SubKorea > ±×¸®½º.·Î¸¶½ÅÈ­ > °ü·Ã Àι°µé > Galatea

 
±×¸®½º.·Î¸¶½ÅÈ­ > °ü·Ã Àι°µé > Galatea °ü·Ã±×¸²µé
 
The Triumph of Galatea is a fresco masterpiece completed in 1512 by the Italian painter Raphael for the Villa Farnesina in Rome; 

The Farnesina was built for the Sienese banker Agostino Chigi, one of the richest men of that age. The Farnese family later acquired and renamed the villa, smaller than the more ostentatious palazzo at the other side of the Tiber. The fresco is a mythological scene of a series embellishing the open gallery of the building, a series never completed which was inspired to the "Stanze per la giostra" of the poet Angelo Poliziano. In Greek mythology, the beautiful Nereid Galatea had fallen in love with the peasant shepherd Acis. Her consort, one-eyed giant, Polyphemus, after chancing upon the two lovers together, lobbed an enormous pillar and killed Acis. 

Raphael did not paint any of the main events of the story. He choose the scene of the nymph's apotheosis (Stanze, I, 118-119). Galatea appears surrounded by other sea creatures whose forms are somewhat inspired to Michelangelo, whereas the bright colors and decoration are supposed to be inspired by ancient Roman painting. At the left, a sturdy Triton (partly man, partly fish) abducts a sea nymph; behind them, another Triton uses a shell as a trumpet. Galatea rides a shell-coach drawn by two dolphins. 

Vasari states that Raphael did not mean for Galatea to resemble any one human person, but to represent the ideal beauty. The nymphs gaze are therefore directed upward to heaven, perhaps to the one little cherubic Cupid whose arrows are still held in the quiver. Either way, both are gazes reflecting Platonic love. Rumor holds that the painter used as a model, Agostino Chigi's lover, the courtesan Imperia, and that Raphael took advantage of the sessions and the absences of the banker to woo the woman. 

Seeing this theme of a woman abiding the waves on a shell reminds us of the now-ubiquitous image of The Birth of Venus by Botticelli (1483). However, that high-renaissance icon scuds effortlessy in a placid ocean; Raphael's Galatea swivels forward, urged on by gallivanting dolphins and a boisterous crowd of nereids and mermen. 
 

 
½ÅÈ­¿¡´Â µÎ ¸íÀÇ °¥¶óÅ×À̾ư¡ µîÀåÇϴµ¥, ÀÌ À̸§ÀÇ ¾î¿øÀº ¿ìÀ¯(±×¸®½º ¾î·Î´Â <°¥¶ó> )ÀÇ Èò»öÀ» ¿¬»ó½ÃŲ´Ù. 

1. ù¹ø° °¥¶óÅ×À̾ƴ ³×·¹¿ì½º¿Í ½ÃÄ¥¸®¾Æ ¹Î°£ ¼³È­¿¡ µîÀåÇÏ´Â ¹Ù´ÙÀÇ ¿©½Å »çÀÌ¿¡¼­ ž µþÀÌ´Ù. °¥¶óÅ×À̾ƴ ¿ìÀ¯ºû ó³à·Î °í¿äÇÑ ¹Ù´Ù¿¡ »ì¾Ò°í, ½ÃÄ¥¸®¾Æ¿¡ »ç´Â ±«¹° ŰŬ·Ó½ºÀÎ Æú¸®Æä¸ð½ºÀÇ »ç¶ûÀ» ¹Þ°Ô µÇ¾ú´Ù. ÇÏÁö¸¸ °¥¶óÅ×À̾ƴ ±×¸¦ »ç¶ûÇÏÁö ¾Ê¾Ò°í, ¹Ý´ë·Î ÆÇ(·Î¸¶ ½ÅÈ­¿¡¼­´Â ÆÄ¿ì´©½º)°ú ´ÔÇÁÀÇ ¾ÆµéÀÎ ¹Ì¼Ò³â ¾ÆÅ°½º¸¦ »ç¶ûÇß´Ù. ¾î´À ³¯ °¥¶óÅ×À̾ư¡ Çغ¯¿¡¼­ ¾ÖÀÎÀÇ °¡½¿¿¡ ±â´ë¾î ÈÞ½ÄÀ» ÃëÇÏ°í ÀÖÀ» ¶§, À̵éÀ» ¹ß°ßÇÑ Æú¸®Æä¸ð½º´Â Å« ¹ÙÀ§¸¦ ¾ÆÅ°½º¿¡°Ô ´øÁ³´Ù. ¾ÆÅ°½º´Â À̸¦ ÇÇÇÏ·Á ÇßÁö¸¸ ±×¸¸ ¹ÙÀ§¿¡ ±ò·Á Á×¾ú°í, °¥¶óÅ×À̾ƴ ¾ÆÅ°½º¿¡°Ô ±×ÀÇ ¾î¸Ó´ÏÀÎ ´ÔÇÁÀÇ º»¼ºÀ» µ¹·ÁÁÖ¾î ¸¼Àº ¹°ÀÌ È帣´Â °­ÀÌ µÇ°Ô Çß´Ù. 

