The study investigates Atlas fabrics, the Ikat weaving method used by the Uygur People in Xinjiang, China. Based on domestic and foreign papers and other literature, different cultural characteristics of Ikat fabrics from various regions are compared. Following a theoretical investigation, characteristics of fabrics from the Indian Patola, Indonesian Ikat, Japanese Kasuri, and Uzbekistan Adras are summarized and compared with the characteristics of pattern, color, and manufacturing process of Atlas silk from Xinjiang China (also an Ikat fabric). The results are as follows. First, although the weaving process used for Ikat fabrics differs from country to country according to different national cultures, lifestyles, colors, patterns, and usage methods, they are all Ikat dyed fabrics. Therefore, they are all regarded as precious objects symbolizing a certain social status, and are used as a gift for special occasions, such as weddings. Second, the form of the pattern varies. Indian Patola has clear outlines and regular patterns, while the patterns of Japanese Kasuri are mainly inspired by folk life ideas. Indonesian Ikat contains influences from indigenous tribes, and Uzbekistan’s and China’s Atlas textiles are influenced by geography, religion, and national culture, including bright colors and pattern designs inspired by plants, musical instruments, and geometric figures. Finally, the patterns and colors of Xinjiang Atlas fabrics present strong ethnic characteristics. Unlike the Uzbekistan fabric which is mostly influenced by Islam, human and animal patterns would not feature in Xinjiang Atlas patterns, which mostly consist of long strips, repeated in a neat and orderly form.

게르하르트 리히터(Gerhard Richter, 1932∼ )는 1960년대 중반부터 자신이 수집하거나 직접 촬영한 사진, 인쇄물 삽화, 스케치로 구성한 <아틀라스 Atlas>를 제작하고 있다. 리히터는 자신의 거대한 트라우마인 나치 정권과 2차 세계대전의 흔적부터 가족과 아이들의 따뜻한 추억까지 <아틀라스>에 저장해왔다. 처참했던 과거를 의도적으로 망각 하려는 기억 위기에서 잠재된 기억을 소환해내려는 아카이브 열병이 모순적으로 발생했 고 <아틀라스>가 시작되었다. <아틀라스>는 리히터의 기억을 저장하는 매체로서 존재 하지만 망각과 기억 사이, 해체와 결합 사이, 은폐와 폭로 사이를 넘나들며 이중적인 특징을 보이고 있다. 모호하고 이중적인 형태로 담겨 있지만 <아틀라스>에 분명히 존재하고 있는 리히터의 기억과 트라우마의 흔적들은 리히터가 살아온 복잡한 역사의 소용돌이 속에서 구축한 자신만의 생존 방식이라 볼 수 있을 것이다.

이 연구의 목적은 ｢카탈루냐 아틀라스｣에 포함된 동아시아 지도의 지리정보를 고찰하는 것이다. 이를 위해 동아시아 지도도엽에 표기된 카탈루냐어 주기들을 모두 번역하고 해제하였다. 연구 결과 마르코 폴로와 맨더빌, 오도릭, 이븐 바투타의 여행정보를 활용했음을 확인했다. 여행기를 인용한 지역정보는 상대적으로 정확했으나, 여행기에 언급되지 않은 지역은 고대의 문헌과전설을 인용하여 표현했다. 그리고 동아시아에 괴물인간을 위치시켰음을 확인하였다. 그리고 타프로바나 섬에 언급된 카우리지명이 고려를 지칭함을 문헌연구를 통해 확인했다. 그러나 타프로바나 섬에는 실론, 수마트라, 일본, 고려에 대한 정보가 혼재함을 확인했다. 또한 본 연구의 결과가 인문학 연구에 활용될 수 있는 방법에 대해 언급하였다.

This paper is to examine Gerhard Richter’s“ Atlas” as an artistic symbol of the memory archive with the theme of aporia which is one of the characteristics of the modern art.“ The Atlas” which is composed of 800 huge tafels reflects Richter’s perspective where we can recognize his psychological and work’s source. It is obtained through examining 10,000 pictures, and is also a unique document that shows the life of the artist. The contents of“ the Atlas” have been added and expanded continuously, which make it said to be finished, but it still remains as a non-complete work. According to Derrida, the desire for an archive is an illness that reaches for the death and is a part of the desire of finding and possessing the beginning or origin of everything. Derrida realized through the archive fever in“ Moses and Monotheism”, Freud’s desire of possessing the beginning of everything. This fever is to be seen in situations where death is urged. Therefore, the archive fever is a journey towards the death. The desire to make an archive comes from the inquiry of repeating something, and according to Freud, this desire for repetition can be seen as going towards death. When Derrida was studying Freud’s“ Moses and Monotheism”, he did not overlook Freud’ s archive fever. This has a connection to Richter’s archive fever in“ the Atlas”, reflected in the war and ideology due to the repetitive compulsion of trauma. Derrida said that the reason for Richter examining the same theme repetitively was the archive fever and is at the same time a movement towards the death. Consequently, trauma exists through the archive, and the archive continues through the trial of finding the beginning. Nothing can stop this except the death and that is why death is to be found at the end of the journey. This paper examines Richter’s memory archive in the three directions. First, I illustrate the repetitive compulsion shown in“ the Atlas” and resulted from trauma in an aporaic way to concentrate only on the archive, and examine the aporaic narrative of the author. Second, I examine the various methods of different modern artists to express their “after death memory” when they overcame their trauma. Finally, I examine the aporaic method that is illustrated through the process of fusing and transforming photographs, which shows the objective truth with art. In other words, I examine the method that is exposed between the photographic truth and artistic creation.