고전기 아티카 예술에서의 신성의 시각화: 신과 신상, 인간의 이미지
Visualization of Divinity: The Images of Gods, Statues and Worshippers in Classical Attic Art
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고대 그리스 신화와 미술에서 신상에 관한 연구는 고전미술의 역사와 그 맥을 같이 했다고 할 수 있을 정도로 오래된 주제이다. 전통적으로 그리스 다신에 대한 도상(학)적 접근이 이러한 주제에 있어서 연구의 주를 이루었던 것에 비해서, 최근에 이 주제가 문헌학과 고고학, 인류학 등과 같이 고대 그리스 사회를 이해하기 위한 다양한 학문적 접근을 통해 재조명되고 있는 것은 주목할 만하다. 본 논문에서는 이러한 다양한 자료를 통해 그리스의 다신이 어떻게 시각적으로 재현되었고 그 결과물인 신상이 숭배자들에게 어떻게 인식되었는지를 살펴보고자 한다. 구체적으로는, 그리스인의 사고에서 신상이 탄생하게 된 배경과 신의 형상을 시각화하는 원리와 방식, 신상의 종류를 고고학과 문헌증거를 통해 살펴보고, 고전기 아티카의 미술에 재현된 신상의 이미지를 대상으로 신상에 대한 그리스인들의 태도를 추론해 보고 성소와 신전에 봉헌물로 기능하던 봉헌부조에 재현된 신과 신상, 숭배자의 도상을 분석하고자 한다. 끝으로 이러한 고찰을 통해 미술에 반영된 고대그리스인들의 종교관을 유추해 보고 그리스종교에서 설정된 신과 신상, 그리고 인간(숭배자)의 관계에 대해서도 통찰해 보고자 한다.
Abstract
In ancient Greek religion, the principle of anthropomorphism characterized the Greek gods, assimilating them into mortals in bodies and personalities through the means of epithets and personification. The worshippers practiced rituals, made sacrifices and votive offerings to the gods to pray and offer thanks for their goodwill. The religious interactions between the divine and the worshippers were materialized by the visualization of the divine. It mattered to the Greeks that they “could see” the divine, and the latters were depicted in a number of visual forms, in which they were believed to exist. These were aniconic (e.g., symbols), semi-iconic (e.g., herms), and theriomorphic (e.g., Pan) forms as well as anthropomorphic statues called agalmata. The statues were usually located in sanctuaries or temples, and functioned as cult images or votive offerings. In the classical period, the religious notion that the cult statues were regards as sacred-as the divine themselves-is verified by the iconographical phenomena in some Attic vase-paintings. In them one finds that the image of the Parthenon created by Phidias in 438 BCE substituted the figure of Athena and “living” Artemis was represented as a statue. The visual ambiguity (or fusion) in the representations of the gods and their statues is witnessed frequently in the Attic votive reliefs that depicted worshippers practicing rituals in front of gods in their sanctuary or temple. The architectural frames of the votive reliefs referred to the place of cult activities, and the figures of gods referred to the cult statues. However, the gods in the Attic votive reliefs seemed more like living statues than those in marble, as they gazed at the worshippers’ rituals and reacted to their activities. Furthermore, the gestures of the worshippers alluded to the interaction with the gods. The repertories of the Attic votive reliefs attest to the religious notion that the Greeks in the temples or sanctuaries saw not just the statues of gods in stone but faced the divine and prepared to react to them. In ancient Greek religion and art, the unseen gods are brought into being by visualizing divinity and displaying reciprocal relationships between immortals and mortals. Through the medium of statues, in particular, the Greeks embodied the existence of the polytheoi materially and the worshippers maintained the devices with which to communicate with gods individually. The Greek notion of visualizing the divine reveals an aspect of the human-oriented thought in the classical period.
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