¶§·Î´Â Æú¸®Æä¸ð½º¿Í °¥¶óÅ×À̾ÆÀÇ »ç¶û¿¡¼­ ¼¼ ¸íÀÇ ¿ë»ç, °¥¶óÅ×½º, ÄÌÅ佺, Àϸ®¸®¿À½º°¡ ž °ÍÀ¸·Î °£ÁֵDZ⵵ ÇÑ´Ù. À̵éÀº °¢°¢ °¥¶óÅäÀÌ Á·, ÄÌÅäÀÌ Á·, Àϸ®¸®¿ÀÀÌ Á·ÀÇ ¸íÁ¶°¡ µÇ¾ú´Ù(°¥¶óÅ×½º, ÄÌÅ佺, Àϸ®¸®¿À½º). ±×·¯¹Ç·Î °¥¶óÅ×À̾ÆÀÇ Àü¼³À» ÀüÇÏ´Â ÇÑ À̺»Àº ±×³à¿Í Æú¸®Æä¸ð½º°¡ ¼­·Î »ç¶ûÇß´Ù´Â À̾߱âÀÏ ¼öµµ ÀÖÁö¸¸, Á÷Á¢ÀûÀÎ Àü°Å´Â ÀüÇØÁöÁö ¾Ê´Â´Ù. 

2. ´Ù¸¥ °¥¶óÅ×À̾ƴ ũ·¹Å× ¿©ÀÚ·Î, ¿¡¿ì¸®Æ¼¿À½º¶ó´Â »ç¶÷ÀÇ µþÀÌ´Ù. ±×³à´Â °¡¹®Àº ÁÁÁö¸¸ ¸Å¿ì °¡³­ÇÑ ³²ÀÚÀÎ ¶÷ÇÁ·Î½º¿Í °áÈ¥Çß´Ù. ¶÷ÇÁ·Î½º´Â ÆÄÀ̽ºÅ佺 µµ½Ã¿¡ »ì°í ÀÖ¾ú´Ù. °¥¶óÅ×À̾ư¡ ÀÓ½ÅÇÑ °ÍÀ» ¾Ë°Ô µÈ ¶÷ÇÁ·Î½º´Â ÀÚ½ÅÀº ¾ÆµéÀ» ¿øÇѴٸ鼭 ¸¸ÀÏ µþÀ» ³ºÀ¸¸é ¹ö·Á¾ß ÇÑ´Ù°í Çß´Ù. ¶÷ÇÁ·Î½º°¡ °¡ÃàÀ» ÁöÅ°·Á°í »ê¿¡ ¿Ã¶ó°¡ ÀÖ´Â µ¿¾È °¥¶óÅ×À̾ƴ µþÀ» ³º¾ÒÁö¸¸ Â÷¸¶ ¾ÆÀ̸¦ ¹ö¸± ¼ö°¡ ¾ø¾ú´Ù. ½ÅµéÀÇ Ãæ°í·Î ±×³à´Â µþ¿¡°Ô ³²ÀÚ¾ÆÀÌ ¿ÊÀ» ÀÔÈ÷°í ·¹¿ìÅ°Æ÷½º¶ó À̸§Áö¾ú°í, ÀÌ·¯ÇÑ »ç½ÇÀ» ¶÷ÇÁ·Î½º¿¡°Ô ¼û°å´Ù. ±×·¯³ª ½Ã°£ÀÌ Èê·¯ ·¹¿ìÅ°Æ÷½º´Â ¾ÆÁÖ ¾Æ¸§´Ù¿î ó³à°¡ µÇ¾ú°í, ´õ ÀÌ»ó ¼ÓÀÓ¼ö°¡ °è¼ÓµÉ ¼ö ¾ø¾ú´Ù. °¥¶óÅ×À̾ƴ µÎ·Á¿ò¿¡ »ç·ÎÀâÇû°í, ±×·¡¼­ ·¹ÅäÀÇ ½ÅÀü¿¡¼­ µþÀÇ ¼º(àõ)À» ¹Ù²Ù¾î ´Þ¶ó°í ¿©½Å¿¡°Ô ±âµµÇß´Ù. ·¹Åä´Â ÀÌ ±âµµ¸¦ ¹Þ¾Æµé¿© ÀþÀº ó³à¸¦ ¼Ò³âÀ¸·Î ¹Ù²Ù¾î ÁÖ¾ú´Ù(ÀÌÇǽº).