후기 오리냐크기 빌렌도르프의 비너스상을 시작으로 하여 서양회화사는 여성상(female figure)에 대한 끊임없는 추구가 있어 왔다. 여성상은 인류의 삶에 있어서 가장 본질적인 표현대상이며, 시공을 초월하여 끊임없이 상상력의 원천을 제공하고 있는 마르지 않는 샘이다. 여성의 육체를 주제로 한 회화적 표현 즉 여성상(女性像)에는 여성에 대한 상징적 이미지가 포함하고 있으며, 더 나아가 남성작가의 내면의 여성성(女性性)인 아니마가 포함되어 있다. 집단 무의식에 많은 원형 중에서 남성이 그런 여성상에 가장 많은 영향을 미치는 원형이 아니마(Anima) 원형일 것이다.
The study is designed to interpret the symbolic image of female expressed în the Western paintings through an concept of \"Anima\" used by C.G. Jung. Anima has the most impact on female figure among many archetypes of collective unconsciousness. To appreciate many paintings and expand understanding of the art is to avoid projection in interpretation and make a measurernent in the self-analysis. The study shows undivided Anima and lovely Anima with focus on Edvard Munch, Gustav Klimt, Egon Schiele, Chagall, and H. Rousseau before and after the end of the 19th century. After all, the Anima expressed by a male painter may be forrned throughout bis growing-up and inherited as well as grouped among the contemporary men. The negative attitude toward female body and essence in the whole history of Western art represents negative Anima of male artists. In other words, if a male painter is affected by the destructive Anima, he would express woman as temptress of death, pain, and destruccion. while if a male painter is affected by the positive aspect of Anima, he would express woman as matured and loving mother, Maria nurturing Christ, and mysterious, strong, and creative goddess. But if a ma1e painter is affected by the both of Anima, he could be more impacted by the negative Anima when he has a woman phobiac life style like Edvard Munch
Ⅰ. 머리말 Ⅱ. 이론적 배경 Ⅲ. 몸말 Ⅳ. 꼬리말 참고문헌
