A Specificity and Narrative Structure of the Russian Iconostasis and Korean Amrtakundalin(amrita painting, 甘露幀畵)

러시아 이코노스타시스(iconostasis)와 한국 감로탱화(甘露幀畵)의 특수성과 서사구조

The Russian icon and Korean tangwha (幀畵, altar portrait of Buddha) are based on the similarity of the divine Being. Each has the characteristic index that forms an existential connection with the object and at the same time, implies the symbolic meaning of the scriptures and doctrines of the Russian Orthodox and Buddhists. Russian icon and Korean tangwha with these attributes have origins in the Byzantine, India and China. Unlike most religious art, Russian icon and Korean tangwha clearly reveal profane orientation and mystical elements. This artistic phenomenon has evolved from the mystical religious culture in Russia and tantric rituals of the early Joseon period. Iconostasis, created from historical figures of the Old Testament, Jesus, the New Testament represent the principles of the macrocosm. Each icon of iconostasis has integrity, while each floor has another narrative and a meta-discourse on the entire composition. Three-Platforms of amrtakundalin can also have a huge epic that is directed from the Low-Platform to the High-Platform for the purpose of salvation. While the narrative of iconostasis has a time structure, from the beginning of the universe up to date in chronological time, amrtakundalin have pictorial transitions of time and space that rises from this life to a heavenly world. Despite the different world views of the Russian Orthodox and Buddhists, iconographical format and symbolism of heaven and hell in the Iconostasis, Last Judgment and amrtakundalin are similar. There is a constant antagonism between heaven and hell, light and darkness, water and flame. Iconographical contents include the water of life and nectar, the book of life and 'eoppu', and the scales and mirror of Karma that discriminate between the good and evil before judgment. The dualistic coordinate concept such as light and darkness, life and death, or heaven and hell that appears in the narrative structure of iconostasis, the Last Judgment and amrtakundalin leads the people to spiritual awakening.

이 글에서는 러시아정교회의 이코노스타시스와 한국 감로탱화의 특수성과 서사구조를 비교 고찰하였다. 1장에서는 일반 종교회화와 다른 이콘과 탱화의 도상-지표적 특성을 바탕으로 두 종교예술의 공통점을 살펴보았다. 2장에서는 러시아 종교문화의 이원론적 구조에서의 일원론적 성격, 한국 불교의 밀교적 성격을 토대로 러시아 이콘과 한국 탱화의 현세 이익, 신비적 속성을 보았다. 3장에서는 1-5단의 이코노스타시스와 상,중,하 3단의 감로탱화의 서사구조의 유사성을 바탕으로 이코노스타시스와 감로탱화에 담긴 시공간성과 내세에 대한 세계관을 탐구하였다. 과거, 현재, 미래와 천상, 현세, 지옥이 공존하는 감로탱화의 하단의 특징과 러시아정교회 성당 안에서 이코노스타시스와 마주보고 있는 최후의 심판 벽화를 비교하였다.