신화(神話)를 원형(原形)으로 하는 회화(繪畵)에 반영(反映)된 사회상(社會相)과 신화적상징(神話的象徵)에 관(關)한 고찰(考察) -단군영정(檀君影幀)과 금궤도(金櫃圖)를 중심으로-

김장현 ( Jang Hyun Kim ) 한국동양예술학회 2015 동양예술 Vol.27 No.-

신화는 그 민족이나 국가의 사상, 문화, 철학, 역사 등등을 담고 있다. 특히 건국과 관련된 신화는 신화가 발생할 당시의 시대상황이나 생활상 그리고 민족정신이 반영된 상징적인 존재이며, 또한 그 민족이나 국가의 고난이 닥치면 이를 극복하기 위한 민족의식의 고취나 단합을 위한 구심점으로써 중요한 역할을 한다. 이런 의미에서 건국관련 신화와 관련된 연구가 중요성을 갖는다고 할 수 있다. 본고 에서는 우리에게 잘 알려진 신화인 ‘단군신화’와 ‘김알지 신화’와 관련된 연구로 이들 2편의 신화는 건국과 관련된 신화라는 공통점과 아울러 신화와 관련된 회화가 존재하고 있는 특징이 있다. 때문에 먼저 2편의 신화를 ‘주인공의 혈통’, ‘능력과 공업의 성취’, ‘신성의 획득’이라는 세 가지 측면에서 신화 자체에 대하여 분석하여 보고, 둘째로 단군신화를 주제로 주인공인 ‘단군’을 1910년 지운영이 묘사한 ‘단군영정(檀君影幀)’과 김알지 신화에서 김알지의 탄생을 주제로 1636년 조속이 그린 ‘금궤도(金櫃圖)’에 대한 설명과 그림 속의 신화적 상징들의 철학적 해석을 통하여 그림 자체의 이해는 물론 신화가 회화적으로 재해석될 때 신화의 원형이 그림에 어떻게 반영되는가를 고찰하여 보았다. 셋째로 두 가지 신화가 기술될 때나, 회화적으로 재해석 될 때의 시대상황을 고찰하였는데 이를 통하여 건국과 관련된 신화가 건국당시의 시대상황과 정신이 반영됨은 주지의 사실이나, 문자로 기술되고, 회화로 재해석되어 표현된때에도 시대적요구와 필요성으로 인하여 신화가 다시금 부각되어 민족의식의 고취와 단합을 위한 방편으로 활용되었음을 고찰하고 있다. Mythology encompasses idea, culture, philosophy and history of the nation. Especially, the birth myth is the symbol of social situation at the time by including its national spirit and life conditions. Moreover, when the nation faces hardships, mythology particularly plays the pivotal role to overcome them by arousing national consciousness and unity. In this sense, it is of vital importance to study the myths on founding nation. The research focuses on ‘Dangun Myth’ and ‘Kim Alji myth’ which are widely known in Korea. Two myths have a concomitant feature other than being stories on establishing a country: there are paintings for both of them. The research firstly analyzes the mythology itself in the aspects of the main character``s ancestry, achievement of ability and acquisition of sanctity. Secondly, it makes an interpretation of the two paintings which depicted specific myths. ‘Dangun portrait’ is about ‘Dangun Myth’ and was painted by Ji Woon Young in 1910. On the other hand, ‘Geumgwetao’ is about ‘Kim Alji myth’ and was painted by 조속 in 1636. The research boost understanding of the two paintings by philosophically analyzing the mythological symbols in terms of the state of their periods. Furthermore, it considers how mythological archetypes were reflected in paintings when the myths were pictorially reinterpreted. Lastly, the research contemplates spirit of the age when the two mythologies were described and pictorially reinterpreted. The research finally makes a conclusion that the birth myth is utilized to stir up national awareness and ethnic unity even when it is described in words and expressed in paintings although it is a matter of common knowledge that birth myth involves certain mentality of a period.

