์˜ ์œ„์•ˆ์„ ์ฐพ๊ธฐ ์œ„ํ•ด ๋…ผ๋ฆฌ์™€ ๊ณผํ•™์œผ๋กœ ์ง„์‹ค์„ ํƒ๊ตฌํ•˜๋Š” ์ธ๊ฐ„์˜ ๋ชจ์Šต๊ณผ ๊ทธ์™€๋Š” ์ •๋ฐ˜๋Œ€์—์„œ ๋ฌดํ˜•์˜ ์‹ ์„ ๋งŒ๋“ค์–ด ์ ˆ๋Œ€์ ์œผ๋กœ ์‹ ๋ขฐํ•˜๊ณ  ์˜คํžˆ๋ ค ์ง„์‹ค๊ณผ ๋ฉ€์–ด์ง€๋Š” ์ธ๊ฐ„์ด๋ผ๋Š” ์–‘๊ทน๋‹จ์˜ ๋ชจ์Šต. ์‹ ํ™”์™€ ์ข…๊ต(ํ˜น์€ ์ด๋‹จ)์  ์š”์†Œ๋ฅผ ์‹ฌ์–ด ๋Œ€๋‹จํ•œ ๊ณผํ•™์  ๋ฐœ์ „์—๋„ ์—ฌ์ „ํžˆ ํ—ˆ์ƒ์„ ์ข‡๋Š” ์šฐ๋ฆฌ๋ฅผ ์ฝ์–ด๋‚ผ ์ˆ˜ ์žˆ๋‹ค. ์กด์žฌํ•˜์ง€ ์•Š๋Š” ์ž‘๊ฐ€์˜ ์„ธ์ƒ ์—ญ์‹œ ๋ณด์‰ฌ์˜ ๊ทธ๋ฆผ์ด ๊ทธ๋Ÿฌํ•˜๋“ฏ ์šฐ๋ฆฌ์˜ ํ˜„์‹ค์„ ํ‰ํ‰ํ•˜๊ณ , ๋ฌด๋ค๋คํ•˜๊ฒŒ ๋‹ด๊ณ  ์žˆ๋‹ค. ์ด๋กœ์จ ์ž‘๊ฐ€๋Š” ์–ด๋А ์ชฝ์—๋„ ์น˜์šฐ์น˜์ง€ ๋ชปํ•˜๋Š” ์ธ๊ฐ„์˜ ์–‘๊ฐ€๊ฐ์ •๊ณผ ์ด์ค‘์„ฑ์ด๋ผ๋Š” ๋ฌดํ˜•์˜ ๊ฒƒ, ๋ณด์ด์ง€ ์•Š๋Š” ํž˜๊ณผ ์ด๋Œ๋ฆผ์„ ์œ ํ˜•์˜ ์ด๋ฏธ์ง€๋กœ ํ‘œํ˜„ํ–ˆ๋‹ค.

