선사시대 암각화를 통한 고구려 고분벽화 미의식의 기원에 관한 연구

Abstract

In this study, I found unique Korean aesthetic consciousness through prehistoric petroglyphs and analyzed the aesthetic meaning based on the formative characteristics, which have not been covered in existing petroglyph research. Accordingly, I looked at the animal petrogram of Bangudae, Daegok-ri, Ulsan, the geometric patterns in Cheonjeon-ri, Ulsan, and the deity statues of Yangjeon-dong, Goryeong, as key sculptures in the general development of petroglyphs. I also investigated the correlation with the aesthetic consciousness of Goguryeo tomb murals, which became the basis of Korean art, by analyzing the aesthetic characteristics of the shape of petroglyphs. Prehistoric petroglyphs and Goguryeo tomb murals have characters based on the vitality of life in common. Because Koreans respected the vital principles of nature, they respected divine beings by dreaming of soaring to the sky. Therefore, prioritizing essential spirituality like the sky, they created an abstraction imagining an image like the sky. And since Koreans sought the divine image they had been looking for through their inner heart, it was possible to find their divine image based on fantasy without being immersed in the existing divine image. Koreans expressed the energy of vitality that respects the overflowing life force in animal petrogram, and it emerged the life energy of the origin in the auspicious birds and beasts of the tomb murals by attaching wings to a running animal and adding legs and wings to a fish. In addition, their expression of the mountain with wave patterns in their paintings of hunting resembles the shape of the Cheonjeon-ri wave pattern. It can be seen that they regarded the dynamism of the heart that respects and reveals the life phenomenon based on the principle of harmony between the universe and life as the top priority. They could change the image of bad-luck birds into auspicious ones because they realized the principle of the universe that the sun and the moon push each other to brighten up life and regarded it as a source of greater strength that can overcome bad luck by assigning positive values ​​to the bad luck. It is in line with the aesthetic consciousness of maximizing the energy of life by attempting to dismantle and overturn the image of the existing gods in the deity statues of Yangjeon-dong. In the paintings of Hyeonmu, one of the four directional deities, the tortoise stands for strength, and the snake symbolizes softness. It shows the process of life that achieves change through the act of pushing each other as hard as possible. Paintings of the other three directional deities also concentrate on the expression of ascending to the sky without being confined to the typical animal image. Thus, I could confirm that there is an aesthetic relation between the fact that the statue of the deity occupying a central position in the petroglyphs of Korea has a ritual character and that the shamanistic beings that appear in the tomb murals of Goguryeo dream of flying toward the gods as a human-faced bird based on bird worship.