근세 해부학 서적 삽화의 전통과 혁신: 프레데릭 라위스의 『해부학 보고』를 중심으로

초록

This paper regards the illustrations in early modern European anatomical books as an independent visual genre possessing its own iconographic conventions and formal logic, and it analyzes the illustrations of the Thesaurus anatomicus (1701–1716) by the Dutch anatomist Frederik Ruysch. It traces diachronically how the iconographic convention of representing the corpse as though alive—established by Andreas Vesalius's De humani corporis fabrica (1543)—was inherited and transformed through Juan Valverde and Govard Bidloo, and it elucidates the distinctiveness of Ruysch's illustrations within this genealogy. Ruysch's frontispieces and plates differ from the anatomical diagrams of other treatises in two respects: they are illustrations that translate into two dimensions the actual three-dimensional specimens he fashioned through embalming, rather than an idealized, notional body; and they fuse precise anatomical documentation with a vanitas-inflected artistic conception within a single image. In this way, the paper demonstrates that early modern anatomical illustration constituted a visual culture in which science and art, empirical observation and allegory, intersected, and it illuminates the role of the image in early modern knowledge production.

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