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์—†๋Š” ๊ฒƒ์„ ์กด์žฌํ•˜๊ฒŒ ๋งŒ๋“œ๋Š” ์˜ˆ์ˆ ๊ฐ€์˜ ์ง€์œ„๋Š” ์‚ฌ์‹ค ์„ธ์ƒ์˜ ๋ฌด์—‡๋„ ์ง€ํœ˜ํ•˜์ง€ ๋ชปํ•จ์—๋„ ์–ธ์–ด ๋„ˆ๋จธ์— ์กด์žฌํ•˜๋Š” ๊ฐ์ • ํ˜น์€ ์ƒ๊ฐ์„ ๋Œ์–ด๋‚ธ๋‹ค๋Š” ์ ์—์„œ ์–ด๋А ์ •๋„์˜ ํž˜์„ ๊ฐ€์ง„๋‹ค. ์ž‘๊ฐ€๋Š” ์ด๋Ÿฌํ•œ ์ •์ œ๋œ ํ†ต์ œ๋ ฅ์„ ๊ทธ์˜ ๊ทธ๋ฆผ ์†์— ์‹ค์ œ์ ์ด์ง€ ์•Š์€ ํ˜•ํƒœ์˜ ์ด๋ฏธ์ง€์™€ 2~3์ฐจ์›์„ ์ž์œ ๋กœ์ด ์šด์šฉํ•˜๋ฉฐ ๋‹ด์•„๋ƒˆ๋‹ค. ๊ทธ์˜ ์ƒ๋ช…์ฒด(๋“œ๋กœ์ž‰)๋Š” ๋ฌผ๊ฐ(์ƒ‰)์„ ๋จน๊ณ  ์ž๋ผ๋‚œ๋‹ค. ์ž‘๊ฐ€๋Š” ๋ฐ‘๊ทธ๋ฆผ์„ ๊ทธ๋ ค ์ฑ„์ƒ‰์„ ํ•ด ๊ทธ๋ฆผ์„ ์™„์„ฑํ•˜๋Š” ๊ธด ์‹œ๊ฐ„์„ ํƒ„์ƒ์œผ๋กœ๋ถ€ํ„ฐ ์„ฑ์žฅ์„ ํ†ตํ•ด ํ•˜๋‚˜์˜ ์ƒ๋ช…์ฒด๋กœ ์™„์„ฑ๋˜๋Š” ๊ณผ์ •์œผ๋กœ ๋น„์œ ํ•˜์˜€๋‹ค. ํ”ผ์กฐ๋ฌผ์ด ์Šค์Šค๋กœ ์™„์„ฑ๋˜๊ธฐ ์œ„ํ•œ ์—๋„ˆ์ง€ ํ˜น์€ ๊ณ์— ๋‘๊ณ  ํ•จ๊ป˜ ์ƒํ™œํ•˜๋Š” ๋ฐ˜๋ ค ์ฒด๋กœ ํ‘œํ˜„๋œ ๋ฏธ์ˆ  ์งˆ๋ฃŒmedium๋Š” ์บ”๋ฒ„์Šค ํ‘œ๋ฉด์— ๋ถ€ํ”ผ๊ฐ์„ ๋“œ๋Ÿฌ๋‚ด๋ฉฐ ์บ”๋ฒ„์Šค ๋ฐ– ๊ฐ์ƒ์ž๋ฅผ ๋Œ์–ด๋“ค์ธ๋‹ค. ํ”ผ์กฐ๋ฌผ์˜ ์šฐ์ƒํ™”๋ฅผ ์œ„ํ•œ ์žฅ์‹์œผ๋กœ๋„ ์ด์šฉ๋˜๋Š” ๊ทธ ์งˆ๊ฐ์€ ์ž‘ํ’ˆ์˜ ํ‘œ๋ฉด๊ณผ ์‹ค์ œ๋ฅผ ์—ฐ๊ฒฐํ•˜๋Š” ํ†ต๋กœ๋กœ ์ž‘์šฉํ•˜์—ฌ ๊ทธ๋ฆผ ์† ์‹ ๊ณผ ๊ทธ๋ฆผ ๋ฐ– ์ธ๊ฐ„์˜ ๊ฒฝ๊ณ„๋ฅผ ๋ฌด๋„ˆ๋œจ๋ฆฐ๋‹ค. ์„œ๋กœ๋ฅผ ์‘์‹œํ•˜๋ฉฐ ์ธ๊ฐ„์€ ์ž์‹ ์„ ์‹ ๊ฒฉํ™”ํ•˜๋ ค๋Š” ์š•๋ง์—์„œ ๋ฒ—์–ด๋‚˜๊ฒŒ ๋˜๊ณ , ์‹ ์€ ์ธ๊ฐ„์— ๋Œ€ํ•œ ๊ทธ์˜ ์—ญํ• ์—์„œ ๋ฒ—์–ด๋‚˜๋Š” ์ˆœ๊ฐ„์„ ๋งž์ดํ•œ๋‹ค. ๊ทธ ์ˆœ๊ฐ„์˜ ๊ฒฝํ—˜์ด ๊ณง ์ž‘๊ฐ€๊ฐ€ ๊ตฌ์ถ•ํ•œ ์„ธ์ƒ์— ๋Œ€ํ•œ ์ง์ ‘์ ์ธ ๊ฒฝํ—˜์ด๋‹ค. ์ž‘ํ’ˆ ์†์—์„œ ๋ฏธ์™„์„ฑ ํ˜น์€ ๋“œ๋กœ์ž‰์œผ๋กœ ๋‚จ๊ฒจ์ง„ ๋ถ€๋ถ„์€ ๊ด€๋žŒ์ž์—๊ฒŒ ๋ฐ”๋ผ๋ณด๋Š” ๊ฒƒ๋งŒ ๊ฐ€๋Šฅํ•œ ๊ทธ์˜ ์ง€์œ„์— ๋จธ๋ฌด๋ฅผ ๊ฒƒ์„ ๊ฐ•์š”ํ•˜๊ณ , ์˜ˆ์ˆ ์ด ๊ฐ€์ง„ ํ•œ๊ณ„๋ฅผ ์นœ์ ˆํ•˜๊ฒŒ ์„ค๋ช…ํ•˜๋ฉฐ, ์šฐ๋ฆฌ๊ฐ€ ๊ฟˆ๊พธ๋Š” ๋ชจ๋“  ๊ฒƒ๋“ค์€ ์‚ฌ์‹ค์€ ์˜ˆ์ˆ  ์•ˆ์—์„œ๋งŒ ๊ฐ€๋Šฅํ•˜๋‹ค๋Š” ์—ญ์„ค์„ ๋ณด์—ฌ์ค€๋‹ค. ๋ฏฟ๊ณ  ์‹ถ์€ ๊ฒƒ๊ณผ ๋ฏฟ์„ ์ˆ˜๋ฐ–์— ์—†๋Š” ๊ฒƒ ์‚ฌ์ด์—๋Š” ์•„๋ฌด๋Ÿฐ ๊ณต๊ฐ„๋„ ์กด์žฌํ•˜์ง€ ์•Š๋Š”๋‹ค๋Š” ์‚ฌ์‹ค์„ ์ผ๊นจ์šฐ๋“ฏ ๋ง์ด๋‹ค.

