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    한대 공예품의 유익사자(有翼獅子) 도상을 통해 본 페르시아 미술의 동점 = Eastward Spread of Persian Art viewed through the Iconography of a Lion with Wings in the Craftwork during the Han Dynasty

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    https://www.riss.kr/link?id=A106613726

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    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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    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 expr...

    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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    참고문헌 (Reference)

    1 이송란, "樂浪 貞柏洞 3호분과 37호분의 남방계 獅子形 垂飾과 商人의 활동" 한국미술사학회 (245) : 5-37, 2005

    2 김인화, "페르시아 아케메네스조의 왕권 이념 : 다리우스 1세 시대를 중심으로" 고려대학교 대학원 2014

    3 이송란, "카자흐스탄의 황금군주" 국립문화재연구소 2018

    4 강인욱, "카자흐스탄 초원의 황금문화 : 한국·카자흐스탄 공동 조사연구보고서" 국립문화재연구소 2018

    5 임영애, "중국 고분 속 鎭墓獸의 양상과 불교적 변형" 한국미술연구소 (25) : 37-65, 2007

    6 최국희, "악랑고분출토 금속공예품에 관한 연구 : 석암리 9호분을 중심으로" 이화여자대학교 대학원 2004

    7 이주형, "사르나트출토 4사자주두의 네 가지 동물과 그 역사적 전개" 인도학회 5 : 2000

    8 김수민, "鎭墓獸의 전개와 漢代, 그 상징성에 대한 고찰" 한국역사민속학회 (36) : 251-278, 2011

    9 吐魯番博物館, "絲路遺珠 交河故城, 高昌故城, 申報世界文化遺產文物精品" 上海古籍出版社 2014

    10 韩翔, "焉耆国都, 焉耆都督府治所与焉耆镇城—博格达沁古城调查" (4) : 1982

    1 이송란, "樂浪 貞柏洞 3호분과 37호분의 남방계 獅子形 垂飾과 商人의 활동" 한국미술사학회 (245) : 5-37, 2005

    2 김인화, "페르시아 아케메네스조의 왕권 이념 : 다리우스 1세 시대를 중심으로" 고려대학교 대학원 2014

    3 이송란, "카자흐스탄의 황금군주" 국립문화재연구소 2018

    4 강인욱, "카자흐스탄 초원의 황금문화 : 한국·카자흐스탄 공동 조사연구보고서" 국립문화재연구소 2018

    5 임영애, "중국 고분 속 鎭墓獸의 양상과 불교적 변형" 한국미술연구소 (25) : 37-65, 2007

    6 최국희, "악랑고분출토 금속공예품에 관한 연구 : 석암리 9호분을 중심으로" 이화여자대학교 대학원 2004

    7 이주형, "사르나트출토 4사자주두의 네 가지 동물과 그 역사적 전개" 인도학회 5 : 2000

    8 김수민, "鎭墓獸의 전개와 漢代, 그 상징성에 대한 고찰" 한국역사민속학회 (36) : 251-278, 2011

    9 吐魯番博物館, "絲路遺珠 交河故城, 高昌故城, 申報世界文化遺產文物精品" 上海古籍出版社 2014

    10 韩翔, "焉耆国都, 焉耆都督府治所与焉耆镇城—博格达沁古城调查" (4) : 1982

    11 "漢書"

    12 志賀和子, "漢代 『北方系』 帶金具考(下)" 46 (46): 1994

    13 志賀和子, "漢代 『北方系』 帶金具考(上)" 46 (46): 1994

    14 郭太松, "浅谈古代狮子造型艺术" (4) : 1992

    15 褚馨, "汉晋时期的金玉带扣" (5) : 2011

    16 劉鳳君, "東漢南朝陵墓前石獸造型初探" (3) : 1986

    17 周筱馨, "文化融合中的選擇與繁衍" (5) : 2014

    18 "封氏聞見記"

    19 新疆文物考古研究所, "吐鲁番交河故城沟北1号台地墓葬发掘简报" (6) : 1999

    20 이송란, "匈奴 金冠 연구: 內蒙古 西溝畔M4號墓의 금관을 중심으로" 한국미술사교육학회 35 : 111-134, 2018

    21 田旭, "兩漢銅樽的裝飾意匠" (6) : 2008

    22 曾布川寬, "世界美術大全集 秦漢編" 小學館 1998

    23 田辺勝美, "ガンダーラ美術の獅子像のイラン系要素" 20 : 1993

    24 김지영, "『封氏聞見記』 試論 및 校釋 硏究" 연세대학교 대학원 2016

    25 Kantor Helene J., "The Shoulder Ornament of Near Eastern Lions" 6 (6): 1947

    26 Roes Anne, "The Representation of the Chimaera" 54 (54): 1934

    27 Balcer Jack Martin, "The Persian Wars against Greece: A Reassessment" 38 (38): 1989

    28 Root Margaret Cool, "The Parthenon Frieze and the Apadana Reliefs at Persepolis: Reassessing a Programmatic Relationship" 89 (89): 1985

    29 Rudenko S. J., "The Mythological Eagle, the Gryphon, the Winged Lion, and the Wolf in the Art of Northern Nomads" 21 (21): 1958

    30 Hangar. F, "The Eurasian Animal Style of the Altai Complex" 15 : 1952

    31 Scialpi Fabio, "The Ethics of Aśoka and the Religious Inspiration of the Achaemenids" 34 (34): 1984

    32 Goldman Bernard, "The Development of the Lion-Griffin" 64 (64): 1960

    33 Balcer Jack Martin, "The Date of Herodotus IV. 1 Darius' Scythian Expedition" 76 : 1972

    34 Cook J. M., "The Cambridge History of Iran, Volume2" Cambridge University Press 1985

    35 Till Barry, "Some Observations on Stone Winged Chimeras at Ancient Chinese Tomb Sites" 42 (42): 1980

    36 Azarpay Guitty, "Some Classical and Near Eastern Motifs in the Art of Pazyryk" 22 (22): 1959

    37 Акишев К. А., "KУРГАН ИССЫК, Искусство саков Казахстана" Искусство 1978

    38 Kawami Trudy S., "Greek Art and Persian Taste: Some Animal Sculptures from Persepolis" 90 (90): 1986

    39 Kantor Helene J, "Achaemenid Jewelry In The Oriental Institute" 16 (16): 1957

    40 Boyce Mary, "A History of Zoroastrianism, Zoroastrianism under the Achaemenians" Brill 1996

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