Journal of the Korean Institute of Landscape Architecture (한국조경학회지)

The Korean Institute of Landscape Architecture (한국조경학회)
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Modern Vision in the 18~19th Century Garden Arts - The Picturesque Aesthetics and Humphry Repton's Visual Representation -

18~19세기 정원 예술에서 현대적 시각성의 등장과 반영 - 픽처레스크 미학과 험프리 렙턴의 시각 매체를 중심으로 -

  • Lee, Myeong-Jun (Interdisciplinary Program of Landscape Architecture, Graduate School, Seoul National University) ;
  • Pae, Jeong-Hann (Dept. of Landscape Architecture and Rural Systems Engineering, Seoul National University)
  • 이명준 (서울대학교 대학원 협동과정 조경학전공) ;
  • 배정한 (서울대학교 조경.지역시스템공학부)
  • Received : 2015.01.23
  • Accepted : 2015.03.23
  • Published : 2015.04.30
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Abstract

The English Landscape garden and picturesque aesthetics, which was in fashion during the 18th to early 19th century in England, has been accused of making people see the actual garden in terms of a static landscape painting without a synesthetic engagement in nature. As new optic devices such as diorama, panorama, photography, and cinematography were invented, ways of seeing nature transitioned from a perspective vision to a panoramic, that is, modern one. This study intends to uncover signs of this kind of modern vision in the picturesque aesthetics and visual representation of landscape gardener Humphry Repton. German garden theorist Christian Cay Lorenz Hirschfeld contended that the English landscape garden was a new style of designing landscape that followed the principle of the serpentine line, which produced movement in sightlines; thus, he considered garden art as a superior art form among all other genres. The signs of visual motion appear in Repton's sketches of "Red Books". Firstly, he designed systemic routes in his clients' properties by considering different types of movements between walks and drives. Secondly, he often used the visual effects of panoramic views for his sketches in order to allow his clients to experience the human visual field. Lastly, he constructed sequences of sketches in order to provide his clients with an illusion of movement; in other words, Repton's sketches functioned as potential visual media to produce the duration of time in a visual experience. Thus, the garden aesthetics of the time reflected the contemporary visual culture, that is to say, a panoramic vision pertaining to visual motion.

픽처레스크 미학과 풍경화식 정원은 자연을 그림과 같이 정태적으로 감상하게 만드는 이른바 회화적 자연관의 전범으로 인식되어 왔다. 이러한 해석은 당시의 시각 문화를 선원근법에 의존하여 설명한 데에서 연유한다. 실상 당시는 새로운 시각 매체의 발명에 따라 종래의 원근법에 기반했던 시각성이 '유동적인 시각'과 '시점의 상대성'으로 요약되는 '움직이는 시각성'으로 변모해가는 바로 직전의 시기였다. 이 연구는 그러한 시각 문화의 변동에 주목하여 픽처레스크 미학과 험프리렙턴의 시각 매체에서 나타나는 '움직이는 시각성'의 징후를 읽어내고자 한다. 18세기 독일의 정원 이론가 히르시펠트는 풍경화식 정원은 구불구불한 선을 이용하여 움직임의 환영을 만들어낼 수 있으므로 다른 예술 형식보다 우월하다고 분석했다. 18세기 말 야기된 픽처레스크 논쟁에서 아마추어 이론가들은 회화에서 복잡하고 다채로운 시각의 변주를 중요하게 여기고, 정원도 그러한 시각적 자극이 만들어지도록 설계해야 한다고 주장했다. 렙턴의 "레드북"에 수록된 스케치에서는 움직이는 시각성이 반영된 다양한 재현 전략들이 발견된다. 렙턴은 속도의 차이를 고려하여 여러 유형의 길을 체계적으로 설계했고, 인간의 시각장을 표현하기 위해 회화적 프레임이 아닌 파노라믹 뷰를 활용하였으며, 현실에서의 움직임과 유사한 시각적 경험을 만들어내기 위해 여러 스케치들을 전략적으로 배열하였다. 이와 같이 픽처레스크 미학과 렙턴의 시각 매체는 당대 시각 문화에 새롭게 등장하기 시작한 움직이는 시각성을 반영하고 있었다.

Keywords

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