14-15세기 라인란트의 예수 수난상 ; Sculptures of the Passion of Christ in Rhineland (1300-1400): Physical Suffering and Spirituality ; 육체적 고통과 영성

학위논문(석사) -- 서울대학교대학원 : 인문대학 고고미술사학과(미술사학전공), 2021.8. 신준형. ; The distinctive visual elements of fourteenth- and fifteenth- century religious art works in Rhineland were intended to induce a strong physical reaction in lay people and enabled a new interaction between beholders and the work. Images of the Passion, which depicted an exaggerated expression of suffering, became popular among believers after the emergence of eleventh- century theological discussions emphasizing the humanity of Christ. Sculptures that depict the Passion through three-dimensionality and physicality realized concrete devotional practices by adding color or tactile effects. Wooden sculptures of Rhineland that vividly depict the Passion of saints through crucifixion and Pietà images have theological significance, as they convey the physical suffering of Christ and the mental suffering of the Virgin. This thesis argues that images of the Passion of Christ and the Virgin circulated in Rhineland in the fourteenth and fifteenth century developed in a close relationship, in terms of prevalence and acceptance, with lay peoples pursuit of spirituality through physical suffering. German Crucifixes have several common features, including an angular, disproportionate human body with rigid and twisted features; dark red blood gushing from the five wounds on the head and crown of thorns; skin covered with wounds from whipping; a distorted expression that looks like the figure will soon moan; and a y-shaped cross. This type began to be known as crucifixus dolorosus in the 1930s. After the fourteenth century, this form spread to many parts of Europe beyond the area surrounding the Rhine River, and the shocking appearance of these depictions of the crucifixion inspired many believers to develop a deep devotion to Christ. It became an established practice for lay people to kneel in front of the crucifix in mourning and to hold it as a true image of Christ, carrying it in the liturgy of Good Friday. This suggests that the suffering crucifix at the time ...