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김남중 한국고대사탐구학회 2022 한국고대사탐구 Vol.42 No.-
This paper reviewed the period of power change from han’s king of king jun’s lineages(han dynasty) to jin’s king in mokjiguk(jin dynasty). From the clay-band rim pottery culture related to ancient joseon, it can be seen that han’s king was a force in western jeollabukdo. The mokjiguk, ruled by jin’s king, was a country that exerted influence in western and southern gyeonggido, chungcheongdo, and western jeollabukdo, and this area was the place where the clay-band rim pottery culture disappeared and beating patterned pottery suddenly emerged. The area of jeollanamdo, where the conversion of clay-band rim pottery, hard plain pottery, and beating patterned pottery gradually appeared, was related to sinunsinguk. From the aspect of the change from clay-band rim pottery to beating patterned pottery, it can be seen that there was a change of power from han’s king to jin’s king. The radical transition from clay-band rim pottery to beating patterned pottery can be seen in relation to he records of samguksagi that king onjo of baekje expanded his territory to gosaburi castle(jeollabukdo jeongeup). The military activity at this time was an incident in which the forces of jin’s king of mokji state(including baekje) subjugated mahan(orignal mahan) around the western part of jeollabukdo. The forces in incheon, gwangju (including gangnam, seoul), northwest of the han river, and cheonan formed a force and subjugated mahan of king jun’s lineages. However, since the jin’s king forces formed a federation in the form of a feudal system in xizhou, many countries are mentioned in samguksagi. It can be seen that jinhan(jinguk) occupied the status of han’s leader through the yeomsachak and horae incident in dihuang annual(20-23). Meanwhile, there was an incident in which jinguk was involved in the dispatch of envoys to changan, china, along with the kitakyushu forces, japan and the forces of yeongnam’s southeastern region, in yuanshi 2-4(2-4), the fact that it was known as jin, not han, shows that han’s king of king jun’s lineages still existed. In the end, it can be said that the period of power transition from han’s king to jin’s king was between yuanshi 2-4 and dihuang annual. This is roughly consistent with the period(A.D. 9) of the annexation of mahan by baekje of king onjo of samguksagi. 이 글은 準王系 韓王(韓王朝)과 목지국 辰王(辰王朝)의 교체 시기를 검토하였다. 고조선과 관련 있는 점토대토기 문화를 통해 한왕은 전북 서부 일대 세력이었음을 알 수 있다. 진왕이 다스린 목지국은 경기 서・남부, 충청, 전북 서부 일대에 영향력을 행사했던 국가로, 이 지역은 점토대토기 문화가 단절되고 타날문토기가 갑자기 등장한 곳이다. 점토대토기, 경질무문토기, 타날문토기의 전환이 점진적으로 나타난 전남 일대는 신운신국과 관련된 곳이었다. 점토대토기에서 타날문토기로의 변화 양상에서 볼 때 한왕에서 진왕으로의 세력 교체가 있었음을 알 수 있다. 점토대토기에서 타날문토기로의 급진적 전환 현상은 삼국사기 에서 백제 온조왕이 고사부리성(전북 정읍)까지 강역을 넓힌 것과 관련해서 볼 수 있다. 이때의 군사 활동은 목지국 진왕 세력(백제국 포함)이 전북 서부를 중심으로 한 마한(本 마한)을 복속한 사건이었다. 인천, 광주(서울 강남 포함), 한강 서북부, 천안 일대 세력이 하나의 세력을 이루고 있으면서 준왕계 마한 세력을 복속한 것이다. 다만 진왕 세력은 서주 분봉제 형태로 연맹체를 이루었기 때문에 삼국지 에 다수 국가가 언급되어 있다. 지황 연간(20~23)의 염사착과 호래 사건을 통해 진한(진국)이 한의 맹주 지위를 차지하고 있었음을 알 수 있다. 한편, 원시 2~4년(기원후 2~4) 진국이 일본 북구주 세력, 영남 동남 지역 세력과 함께 전한 長安에 가는 사행에 관여한 사건이 있었는데, 韓이 아닌 辰으로 알려졌다는 점에서 아직 준왕계 한왕이 존재했음을 알 수 있다. 결국 한왕에서 진왕으로의 세력 교체는 원시 2~4년에서 지황 연간 사이에 일어났다고 할 수 있다. 이는 삼국사기 온조왕 기사의 백제의 의한 마한 병합 시기(기원후 9)와 대략 일치한다.
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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.
KCI
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