초록 열기/닫기 버튼
본 연구는 근대기 일본을 대표하는 도상으로 다수 제작되었던 날개옷(羽衣) 천녀에 주목하여 시기에 따른 변화의 양상을 살펴보고, 새로운 천녀상 창출의 정치적 함의를 추적하는데 목적이 있다. 지상으로 내려온 천녀가 날개옷을 잃어버리고 이를 숨긴 남성과 결혼하는 우의 천녀 이야기는 우리나라의 금강산 선녀전설(선녀와 나무꾼)을 비롯해 전 세계에 분포하는 광포설화로, 일본에는 시즈오카현(靜岡県) 미호(三保)반도의 소나무 숲(松原)을 배경으로 펼쳐지는 우의전설(이하 미호의 우의전설)이 대표적이다. 미호의 우의전설은 15세기 전통 가무극인 노(能) 공연을 계기로 전국적으로 유명해지기 시작해 이후, 우키요에(浮世繪)와 같은 인쇄물을 통해 일본을 대표하는 날개옷 전설로 자리 잡게 된다. 본 논고에서는 이처럼 에도(江戶)시대까지 서민들을 중심으로 당대 예능 속에서 소비되던 미호의 우의천녀가 역사화 제작이 활발해 지는 19세기 이후가 되면, 서구의 신화를 대체할 주요 도상으로 인식되어 일본의 역사, 신화적 공간 내에 새롭게 편입되기 시작하는 점에 주목하고자 한다. 실제 1890년 제3회 내국권업박람회에 출품된 혼다 긴키치로(本多錦吉郞)의 <우의천녀>를 시작으로 제국극장 천정화(1911), 조선총독부 벽화(1926)를 거치며 당대 풍속을 기반으로 했던 우의천녀는 일본의 고전으로, 나아가 아시아적 천녀로 변화되어 간다. 그리고 이러한 변용의 여정이 서구와 대등한 근대국가 건설에서 ‘大東亞共榮圈’, ‘八紘一字’로 아시아 지배를 확장했던 제국 일본의 자기 정체성 확립과 괘를 같이 하는 것이었음을 밝히고자 한다.
The shapes of beautiful women who flew around the sky have been the themes of drawing for a long time regardless of eastern or western worlds. In addition to the western angels and a goddess like Nike, in eastern world, the shapes of the sky adventist women such as flying angels, Taoist fairies and jade women floating on top of the cloud and crane with long flying clothes have been handled frequently for the main objects of drawing in Buddhism and Taoism since before Christ. This study is focused on the process of changes use of such traditional sky adventist women to ‘Asiatic sky adventist women’ amid the historical and mythical spaces newly organized mainly in modern era of Japan. Especially, many drawn images of Japanese representative sky adventist women in the era were the feathered clothes stories(“Miho's feathered clothes legend”) unfolded at the background of pine forest of Miho(三保), Shizuoka(静岡). Miho's feathered clothes legend has been widely known to the public in the opportunity of Song of feathered clothes composed around 15th century. The contents of the song that a fisherman, Hakuryu who hided the feathered clothes to keep as family treasure and returned it by regretting his wrongdoing, and then, the sky woman showed the dance of sky woman rewarding for it and disappeared beyond the Fuji Mountain have been positioned for a Japanese endemic story of feathered clothes women via printed media like Ukiyo-e(浮世繪 folklore drawing) including the Japanese traditional music, Nagauta(長唄), dance and Kabuki(歌舞伎 Dance music playing). As mentioned above, the legendary feathered clothes women that had been known publicly along the emerged people culture at modern times reached to decorate the walls of public buildings and as single tableau as well as those were recognized as main drawings which will substitute the western legends since 19th century active in producing historical pictures. Therefore, this study will look into the courses of the traditional sky adventist women introduced into Japanese historical and mythical spaces with Miho's feathered clothes legend at its center which had never been handled specifically in arts history in spite that those are the representative drawings in modern era, and trace the political implication of creation of new sky adventist women drawings. It is because those are the women in Tempyo(天平) era represented for Japanese classic in Buddhist women and they are in line with the imperial Japanese own identity extended to Asian dominance by the slogans of ‘the Greater East Asia Co-Prosperity Sphere(大東亞共榮圈)’ and ‘World under the Empero(八紘一字)’.
키워드열기/닫기 버튼
The fable a robe of feathers(羽衣), A Fairy ana a Woodsman, Miho(三保) Matubara(松原), Triptych on the Wall of Japanese Government-General of Korea Building, the Greater East Asia Co-Prosperity Sphere(大東亞共榮圈), Nae-sun-il-che(Integration of Japan and Korea, 內鮮一體)