 

[1] ์‚ฌํšŒํ•™์  ํ†ต์ฐฐ๊ณผ ํ’์ž๋กœ ์œ ๋ช…ํ•œ ์˜๊ตญ์˜ ์†Œ์„ค๊ฐ€ ์กฐ์ง€ ์˜ค์›ฐ(George Orwell, 1903∼1950)์˜ ์†Œ์„ค ใ€Š1984๋…„ใ€‹์—์„œ ๋น„๋กฏ๋œ ์šฉ์–ด์ด๋‹ค. ๊ธ์ •์  ์˜๋ฏธ๋กœ๋Š” ์„ ์˜ ๋ชฉ์ ์œผ๋กœ ์‚ฌํšŒ๋ฅผ ๋Œ๋ณด๋Š” ๋ณดํ˜ธ์  ๊ฐ์‹œ, ๋ถ€์ •์  ์˜๋ฏธ๋กœ๋Š” ์Œ๋ชจ๋ก ์— ์ž…๊ฐํ•œ ๊ถŒ๋ ฅ์ž๋“ค์˜ ์‚ฌํšŒํ†ต์ œ์˜ ์ˆ˜๋‹จ์„ ๋งํ•œ๋‹ค. – ์ถœ์ฒ˜:doopedia.co.kr, (2018.9.23)

