근대 羽衣 天女 圖像의 변용 : ‘일본’에서 ‘아시아’적 천녀로

Abstract

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)’.