지원사업
학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
커뮤니티
연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
논문 기본 정보
- 자료유형
- 학술저널
- 저자정보
- 저널정보
- 한국교회사연구소 교회사연구 敎會史硏究 第56輯
- 발행연도
- 2020.6
- 수록면
- 321 - 359 (39page)
- DOI
- 10.35162/rfkch.2020.06.56.321
이용수
초록· 키워드
오류제보하기
The ‘Angel in the Byzantine imperial costume’ is one of the very unique drawings developed by Byzantium art, which is very alien and unfamiliar from the perspective of Western European Art history. This study included Koimesis church in Nicaea, Hagia Sophia Cathedral in Constantinople, Haçlı kilise in Cappadocia, and the Homily of St. Gregory of Nazianzus(BNF MS Gr. 510). This study reveals the background and purpose of the production of the image at the political and religious level, as well as the pictorial meaning of the new angel painting of Byzantium.
The appearance of an angel in Byzantine imperial costume is complicated by the political and religious situation in the Byzantium world surrounding the Iconoclastic Controversy.
After the Iconoclastic Controversy, the Byzantium Church hoped the emperor would become an ideal monarch, and it was reflected in its image as an angel in the Emperor’s robes. Through this image, the message is conveyed that the emperor is an exemplary monarch, a special being blessed and protected by God, and a hero of orthodox Christian protection and a prophet who delivers God’s word. Behind these messages of eulogy, however, is the premise of the emperor’s responsibilities. In other words, it contains a just message that the emperor of Byzantium is the angel of God and should act accordingly. The new angel painting is the ideal image of an emperor, which, after all, coincides with the image of an emperor the church wants. The symbolic meaning of Nicaea is that the center of history is Jesus Christ, and that the emperor should serve the people. The splendid robes of the emperor do not glorify the angels, but rather emphasize that the emperor serves as an angel. The mosaic of Hagia Sophia visualizes the emperor as an angel of Christ and a servant of Christ. It means that the emperor is not the ruler, the persecutor of the church, or the one who goes against the orthodoxy of the church. It is the emperor’s duty to defend the Christian truth, protect the Church, and eradicate heresy. Byzantium’s new angel statue also conveys a message of reconciliation and unity. The Iconoclastic Controversy left scars of deep division in Church and Empire. After the end of the Iconoclastic Controversy, the Byzantine Empire needed to reestablish relations between politics and religion, and the image of an angel in the emperor’s robes was reintroduced to the church as an image of harmony overcoming division.
The appearance of an angel in Byzantine imperial costume is complicated by the political and religious situation in the Byzantium world surrounding the Iconoclastic Controversy.
After the Iconoclastic Controversy, the Byzantium Church hoped the emperor would become an ideal monarch, and it was reflected in its image as an angel in the Emperor’s robes. Through this image, the message is conveyed that the emperor is an exemplary monarch, a special being blessed and protected by God, and a hero of orthodox Christian protection and a prophet who delivers God’s word. Behind these messages of eulogy, however, is the premise of the emperor’s responsibilities. In other words, it contains a just message that the emperor of Byzantium is the angel of God and should act accordingly. The new angel painting is the ideal image of an emperor, which, after all, coincides with the image of an emperor the church wants. The symbolic meaning of Nicaea is that the center of history is Jesus Christ, and that the emperor should serve the people. The splendid robes of the emperor do not glorify the angels, but rather emphasize that the emperor serves as an angel. The mosaic of Hagia Sophia visualizes the emperor as an angel of Christ and a servant of Christ. It means that the emperor is not the ruler, the persecutor of the church, or the one who goes against the orthodoxy of the church. It is the emperor’s duty to defend the Christian truth, protect the Church, and eradicate heresy. Byzantium’s new angel statue also conveys a message of reconciliation and unity. The Iconoclastic Controversy left scars of deep division in Church and Empire. After the end of the Iconoclastic Controversy, the Byzantine Empire needed to reestablish relations between politics and religion, and the image of an angel in the emperor’s robes was reintroduced to the church as an image of harmony overcoming division.