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[2] ํ˜„์‹ค์ ์œผ๋กœ๋Š” ์•„๋ฌด๋ฐ๋„ ์กด์žฌํ•˜์ง€ ์•Š๋Š” ์ด์ƒ์˜ ๋‚˜๋ผ, ๋˜๋Š” ์ด์ƒํ–ฅ(๏งคๆƒณ้„•)์„ ๊ฐ€๋ฆฌํ‚ค๋Š” ๋ง. ์›๋ž˜ ํ† ๋งˆ์Šค ๋ชจ์–ด๊ฐ€ ๊ทธ๋ฆฌ์Šค์–ด์˜ '์—†๋Š”(ou-)', '์žฅ์†Œ(toppos)'๋ผ๋Š” ๋‘ ๋ง์„ ๊ฒฐํ•ฉํ•˜์—ฌ ๋งŒ๋“  ์šฉ์–ด์ธ๋ฐ, ๋™์‹œ์— ์ด ๋ง์€ '์ข‹์€(eu-)', '์žฅ์†Œ'๋ผ๋Š” ๋œป์„ ์—ฐ์ƒํ•˜๊ฒŒ ํ•˜๋Š” ์ด์ค‘๊ธฐ๋Šฅ์„ ์ง€๋‹ˆ๊ณ  ์žˆ๋‹ค. – ์ถœ์ฒ˜:doopedia.co.kr, (2018.9.26)

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[3] ์—ญ(้€†)์œ ํ† ํ”ผ์•„๋ผ๊ณ ๋„ ํ•œ๋‹ค. ๊ฐ€๊ณต์˜ ์ด์ƒํ–ฅ, ์ฆ‰ ํ˜„์‹ค์—๋Š” ‘์–ด๋””์—๋„ ์กด์žฌํ•˜์ง€ ์•Š๋Š” ๋‚˜๋ผ’๋ฅผ ๋ฌ˜์‚ฌํ•˜๋Š” ์œ ํ† ํ”ผ์•„์™€๋Š” ๋ฐ˜๋Œ€๋กœ, ๊ฐ€์žฅ ๋ถ€์ •์ ์ธ ์•”ํ‘์„ธ๊ณ„์˜ ํ”ฝ์…˜์„ ๊ทธ๋ ค๋ƒ„์œผ๋กœ์จ ํ˜„์‹ค์„ ๋‚ ์นด๋กญ๊ฒŒ ๋น„ํŒํ•˜๋Š” ๋ฌธํ•™์ž‘ํ’ˆ ๋ฐ ์‚ฌ์ƒ์„ ๊ฐ€๋ฆฌํ‚จ๋‹ค. – ์ถœ์ฒ˜:doopedia.co.kr, (2018.9.26)

“The world between what we want to believe and what we have to believe”

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Youngjin Jun

 

The works of Soojung Jung are not separate entities. Instead, they are scraps of images taken from long narratives – beginning with the birth of the world – as created by the artist. Jung presents us with a part of a picture book minus text, which leads us to questions about where the story is set and what just one part of it might mean. Viewers instinctively think about the order of the works, puzzled by the plot of this ‘picture book’. The artist leaves a hint of ambiguity in the order of these ambiguous scenes, which at first glance, are hard to figure. Viewers can read her paintings as a sequence of images. In them, they recognize a traditional narrative which begins with universe and cell-like images, implying birth. From primordial, abstract fields, creatures wriggle forth, emerging and struggling to assume human form. We see them now in their everyday lives, living in an unknown world.

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One motif that appears often in the work is 'God'. We can see this through Jung’s composition – which borrows from Sandro Botticelli’s mythology – as well as in titles such as Nymph, Helper who Praises Fruit, and Person Born on the Hill (all 2018). These gods become a kind of 'big brother'[1], staring straight out at the viewer. They also refer to the Virgin Mary, with their hands together, surrounded by animalistic nymphs. A creature with a comfortable, familiar human form becomes a god through its viewpoint, attitude, and behavior. The works contain ideas of birth, growth, the gaze, and the activities of the gods. Together, these describe a complete world – as created by the artist.