신라 왕실 삼성(三姓)의 연원

김기흥(Kim Ki-Heung) 한국고대사학회 2011 韓國古代史硏究 Vol.0 No.64

신라의 김씨는 진흥왕대에 대중국 외교 관계에서 처음 사용되었다. 『北齊書』에 보이는 신라왕 ‘김진흥’은 ‘왕인 진흥’으로 ‘김’은 ‘왕’의 의미이다. 김씨 왕실의 바로 앞에 있었던 다른 부계 혈통의 ‘예전 왕’들은 ‘옛 왕’ 즉 ‘석김(昔金)’에서 왕을 나타내는 ‘김’을 피하고 석(昔)만을 남겨 구분한 듯하다. 석씨에 앞서 집권하였던 왕실 계통은 시조 혁거세의 이름에 보이는 ‘광명’의 의미를 취하여 ‘박’이란 성씨로 구별하였다. 三姓은 석씨계 집단의 도태 후에 칭해진 것으로서 씨족이나 족단들이 준별되는 상태에서 賜姓하여 준 것이 아니었다. 기존 왕계에 따라 성씨를 나누고, 왕실과 친연관계가 있는 귀족들에 대하여는 부계 혈연관계에 따라 구분하여 가다가 결국 상대적 친소정도에 의해 성씨를 구별하였던 것이다. 그런데 이들 지배층은 누대의 정치적 연합과 통혼관계를 통하여 복합적인 혈연관계를 형성하고 있었다. 이에 중고기 성골왕실의 근친혼이 강화되며 권부의 핵심에서 도태되었던 박씨계에 대해 김씨계는 여전히 혈연적 유대감을 갖기도 하였다. 김씨 왕비가 대외적으로 박씨를 칭하기도 하고, 신라 말에는 김씨였을 가능성이 있는 신덕왕이 박씨를 칭하는 일도 나타났다. 신덕왕은 견훤이나 궁예 등이 신성한 자임을 선전하는 중에 신라 왕실의 권위를 다시 세우고자 퇴락한 김씨왕계 대신 신라 초기 왕계인 박씨의 원손임을 천명하는 복고적 행태를 보였다. 한편, 김씨의 경우 7세기에 이르러 김알지 이외에 중국의 신화적 제왕인 소호금천씨를 시조로 보는 인식이 나타났다. 국제화의 진전 속에 왕실의 위상을 제고하기 위한 정체성의 확대 시도이며, 아울러 국가 중추세력으로 등장한 가야계 김씨까지를 포괄하기 위한 것이었다. 시조를 중국의 신화적 존재로 설정하게 되자 중국의 김씨 시조인 김일제도 먼 일족 정도로 인식할 수 있게 되었다. ‘대당고김씨부인묘명’에는 소호금천씨를 세조로 김일제를 원조라고 하고 그의 후손들이 요동에 피난한 양 말하였다. 그런데 김씨부인이 중국내에 본관을 둔 ‘경조(京兆) 김씨’ 임을 분명히 하고 중국내 연원 관계를 강조하고 있다. 따라서 이 묘명의 성씨 관련 내용은 재당 신라계 귀화인들의 경계인적 사고방식에서 적극 윤색된 것으로 신라 김씨 왕실의 연원을 그대로 말한 것으로 볼 수 없다. Kim, one of the three House names(Kim, Seok, Park) that were used by members of the Shilla royal family, seems to have been used for the first time in 565, by King Jin’heung-wang in his diplomatic dealings with China. At the time, the full and formal name that was used to refer to the Shilla king in diplomatic occasions was ‘Kim Jinheung.’ From the fact that such title literally meant ‘King Jin-heung,’ we can see that the term ‘Kim’ actually had the meaning of ‘King.’ It seems that the houses which provided former kings(which would make them ‘former royal families’), yet now stripped of power and shut out by the Kim House members, were not allowed to use the name ‘Kim,’ as such last name would falsely indicate that they were the present house in power making kings. They may have only been allowed to use the name ‘Seok-Kim(昔金),’ which would have meant ’Past king’ with the prefix ‘Seok(昔),’ while ‘Kim’ alone would be the equivalent of ‘(Present) King.’ Meanwhile, the descendants of kings and Houses which predated the ‘Seok’ kings and its house were also present at the time, and have been part of the Shilla dynasty’s central nobility class for quite some time. They were not to be referred to as ‘Seok.’ So they distinguished themselves with the last name ‘Park,’ which reflected the meaning of the term ‘Gwang’myeong(“light”)’ that can be found inside the Founder Hyeok’-geo‘se’s name. (‘Hyeok’geo‘se’ is usually referred to as “Park Hyeok‘geo’se”). Then in the 7th century, a new perspective to view the name Kim started to emerge. Unlike the previous thinking which believed that Kim Al-ji, the origin of the last name Kim, was the beginning of the house, the new idea came to argue that the mythical emperor of China, ‘Soho Geumcheon,’ was the true beginning and origin of the Kim house family members. This seems to have been a result of the Shilla government’s overall efforts to lift the status of the king and also enhance its importance in the process, as it became necessary for the Shilla dynasty to boost its image and establish its prowess throughout the East Asian region. Once the founder of the House name Kim was established as an ancient and also mythical being from China’s past, another historical figure named Kim Il-je(金日?), the origin of the Chinese last name Kim and whose origin can also be traced to the Huns(‘匈奴’), came to be considered as a distant relative of the Shilla royal family as well, and even be recorded in Shilla epitaphs. This caused a debate concerning the matter of whether or not the Shilla royal Kim family was related to the Hun tribes, yet the possibility of the Shilla Kim house descending from the Huns is nearly nonexistent.

