불온한 매혹: 미술사에서의 혐오 이미지 연구 -권선징악의 서사에서 금기의 파격으로-

초록

This study calls for vigilance against the provocative hate content proliferating in today’s digital environment, critically reflecting on these phenomena to seek aesthetic countermeasures that enable the subjective identification of such imagery. To this end, images of hatred are decoded by examining artists and their works that have left distinct traces in art history by forging original visual languages, defying the prevailing conventions and taboos of their eras. Hieronymus Bosch and Damien Hirst are selected for analysis, examining their seminal works to explore both conceptual layers and formative aspects. Traversing the temporal span between the Middle Ages and the contemporary era, Bosch and Hirst utilized their unique formative theories as a central axis to experiment with hatred, maintaining a profound sense of reflection throughout their process. As comparative analyses of Bosch and Hirst’s artistic worlds remain scarce, this study seeks to fill that intellectual void. While exploring the imagery of hatred manifested in their paintings and installations, the overarching concepts of disgust are examined through the theoretical lens of Martha Nussbaum. Specifically, the hybrid, hateful figures in Bosch’s work are analyzed through Donna Haraway’s concept of the Cyborg, while Hirst’s formative strategy of utilizing animal carcasses is explored through Julia Kristeva’s notion of the Abject. By dissecting the works of male artists through the critical lens of female philosophers, the research transcends gender binaries to offer a nuanced analysis of disgust, fostering a fertile intersection for the enrichment of visual arts.

키워드