목차
국문초록
1. 들어가는 글
2. 황제의 예복을 입은 천사
3. 도상학적 의미
4. 나오는 글
참고문헌
ABSTRACT
참고문헌 (33)
참고문헌 신청
Brubaker, L. / 1985 / Politics, Patronage, and Art in Ninth Century Byzantium : The Homilies of Gregory of Nazianzus in Paris
Deshman, R. / 1980 / The exalted servant : The ruler theology of the prayerbook of charles the bald / Viator 11
Christos Hatzopoulos / 2016 / A Diachronic Discussion of the Development of the Relationship Between Basileus and Patriarch in Byzantium / Diss
Grabar, A. / 1936 / L’Empreur dans l’art byzantin
Held, H.-G. / 1995 / Engel / Dumont
Deshman, R. / 1980 / The exalted servant : The ruler theology of the prayerbook of charles the bald / Viator 11
Christos Hatzopoulos / 2016 / A Diachronic Discussion of the Development of the Relationship Between Basileus and Patriarch in Byzantium / Diss
Grabar, A. / 1936 / L’Empreur dans l’art byzantin
Held, H.-G. / 1995 / Engel / Dumont
함께 읽어보면 좋을 논문
논문 유사도에 따라 DBpia 가 추천하는 논문입니다. 함께 보면 좋을 연관 논문을 확인해보세요!
-
중세 비잔티움 제국 황제의 품격과 리더십: 10-13세기 로마 황제는 어떻게 정당한 군주로 만들어졌는가?
서양중세사연구
2019 .01
-
일제강점기 초등교과서에 표상된 明治天皇 : 조선총독부 편찬 ‘역사교과서’를 중심으로
일어일문학
2017 .05
-
A Comprehensive Analysis of the Research of Chinese Five Emperors Era from the Perspective of Its Systematic Historical Literature
한중언어문화연구
2015 .06
-
고려 무인정권기 명종의 현실인식과 정치운영
한국사연구
2015 .03
-
천사 숭배 논쟁 ‐ 골로새서와 유다서를 중심으로 ‐
장신논단
2020 .12
-
황실 터부와 표현의 부자유 -오에 겐자부로 ｢정치소년 죽다｣와 후카자와 시치로 ｢풍류몽담｣을 시좌로-
일본연구
2021 .02
-
『백호통의』의 생성과 그 정치적 의미- 황권옹호와 황권제한의 이중구조 -
유학연구
2016 .08
-
The Byzantine Imperial Power and Its Sigillographic Records: Focused on the Images of the Cross during the 8th-10th Centuries
서양중세사연구
2017 .03
-
메이지유신 이후 천황제와 大韓國國制의 비교 -전제군주권적 측면에서-
한국민족운동사연구
2015 .01
-
唐 후기 皇位 繼承의 樣相과 宣宗의 즉위 -長子 명분을 중심으로
중국사연구
2019 .01
-
韓中 두 나라의 異國人假面戱와 ‘貢物 바치기’에 대한 비교 고찰
중국문학
2017 .01
-
근대 천황상 확립과 ‘황도주의(皇道主義)’ 교육에관한 고찰
日本學硏究
2015 .01
-
淸 嘉慶帝의 親政 시작과 人事
이화사학연구
2020 .01
-
唐詩 속 漢武帝 형상에 반영된 皇帝에 대한 비판적 인식
중국어문학논집
2015 .12
-
예이츠의 시에 나타난 현실과 이상의 충돌?비잔티움 시편을 중심으로?
한국 예이츠 저널
2022 .04
-
황제가 동쪽으로 간 까닭은?
종교문화비평
2015 .01
-
초기 유대교의 출처로서의 복음서- 마태복음 18:10과 초기 유대교의 천사 사상
한국기독교신학논총
2020 .04
-
兪晩柱가 만난 李安中-1786년 9월, 남산의 문학청년들-
한국한문학연구
2018 .01
-
Happy Times and/or Good Emperors? How and why did the “Antonine Dynasty” become the Period of “Five Good Emperors” in Chinese Academia?
서양고전학연구
2024 .12
-
The Sublime in Yeats and Eliot
한국 예이츠 저널
2015 .01
이 논문의 저자 정보
이 논문과 함께 이용한 논문
커룹 형상의 제의적 상징성의 변화에 대한 고찰
김영선
Catholic Theology and Thought
2021
.06
천사 숭배 논쟁 ‐ 골로새서와 유다서를 중심으로 ‐
정창교
장신논단
2020
.12
바빌로니아 창조 서사시 〈에누마 엘리쉬〉의 번역과 주해
민영진
신학과세계
1981
.10
창조와 홍수에 관한 성경과 고대 근동문화의 비교 -창세기와 에누마 엘리쉬, 길가메쉬 서사시를 중심으로-
신성자
신학지남
1996
.06
17세기 중-후엽 이스탄불의 마할레(거주 공동체)와 비무슬림: 기독교인 밀집 지역과 관련된 법정문서 사례들을 중심으로
이은정
역사학보
2021
.06
최근 본 자료
댓글(0)
0
UCI(KEPA) : I410-ECN-0101-2020-236-000844262