한화상석(漢畫像石)의 용호좌(龍虎座)에 드러난 서사 다시 읽기 ― 사천(四川) 출토 서왕모(西王母) 도상을 중심으로

초록

This article explores how the collision, conflict, and unity had expressed when different myth, religion, and narrative meet on the pictorial stone during Han dynasty. In this study, I tried to interpret the meaning of the 'Xi-Wang-Mu on the seat of dragon-tiger'(西王母龍虎座), which is the characteristic of the pictorial stone of Si-Chuan area, from the perspective of iconology analysis. During Han dynasty, Han people and indigenous people lived together in Ba·Shu(巴蜀) area, but they did not coexist peacefully. The Han people were in a position to govern, and the indigenous people were in a position to be ruled. This interconnection is appeared on the pictorial stone. The icon of ‘the seat of dragon-tiger with Xi-Wang-Mu’ is a combination of ‘Xi-Wang-Mu’ and the ‘seat of dragon-tiger’. ‘Xi-Wang-Mu on the seat of dragon-tiger’ is the result of the integration of Xi-Wang-Mu, who was worshipped by Han people, and the dragon· tiger totem, which was worshipped by indigenous people of Ba·Shu area. But this integration is a unbalanced combination. The dragon and the tiger, which have been the totem of the native people, appear to be in the position of the supreme divinity, but in the end it is nothing more than a role of a "seat" for the Xi-Wang-Mu. The icon of ‘'Xi-Wang-Mu on the seat of dragon-tiger’ is a politically designed combination, and is the result of the Han people's desire to dominate the indigenous people.

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