도스토옙스키와 이콘: 죽음의 집의 기록에 나타난 바라봄의 문제를 중심으로

Abstract

This paper is focused on the relationship between the reverse perspective of the Orthodox icon painting and Dostoevsky’s narrative perspective as is realized in his Notes from a Dead House and the separate short story in the novel “Akulka’s Husband.” The icon solves the conflict between the vision of God hidden in the two dimensional plane and the illusive human vision through the device of reverse perspective. According to Pavel Florensky, the main characteristics of reverse perspective is “polycentredness”, or seeing simultaneously, which represents God’s timeless and spaceless vision. If the icon visually asserts the dogma of “Imitatio Christi”, Dostoevsky, by applying the reverse perspective to his narrative, imitates God’s vision and creates an icon-like fiction. The polycentredness of the narrative point of view eternalizes the innocent victim Akulka as a copy of divine image, protects it from being trivialized in the temporality of profane world, and finally maximizes the possibility of redemption.