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아케메네스 페르시아의 페르세폴리스(Persepolis) 아파다나(Apadana)의 <사자와 황소의 투쟁>
이송란 덕성여자대학교 인문과학연구소 2026 인문과학연구 Vol.43 No.-
이 연구는 아케메네스 왕조 페르세폴리스의 아파다나에 표현된 〈사자와 황소의 투쟁〉 도상을 중심으로, 그 상징적 의미와 정치적 맥락을 고찰하는 것을 목적으로 한다. 사자와 황소는 고대 서아시아에서 오랜 전통을 지닌 동물 도상으로서 아케메네스 시대 이전부터 반복적으로 나타났지만, 페르세폴리스에서는 <사자와 황소의 투쟁>의 도상은 아파다나를 비롯한 왕실 건축의 시각적 구조 속에 배치되면서 새로운 의미 구조를 갖는다. 이 연구는 페르세폴리스의 사자와 황소 도상을 왕이 아샤를 실현하는 순간을 시각적으로 인식하는 장치로 판단하였다. 여기에서 사자는 태양의 힘이자 왕의 생명력, 즉 흐바르나(Khvarenah, 왕의 광휘)를 상징하는 것으로 보았다. 더불어 페르세폴리스의 <사자와 황소의 투쟁>은 특정한 하나의 의미를 전달하는 도상이 아니라, 아케메네스 제국이 왕권과 자연, 시간과 우주, 다양한 민족과 제국의 질서를 하나의 시각적 체계 안에서 구성한 결과로 이해하였다. 특히 사자와 황소의 대립이 페르세폴리스의 왕실 건축과 결합하면서 획득한 의미는, 전통적 도상의 단순한 반복이 아니라 아케메네스 왕권의 이념을 시각화한 것으로 본 것이다. 더불어 천문학적이면서 계절적 상징과 왕실 의례, 아샤로 표상되는 질서의 이념, 그리고 제국의 정치적 통합이 페르세폴리스의 시각적 구조 속에서 상호 결합되었을 가능성에 주목한다. This study examines the symbolic meaning and political and religious context of the motif of the Lion and Bull Combat represented in the royal architecture of Persepolis during the Achaemenid period. The lion and the bull constituted long-standing animal motifs in the ancient Near East and had repeatedly appeared before the Achaemenid period. At Persepolis, however, the motif of the Lion and Bull Combat was incorporated into the visual programs of royal architecture, including the Apadana, and thereby acquired a new structure of meaning. This study argues that the motif of the lion and the bull at Persepolis functioned as a visual device through which the king was represented as the agent through whom Asha—the principle of truth, justice, and cosmic order—was realized. Within this framework, the lion is interpreted as embodying the power of the sun and the vital force of kingship, namely khvarenah, the divine royal glory or radiance. At the same time, the lion and bull motif is understood not as an image conveying a single, fixed meaning, but as the result of the Achaemenid Empire’s construction of kingship, nature, time, the cosmos, and the order of diverse peoples and the empire within a unified visual system. In particular, the meaning acquired by the confrontation between the lion and the bull through its integration into the royal architecture of Persepolis is understood not as a simple repetition of an established motif, but as a visualization of Achaemenid royal ideology.
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한대 공예품의 유익사자(有翼獅子) 도상을 통해 본 페르시아 미술의 동점
이송란 ( Lee Songran ) 덕성여자대학교 인문과학연구소 2020 인문과학연구 Vol.30 No.-
In craftwork like metal crafts and jade crafts during the Han Dynasty in the 1st Century B.C., including copper kegs in Ancient Tomb No. 9 in Seogam-ri, Lelang, an exotic motif of a lion with a hawk or eagle’s wings, a mixed animal, Yuiksaja is expressed, which draws attention. The lion is a subject matter often used in West Asia, meaning the emperor’s authority and courage. Assyrian lion iconography led to Achaemenid Persia that emerged as the largest monarchy in the ancient Near East in the 6th century B.C. Studies focused on the negotiations between Rome and Central Asia on the Oasis Road of the Silk Road established during the Han Dynasty and sea routes while no light has been shed on the relationship of the negotiation between the Persian cultural area with the Han culture. Thus, this study discussed the process of accepting Persian art in art during the Han Dynasty through the iconography of the lion with wings. Especially, this study examined the relationship with the Persian cultural area with the medium of the lion with wings because a mixed animal, the lion with wings was often used in Saka or Xiongnu metalwork or textile craft. For this, northern nomadic tribes played a role in the process of the eastward spread of the Persian culture. Research has been conducted on the process in which Saka and Xiongnu master craftsmen influenced by the Persian craft were incorporated into the workshops of Han. The lion with wings accepted by art during the Han Dynasty was newly perceived in the way of thinking in the Chinese people. The lion with wings-type exorcism guarding the tombs during the Han Dynasty plays a role in eliminating the evil beings that disturb the soul of the tomb owners from entering the fairyland. The lion that came from the countries bordering on Western China became a being that could drive out an evil spirit, an object of fear. Moreover, by adding wings to the lion, it was upgraded to a being with the fantastic divine power from an animal existing in reality and was born again as an animal having the ability to ascend the owner of the tomb to ascend to the fairyland. The lion with wings was born again as exorcism, a totally different concept from Persia, and it is interesting that it is a new cultural transformation according to the negotiation between the east and the west.
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