소그드의 여신 나나 도상의 형성과 변천
The Formation and Transformation of the Iconography of Sogdian godes Nana
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동서교역에 종사하며 문화전달자 역할을 하였던 소그드인들은 조로아스터교를 주종교로 삼았다. 소그드인들이 숭배했던 나나는 원래 조로아스터교의여신이 아니었지만 후대에 소그드인들의 만신전에 포함되어 널리 숭배되었다. 나나여신은 메소포타미아지역에서 탄생한 여신으로 긴 역사동안 풍요와 다산, 미의 여신이자 도시의 수호여신, 왕권의 수여자로 자리매김하였다. 나나여신은 메소포타미아에서 가장 널리 신앙되었던 인안나-이슈타르와 동일신 혹은그 후신이라는 견해도 있지만 본 논고에서는 별개로 발생한 여신으로 보았다. 나나의 가족관계가 인안나-이슈타르와 다른 점, 중기 바빌로니아시대 쿠두루에서 금성의 신 이슈타르와 별도의 신격으로 표현된 점, 그리고 나나의찬가가 별도로 존재한 점 등이 그 이유이다. 소그드의 여신 나나로서 도상이 정립되기 시작한 시기는 쿠샨왕조시기이다. 알렉산더 대왕의 동방원정 이후 헬레니즘 문화가 중앙아시아에 이식되면서 나나는 그리스의 아르테미스, 시벨레, 레아 등의 여신들과 동일시되며 그들의 모습을 차용하여 변모하였다. 쿠샨왕조 시기의 나나도상에는 초생달관을 머리에 쓴 아르테미스형의 나나, 사자 위에 앉은 나나 등이 존재한다. 이후 소그드인이 숭배했던 나나는 쿠샨왕조의 나나와 달리 네 팔이 있으며 성벽관을쓰고 갑옷을 갖춰 입은 채 사자에 앉은 형상으로 변화한다. 나나는 소그드인의 도시국가인 소무구성 내에서 왕국의 수호신 혹은 특별한 역할을 수행했던것 같다. 특히 초라스미아나 펜지켄트 등에서 중요한 신격으로 숭배되었다. 펜지켄트에서 나나는 심판장면, 지옥장면 등과 함께 표현되어 있어 조로아스터교의 신들의 판테온에 유입되면서 내세와 관련된 정체성을 갖게 된 것으로보인다. 네팔을 가진 나나의 형상은 6세기 이후 소그드인들이 인도의 힌두문화를적극 수용했음을 보여준다. 특히 개념화되고 추상화된 조로아스터교의 신들은신상으로 제작되지 않았었는데 소그드인들은 인도의 힌두신 도상을 차용하여새로운 신들의 모습을 창출하였다. 소그드인들은 동서교역의 주역으로 개방적이고 실리를 추구하는 성향을 갖고 있다. 그들의 이러한 성향은 그들의 문화 속에도 반영되어 타 지역의 문화적 자극을 적극 수용하여 자신들의 전통과 결합시켜 고유한 문화적 정체성을만들었다. 나나는 이러한 소그드인들의 문화적 정체성과 경향을 보여주는 특별한 여신이다.
Abstract
The Sogdians, who were engaged in East-West trade and active as cultural transmiters, worshiped Zoroastrianism as their main religion. The goddes Nana worshiped by the Sogdians was not the original goddes of Zoroastrianism, but was later included in the Sogdian pantheon and then was widely worshiped. The goddes Nana was originaly born in the Mesopotamian region. She has long positoned herself as a goddes of abundance, fecundity, beauty, and also as a guardian goddes of the city, and as a conferer of royal authority. It was also thought that the goddes Nana was the same or her future being of Inana-Ishtar, who was the most widely worshiped goddes of Mesopotamia, but this article argued that she had a separate origin. The reasons were that Nana's family relationship was diferent from Inana-Ishtar, and that she was expresed as a separate deity from Ishtar, the god of Venus in the mid-Babylonian Kuduru, as wel as that hymn of Nana existed separately. The time when the icon of Nana began to be established as the goddes of Sogd was the Kushan period. After Alexander the Great's expediton to the East, Helenistic culture was implanted in Central Asia, and Nana was identifed as Grek goddeses such as Artemis, Cibele, and Rhea, and transformed acording to their appearances. In the image of the iconography of Nana in the Kushan Empire, there were Artemis-type Nana with a crescent moon crown on her head, and Nana siting on a lion. Nana worshiped by the Sogdians was transformed in siting on a lion with four arms, wearing armors, and merlon crown unlike Kushan Empire’s Nana. Nana played a role as the guardian or main deity of the kingdom in the Sogdian city-state, Somuguseong, 昭武九姓, the Nine Surnames(tribes) from Somu. She was worshiped as an important deity, especialy in the Chorasmia and Pendzhikent. Nana in Pendzhikent was represented along with the scene of judgment and hel, and it semed to have gained an identiy related to the afterlife as it entered the pantheon of the Zoroastrian gods. The image of Nana with four arms showed that the Sogdians actively acepted Indian Hindu culture since the 6th century. In particular, the conceptualized and abstracted Zoroastrian gods were not made as pagod, but the Sogdians created new gods by borowing icon from the Indian Hindu gods. The Sogdians played the leading roles in East-West trade and had a tendency to be open and practical. This tendency was reflected in their culture, and they actively embraced cultural stimuli from other regions and combined them with their own traditons to create a unique cultural identiy. Nana was a special goddes that showed the cultural identiy and trend of Sogdians.
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