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Light Beyond Dualisms - Stained Glass as the Origin of Light Art -

  • Journal of Humanities
  • 2025, (99), pp.267~297
  • Publisher : Institute for Humanities
  • Research Area : Humanities > Other Humanities
  • Received : October 10, 2025
  • Accepted : November 10, 2025
  • Published : November 30, 2025

Yekyung Han 1

1서울대학교

Accredited

ABSTRACT

This paper traces the development of stained glass, the earliest form of light art, in relation to the realistic style of Renaissance art that stands in conflict with it. It aims to show that, from the perspective of the philosophy of Maurice Merleau-Ponty, light art can manifest a realm that transcends the dualisms of subject and object and of matter and mind. To this end, the study first analyzes why stained glass can be regarded as light art and explores its historical development. It then examines how the realistic art of the Renaissance led to the stagnation of stained glass from around the 14th century onward, focusing in particular on linear perspective, suggesting that Renaissance art implicitly upholds a dualistic worldview. Finally, by exploring Merleau-Ponty’s philosophy―from his early reflections on the body to his later concept of “flesh”―the paper opens up a new horizon for contemplating light art. Light art, by rendering light and space in ways that resist reduction to mere quantity, can be understood as a medium that reveals the viewer and the artwork―and more broadly, the subject and the object, or the subject and the world―are not clearly separated but are fundamentally made up of the same “flesh,” capable of reconnecting and intertwining.

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