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In Giving Answers to Bosch (2018), Jung’s response to The Garden of Earthly Delights (c.1504) by Hieronymus Bosch, we see this world – and world view – as a whole. Bosch's Garden is a folding triptych which can be opened to around 4m in width. From the left, the Garden of Eden, purgatory (or utopia[2]), and hell are depicted via the use of various symbols. Unlike the wing panels, which represent the Garden of Eden and Hell very clearly, the interpretation of the central panel is more ambiguous and is divided into various parts. Jung’s Giving Answers to Bosch shares a formal and narrative similarity with this center panel. Jung’s piece is a long, horizontal picture of five connected panels. Unlike Bosch's, these panels do not divide the painting, instead, the entire space is represented evenly; and we are presented with one specific time and space. This leaves room for greater interpretation. Is this place utopia or dystopia?[3] Just as various art historians have interpreted Bosch's work, so Jung’s work will also have several interpretations. However, there are not many dichotomies that exist in common with the world we know: rreality and fantasy, good and evil, men and women, youth and decline, joy and sorrow, etc. In fact, the only thing Jung intentionally demands from the viewer is recognition of the ambiguous or indivisible. Paradoxically, however, this distinction leads us back to the Garden of Eden, which is described in Bosch’s left-hand panel. The scenes of the Garden of Eden show the perfect world, where all creatures coexist happily and boundaries are indefinite; so, divides here are equally hard to identify. Furthermore, ‘hell’ completely excludes nature. This is echoed in Jung’s work by her focus on the products of civilizations: guns, guitars, balls, books, baseball bats, and so on. However, as the scene develops, the negative image of these symbols disappears, and becomes objectively and coolly described – intentionally so. In conclusion, it can be seen that Jung’s world describes a modern Garden of Eden, where the boundaries of the three panels of The Garden of Earthly Delight – the boundaries of nature/human/civilization have entirely collapsed. This one scene, tightly filled with smaller sub-scenes, responds to Bosch with a view of the current world. In this painting, viewers witness their own presence: pursuing delusion, relying on elements of myth and religion even in the face of great scientific development; seeking confirmation by looking for truth with logic and science. We also see ourselves having the opposite reaction, creating a formless ‘god’ and placing absolute trust in it, always moving further from the truth. Jung's non-existent world, much like Bosch's once did, reflects our own world in a flat, placid way. Using this language, Jung expresses the ordinarily intangible: human beings’ ambivalence and duplicity. In Jung’s world, attractive, tangible images give us an insight into something unsettling and invisible.

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In spite of not being able to change the world, artists maintain a certain power in that they can drag out feelings and thoughts which exist beyond language. Jung exercises this refined control in her paintings via unrealistic forms of image and an unconstrained merging of two or three dimensions. The life of Jung’s initial creatures (as initially drawn) is given to them by paint (colour). Jung compares her lengthy process, which involves long periods of drawing and, subsequently, painting, to the processes of birth, growth, and finally, the completion of one’s life. Materiality in Jung’s work is expressed as energy, or is a companion for her creature’s self-completion. It draws viewers outside of the canvas by exposing a sense of mass. Texture, which acts as a means of implying a creature’s idealized mythology, also acts as a channel which connects the illusory painted surface and the real world. As such, it breaks down the boundary between the intangible gods in the painting and the physical human being outside the painting. Staring at one another, humans escape from their desire to make themselves divine. Meanwhile, thanks to humans, Gods experience moments of departure from their own roles. The experience of that moment is the direct result of a world built by the artist. The unfinished or drawn elements in the work force the viewer to look longer and harder – to stay in a space between the painting and the world. This describes the limitations of art, and reveals the paradox that everything we dream is possible – but only in art. It reminds us of the fact that there is no space at all between what we want to believe and what we have to believe.

 

[1] A term derived from the novel "1984" by British novelist George Orwell (1903-1950), famous for his sociological insights and satires. In a positive sense, it connotes protective ifluence which cares for society for the purpose of good. In a negative sense, denotes an intrusive and oppressive way of controlling society.

 

[2] An idealized place or mental space that does not exist in reality. Originally coined by Thomas Mower, it is a combination of two Greek words: 'ou' (meaning ‘no’) and 'toppos' (meaning ‘place’). At the same time, it implies a very similar Greek word ‘eu’ (meaning ‘good’). As such, it is a pun which contains dual functions. - Source: doopedia.co.kr, (2018.9.26)

 

[3] Also called a reverse utopia. In contrast to utopia, which depicts ideal locations, it refers to literary works and ideas which sharply criticize reality by depicting dark worlds which exist - or may exist in future if things do not change. - Source: doopedia.co.kr, (2018.9.26)

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