무갈 회화 상징주의 연구: 제한기르 시대 회화의 신성화(神聖化)를 중심으로
Study on the Symbolism of Mughal Painting: focus on the Sanctification of Mughal Painting during Jehangir’ Reign
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초록
무갈 회화의 시작은 색감을 중시했던 인도 고유의 특성과 섬세한 선이 특성인 페르시아 양식의 결합에서 시작되었다고 할 수 있다. 아크바르 시대 회화의 특성은 아크바르의 개인 취향을 반영하였다. 초기 회화는 모험담이나 우화집 같은 이야기들을, 후기 회화는 이슬람 역사서나 자신의 조상들의 역사서를 그림으로 그리게 하였다. 무갈 시대 회화에 상징물과 그것으로 인한 상징성이 본격적으로 도입이 되는 것은 제한기르 시대 때부터이다. 아크바르 시대부터 무갈 조정을 오가던 예수교 선교사들이 가져 온 르네상스 시대의 여러 종교화의 내용을 무갈의 화가들이 채택하여 왕권 강화 등을 위한 수단으로 사용하기 시작하였다. 여기에 유럽 기독교의 상징물에 많은 관심을 보였던 제한기르가 그 상징물을 자신의 왕권 강화, 더 나아가 왕권의 신성화라는 측면까지 이용하였다.
Abstract
The beginning of Mughal painting is from the mixture of Indigenous nature which has focused on bright colour and Persian character which has more concentrated on line. The feature of early Mughal painting during Akbar's reign is that it reflects the ruler's personal character. When he was young, he likes the stories of adventures or fables. But as he gets old, he prefers historical or rational things. It is only Jehangir time when the allegorical or iconographical motifs and meaning were introduced on the paintings. The Mughal court painters has adopted and used the Renaissance paintings or prints brought by the Jesuits who has come and gone to the Mughal courts according to their own purpose like the justification of sovereignty. In addition to this, Jehangir showing much interested in the symbolic motifs has utilized the paintings for himself to the level of sanctification.
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