Temporality in Late Medieval Art: A Study on Sartorial Dimensions in Illuminated Manuscripts

서지정보

· 발행기관 : 사단법인 한국조형디자인협회
· 수록지 정보 : 조형디자인연구 / 20권 / 4호 / 57 ~ 82페이지
· 저자명 : 변경희

초록

Based on the concepts of temporality and contemporaneity applied to visual art, this paper analyzes fashion trends applicable for both men and women in the early modern period by examining visualized clothes worn by courtiers and royal families in liturgical as well as literary manuscripts. Questions to be considered are: how the patronage and readership of these manuscripts may have affected the visual representation of clothing and its wearers; how accurate the illustrated dresses in these manuscripts could have been; how innovations in dress style and textile patterns might have been mentioned in the contemporary literature (many sermons and moralized texts warned the readers against such indulgences); how much influence these illustrated clothes might have had on viewers and readers alike; and what inspired the talented painters of the fourteenth century to take a close look at contemporary fashion.
The Master of the Remède de Fortune (active 1340s), who illustrated the newly-composed musical poems by Guilluame de Machaut (1300-1377), is known for the rendering of stylish dress reflecting a contemporary trend on the eve of the Black Death. Combining visual depictions of dresses in illuminated manuscripts of the Roman de la Rose and songs of Guillaume de Machaut with written descriptions of dresses in royal inventories, I would like to examine the validity of these sources as materials for dress history. Surviving artifacts, such as accessories and decorative arts in major museums and excavated artifacts, in a few nunneries in England would be compared to written or visual descriptions of dresses. Unlike liturgical manuscripts and religious panel paintings, illuminated manuscripts for secular literature include a novel iconography and a keen sense of fashion during the early mercantile trade of luxury goods following the Crusaders and preceding the global encounters of early modern Europe from 1450 to 1600. Art historians and literary scholars have noted an introduction of new textile materials and metalwork accessories during the Valois dynasty. For example, Sharon Farmer's book on medieval silk industries, The Silk Industries of Medieval Paris: Artisanal Migration, Technological Innovation, and Gendered Experience includes a growing body of descriptions on textile-related luxury goods, as do other related studies on garments of early modern Europe.
In late medieval culture with more visible luxury goods available from outside Europe, artists and courtiers alike were aware of and subject to the contemporaneity of their own visual surroundings. A visual adaptation of material wealth à la mode was manifested in a group of luxury manuscripts commissioned by the royal members of the Valois dynasty in late medieval France.

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