판아테나이아 부상 암포라(Panathenaic Prize Amphora)의 도상과 페이시스트라토스의 연관성 = Peisistratos’ Influence on Canonizing the Panathenaic Prize Amphorae

다국어 초록 (Multilingual Abstract)

Panathenaic prize amphorae were given to the winners of the Panathenaic games. On the obverse of the vase was depicted the typical Panathenaic Athena and on the reverse the game that the prize was awarded. The canonical iconography of Athena on the obverse first appeared around 540 BC, which the present paper tries to show that Peisistratos was influential. Peisistratos became a tyrant in 546 BC. He had earned a reputation already from the victory against the Megarians and the battle at Pallene. However, he was well aware that he needed to satisfy the citizens in a greater extent in order to sustain his tyranny. He focused on revitalizing economy and invested in public sector. He had special interest in reconstructing the Acropolis and reorganizing the festivals, which also had an effect to show his reverence to the gods. The Panathenaic prize amphora was a perfect medium for such function. He seems to have made use of the vase which was circulated around the Mediterranean to advertise his political propaganda. He canonized the iconography on the vase that confirmed the relationship with the goddess as his protectress. Athena depicted on the vase can be identified with Athena Polias that received the peplos at the the culmination of the Panathenaic processions. The two columns on either side seems to represent the temple or the shrine of the goddess. After his death, his sons built a temple known as “the Old Temple of Athena,” and on the pediment of the building represented the gigantomachy, in which Athena fought together with Heracles to win the victory against the giants. Heracles stands for Peisistratos in this representation, and the sculpture of Athena looks very similar to the Athena on the Panathenaic prize amphora.

국문 초록 (Abstract)

판아테나이아 부상 암포라는 아테네의 대표적 축제인 판아테나이아의 운동경기에서 우승자에게 부상으로 주었던 도기이다. 도기의 앞면에는 공식 도상인 아테나 그림이, 뒷면에는 해당 운동경기의 그림이 그려져 있었다. 특히 아테나 그림은 기원전 540년경 정착되는데, 본고는 페이시스트라토스가 이 전형을 만드는데 역할을 했다고 본다. 페이시스트라토스는 기원전 546년 아테네의 참주가 되었다. 이미 메가라와의 전투와 팔레네 전투에서의 승리로 아테네인들에게 신망을 얻은 그였지만, 아테네인들의 지속적인 지지를 받으려면 이것만 가지고는 부족하다는 것을 그는 알고 있었다. 그는 경제를 활성화하고 공공부문에 투자하는데 공을 들였다. 또한, 아크로폴리스를 정비하고 아테네의 제전들을 육성하여 자신의 종교적인 면모도 부각시켰다. 판아테나이아 부상 암포라는 그의 이러한 정치적 의도를 표현한 매체라고 할 수 있다. 그는 지중해 전역으로 유통되었던 판아테나이아 부상 암포라에 자신이 아테나의 수호를 받고 있는 정당한 지도자임을 선전하기 위해 도상을 정형화시켰던 것으로 보인다. 도상에 표현된 아테나는 판아테나이아 제전의 숭배를 받았던 아테나 폴리아스(Athena Polias)이며, 양 옆의 기둥은 아테나 폴리아스의 신전, 혹은 경당(shrine)을 상징한다. 페이시스트라토스는 이 건물과 어떻게든 연관이 되었을 것이다. 그의 사후 그의 아들들은 그를 기리며 아테나 폴리아스 신전을 개축/건축했는데, 그 박공에 아테나와 헤라클레스가 함께 싸운 거인족과의 전투 모티브를 묘사했다. 여기서 헤라클레스는 페이시스트라토스를 대신하며, 아테나 조각상은 부상 암포라의 도상과 매우 유사하다.

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