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.

베네치아 공화국과 날개달린 사자

남종국(Nam, Jong Kuk) 도시사학회 2016 도시연구 Vol.- No.16

이 논문은 날개달린 사자가 베네치아 공화국을 대변하는 제일의 상징물이 되는 역사적 과정을 밝히는 글이다. 어떤 연유로 날개달린 사자가 베네치아를 대표하는 상징물이 되었을까? 본 논문은 이 질문에 대한 답을 제공하고자 한다. 이를 위해서 우선적으로 날개달린 사자와 산마르코의 불가분의 관계를 이해해야 한다. 날개달린 사자가 산마르코의 수호신물이 되어 운명을 같이 하게 된 근거는 성경에 있다. 기독교 초기 4복음서의 저자와 성경에 나오는 4가지 동물이 한 쌍을 이루게 되었는데 날개달린 사자가 산마르코의 수호신물이 되었던 것이다. 날개달린 사자가 베네치아와 운명 공동체가 된 결정적인 계기는 산마르코의 유해가 베네치아로 옮겨오면서부터였다. 9세기 초 두 명의 베네치아 상인이 알렉산드리아에 있는 산마르코의 유해를 몰래 훔쳐 베네치아로 가져왔고 이후 산마르코는 기존의 베네치아 수호성인이었던 그리스 전사 출신의 테오도르를 대신해 새로운 수호성인으로 되었다. 유해의 이전만으로 모든 것이 종결된 것은 아니었다. 베네치아 공화국은 산마르코의 유해에 대한 정당한 소유주임을 대외적으로 과시하기 위해 신화와 전설을 창조했다. 이렇게 만들어진 전설이 바로 예정 이야기(Praedestinatio)와 출현(Apparitio)이었다. 예정설에 따르면 마르코가 아퀼레이아 지방에 복음을 전하는 임무를 마치고 배를 타고 돌아오는 도중에 폭풍우를 만나 베네치아로 떠밀려오게 되었다. 그 와중에 마르코의 꿈에 나타난 천사는 마르코에게 너의 육신이 여기서 안식을 취하게 될 것이라고 예언했다. 이 새로운 전설은 알렉산드리아에서 순교했던 마르코의 유해가 최종적으로 베네치아로 옮겨오게 된 것을 사후에 승인하는 문구였다. 이 이송은 천사의 계시를 통해 미리 예정되어 있었다는 것이다. 베네치아 공화국의 수호성인으로서 확고한 지위를 확보한 산마르코는 점차 자신의 분신인 날개달린 사자에게 주도권을 내주게 되었다. 산마르코 대신 날개달린 사자가 베네치아 공화국을 대표하는 상징물로 부상한 것은 13세기부터 본격화된 해외로의 영토 팽창 때문이었다. 4차 십자군 이후 본격적인 영토 팽창의 길로 접어든 베네치아 공화국은 성스러운 이미지의 산마르코보다는 동물의 왕 사자를 활용해 베네치아의 힘을 대외적으로 과시하려고 했다. 사자는 여러모로 이런 용도에 적합했다. 이렇게 해서 15세기 날개달린 사자는 바다와 육지에 넓은 식민지를 가지고 있는 제국 베네치아를 대내외적으로 대표하는 상징이 되었던 것이다. The aim of this article is to explain the historical process of the winged Lion to become the most prominent symbol of the republic of Venice. How did the winged Lion come to represent a medieval maritime republic? This article makes effort to give a plausible answer to it. First of all, it is necessary to comprehend the inevitable relatedness between St. Mark and the winged Lion. The reason that the winged Lion became the attribute of St. Mark derives from the biblical story. The Lion was among the four living animals described in the Ezekiel and the Revelations. Since St. Jerome has assigned the Lion to St. Mark, the Lion became the symbol of Mark the evangelist. Two Venetian merchants, Buono and Rustico stole the relic of St. Mark in Alexandria and brought it to Venice by sea. This translation from Alexandria to Venice of the body of St. Mark in 828 made the Lion associated with the Venetian republic. Therefore St. Mark became the patron saint of the Venetian republic replacing St. Theodore. To show that the Venetian republic should have the just right to possess the body of St. Mark, it fabricated two episodes: the praedestinatio and the apparitio. According to the praedstinatio, an angel came down from the heaven and said to St. Mark resting at Rialto after having finished his missionary work in Aquileia: “Pax tibi, Marce, evangelista meus. Hic requiescat corpus tuum”. This angelic proclamation ordained that St. Mark should remain in Venice forever, justifying the translation of the body of St. Mark. Since the thirteenth century, St. Mark has gradually given his way to his attribute of the winged Lion as the principal symbol of the Venetian republic. The likeness of the lion was depicted more frequently than that of the St. Mark. The rise of the winged Lion had a great deal to do with the territorial expansion of the Venetian republic which had started with the fourth Crusades. The Lion, the animal king, was more suitable than the saint for Venice eager for the territorial expansion. The Lion with half of the body on land and half on water became to symbolize a Venetian empire having the stato da mar and the stato da terra in the fifteenth century.

사마르칸드 아프라시압 궁전벽화복식의 문양 특성 -연주문을 중심으로-

박춘순 ( Park Chun Sun ),이자연 ( Lee Ja Yeon ) 한국의류산업학회 2002 한국의류산업학회지 Vol.4 No.5

Since the early 20th century, there are numerous archaeological excavations in the Central Asia. The Wall paintings of the Sogdian period in Afrasiab of Samarkand, Uzbekistan, provide us with very important materials in our discussion of the art and wall paintings along the Silk Road. This paper aims to categorize the patterns of many linked pearls of the wall paintings of Afrasiab and their symbolism. The linked pearl border includes animal motifs. The motifs include exotic creatures from that region such as boar`s head, ibexes(lll ducks, lions, elephants, winged horse, and peacock. The bird is decorated with ribbon both around the neck and on its wings. Most of these motifs appeared in single units. Patterns with repeating units are mostly composed of laterally linked pearl roundels. The linked pearl in roundel is also found on wall painting along in sites along the Silk Road.

동아시아 요괴문화 속의 덴구(天狗) 형상에 관한 소고

류희승 단국대학교 동아시아인문융복합연구소(구 단국대학교 일본연구소) 2014 일본학연구 Vol.43 No.-