13세기 말~14세기 초 프랑스 왕권 이미지 생산 -필리프 3세와 필리프 4세 시대의 조각상들을 중심으로-

초록

The purpose of this paper is to analyze the production of royal images in the late 13th and early 14th centuries in France in consideration of the medieval culture of the image. Attention must be paid to the theological significance and the material nature of its medium with regard to its functionality. On the other hand, this period is marked by the appearance of the State system imposed by the kingship, which provoked critical discontent and strong challenge to political society. In this context, the images produced by the kingship functioned as a political communication. Various royal images, in particular sculptures of the French kings are analyzed: the Montjoies, the statues and the reliquaries of ‘Saint Louis’, the statues of the kings in the Palais de la Cité etc. In relation to the production of these images, it is important to consider two political events: the canonization of Louis IX, immediately idealized as the most christian king the form of a cult to the new saint, and the outrage at Agnani against pope Boniface VIII as a result of accusations of ‘idolatry.’ These two events allowed the kingship to produce various royal images that avoided the risk of idolatry. Especially for Philip IV, what is important is that the representation of the sanctity of the French dynasty continued from the Merovingian and the Carolingian to the Capetian, i.e. the continuation of the dynasty and the perpetuity of the kingship. In this sense the production of royal images represents a mode of political communication through the exploitation of visual culture which had gradually developed since the early 13th century.

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