朴·昔·金 시조신화의 대비를 통화 본 新羅 始祖 관념의 형성 단서

서철원 동국대학교 WISE(와이즈)캠퍼스 신라문화연구소 2012 新羅文化 Vol.40 No.-

The purpose of this paper is to reconstitute the process of formation of thinking the birth myth of Silla by the contrast about three royal family: Park, Seok and Kim. Other studies also show the way like this contrast. But here were some other options. we do not saw the three myth text was completion at first. We are committed of each other independent meanings of them. That appears these three myths that grounds the same meaning to each other repeatedly. As noted in previous studies, We didn’t say that they were complementary to each other. In other words, The three founders of Silla's surname was derived based on the complementary relationship. Instead, we must look to those that appear over and over again from them. Seonghan is the presence of the founder of Silla. Thus, chasing his identity is less important tasks. More importantly, the points between the founders of three royal family and the Seonghan, the founder of Silla are recurring. Furthermore, among the elements of interest is more important than the similarities.

신라금관의 완성과 마립간기 신라정치 - 자비․소지 마립간기를 중심으로 -

김정희 동국대학교 WISE(와이즈)캠퍼스 신라문화연구소 2020 新羅文化 Vol.57 No.-

The golden crowns of Silla are particular artifacts excavated only in large wooden chamber tombs with a stone mound in the Gyeongju area during the Maripgan period, having close connections with the politics of Silla. This study set out to investigate the golden crowns of Silla that appeared at the stage of Grand Tomb of Hwangnam and the aspects of politics in Silla during the years when the golden crowns were completed. During the latter part of Maripgan period, five golden crowns of Silla were made including three in the vertical form with a perpendicular Suji and two in the vertical form going astray and completed the regular form of Silla's crowns. Politically speaking, Silla was on the war basis in preparation of its war against Goguryeo after its separation from Goguryeo, building fortresses and reforming its systems. They constructed a new palace and held religious rituals and events in the process of pushing forward all kinds of reform, which reinforced the royal authority further. The present study analyzed the icons of Silla's golden crowns and interpreted that the icons expressed on Silla's crowns told the myth of Kim Al-ji. The study focused on frequent ritual events including the construction of a new palace during the reign of King Soji and estimated the functions of a golden crown in relation to such rituals. The construction of a Singung (神宮) during the reign of Soji Maripgan was an event that publicly announced that the clan and royal authority of Kim, who succeeded in the transmission of regal power by heredity, held absolute superiority over the clans of Park and Seok and thus complete dominance over the ritual power. The main god of the Singung was Kim Al-ji, who had a myth expressing the identity of the Kim clan right during the Maripgan period. The myth of Kim Al-ji was reproduced at the religious service ceremonies held at the Singung. The Kim family with its royal authority displayed their sacred regal power through such ritual acts, inducing voluntary obedience and cooperation from other powers including their clan members. The golden crowns of Silla used at such rituals contained elements that showed the sacredness of the Kim family's royal authority or icons that connected the myth of Kim Al-ji and the royal authority of the Kim family to the Heaven. The golden crowns of Silla were very political as they showed the world the identity and sacredness of the Kim family and their royal authority and were a splendid symbol of Silla's new proud status equal to that of Goguryeo unlike its earlier status as a vassal to Goguryeo during the early days of Maripgan period. These findings indicate that Silla succeeded in getting independence from Goguryeo and reinforcing its royal authority during the Maripgan period, thus putting on an opening act to a full-blown centralized state. Created in this process, the golden crowns of Silla were the most splendid political and cultural products that embraced their periodic roles beautifully.