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  • 한국과학기술정보연구원(KISTI) 서울분원 대회의실(별관 3층)
  • 2024년 07월 03일(수) 13:30
 

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  • P-ISSN2799-3949
  • E-ISSN2799-4252

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  • P-ISSN 2799-3949
  • E-ISSN 2799-4252

Every Picture Tells a Story: The New York Unicorn Tapestries and Daesoon Jinrihoe's Simudo Paintings

대순사상과 동아시아종교 / The Journal of Daesoon Thought and the Religions of East Asia, (P)2799-3949; (E)2799-4252
2023, v.3 no.1, pp.13-32
https://doi.org/10.25050/jdtrea.2023.3.1.13
Massimo INTROVIGNE (The Center for Studies on New Religions)

Abstract

Both the late 15th-century Unicorn Tapestries now at the Cloisters Museum in New York and Daesoon Jinrihoe's Simudo Paintings present a religious narrative through the symbol of the search for an animal that is then subdued. This is now the prevailing scholarly interpretation of the New York Unicorn Tapestries, with the unicorn representing Jesus Christ, although a concurrent reading alluding to human love cannot be excluded. The article examines the New York Unicorn Tapestries according to their Christological interpretation, rooted in traditions about the unicorn popularized by the German medieval mystic Hildegard of Bingen, although in fact much older. It then discusses the Buddhist iconographic tradition of ox-herding paintings that represents an antecedent for the Simudo Paintings and notes the latter's differences and similarities with the New York Unicorn Tapestries.

keywords
Unicorn, New York Unicorn Tapestries, Hildegard of Bingen, Ox Herding Paintings, Simudo Paintings

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