중앙아시아 고대 암각화와 고구려 고분벽화의 주제 및 양식 비교 연구
Comparative Research between the Ancient Petroglyph in Central Asia and the Ancient Tomb Mural in Koguryo in Terms of Theme and Style
0
조회
0
다운로드
4
인용
0
참고문헌
키워드
초록
The writer found out, in carrying out field investigation of the petroglyph in Central Asia in prehistory and ancient period(B.C. 2C~A.D. 8C) so far, that some figures are similar to the ancient tomb mural in Koguryo in terms of theme and style. In the ancient petroglyph in Central Asia, hunting drawing, carriage drawing and armed soldiers and battle drawing, which have been drawn traditionally since the Bronze Age, are produced based on a new aesthetic view. However, in the ancient tomb mural in Koguryo produced in the same period, horse-riding hunt drawing, cow and horse pulling carriage, armed-horse warrior and horse-riding battle drawing can also be seen. Review of the feature of these drawings one by one revealed the difference with the previous age and the homogeneity with the contemporary age. The differences are that the viewpoint to capture objects in respect of material interpretation is changed from multi-viewpoint to single-viewpoint, that the spatial concept like up and down and left and right is established based on horizontal line, and that unprecedented new theme appears. Homogeneity is that the lifestyle of hunters and nomadic people, the world of material culture like living apparatus and the content to be able to investigate the international relations and social situations become the theme. The homogeneity available in both styles is that the sense of speed is realized in each form, that the space is composed based on the horizontal line and that the story is introduced in the screen. These very features are the universality of antient arts in central Asia and show that the ancient tomb mural in early Koguryo and the arts in Northern region are the same linage. In other words, the hunt drawing, the carriage drawing, armed-horse soldiers and battle drawing in the ancient tomb mural in Koguryo are not the mid-land lineage, but assume the elements of hunting and nomadic people's culture heavily.
Abstract
The writer found out, in carrying out field investigation of the petroglyph in Central Asia in prehistory and ancient period(B.C. 2C~A.D. 8C) so far, that some figures are similar to the ancient tomb mural in Koguryo in terms of theme and style. In the ancient petroglyph in Central Asia, hunting drawing, carriage drawing and armed soldiers and battle drawing, which have been drawn traditionally since the Bronze Age, are produced based on a new aesthetic view. However, in the ancient tomb mural in Koguryo produced in the same period, horse-riding hunt drawing, cow and horse pulling carriage, armed-horse warrior and horse-riding battle drawing can also be seen. Review of the feature of these drawings one by one revealed the difference with the previous age and the homogeneity with the contemporary age. The differences are that the viewpoint to capture objects in respect of material interpretation is changed from multi-viewpoint to single-viewpoint, that the spatial concept like up and down and left and right is established based on horizontal line, and that unprecedented new theme appears. Homogeneity is that the lifestyle of hunters and nomadic people, the world of material culture like living apparatus and the content to be able to investigate the international relations and social situations become the theme. The homogeneity available in both styles is that the sense of speed is realized in each form, that the space is composed based on the horizontal line and that the story is introduced in the screen. These very features are the universality of antient arts in central Asia and show that the ancient tomb mural in early Koguryo and the arts in Northern region are the same linage. In other words, the hunt drawing, the carriage drawing, armed-horse soldiers and battle drawing in the ancient tomb mural in Koguryo are not the mid-land lineage, but assume the elements of hunting and nomadic people's culture heavily.
참고문헌 (60)
- "三國史記", ~
- 김정배, "몽골의 암각화" (1998), 열화당
- 과학백과사전출판사, "조선 원시 및 고대 사회의 기술 발전" (1984), 과학백과사전출판사
- 동북아역사재단, "중앙아시아의 바위그림" (2007), 동북아역사재단, 러시아과학아카데미 물질 문화사연구소
- 동북아역사재단, 몽골과학아카데미 고고학연구소, "몽골 고비 알타이의 암각화" (2008), 동북아역사재단
- 동북아역사재단, "史記 外國傳 譯註" (2009), 동북아역사재단
- 이난영, "한국의 마구" (1999), 한국마사회 마사박물관
- 안휘준, "고구려 회화" (2007), 효형출판
- 임동권, "한국의 마상무예" (1997), 한국마사회박물관
- 전호태, "고분벽화로 본 고구려 이야기" (1999), 풀빛
- 乌恩岳斯图, "北方草原考古學文化比較硏究" (2008), 科學出版社
- 加茂儀一, "東アジアの馬とその文化. 騎馬民族とは何か" (1975), 每日新聞社
- 宮脇淳子, "モンゴルの歷史" (2002), 刀水書房
- 藤川繁彦, "中央ユーラシアの考古學" (1999), 同成社
- 奥野正男, "鐵の古代史 3- 騎馬文化" (1990), 白水社
- 沢田 勳, "匈奴" (2004), 東方書店
- 耿鐵華, "중국인이 쓴 고구려사ㆍ상" (2004), 고구려연구재단
- 고마츠 히사오, "중앙아시아의 역사" (2005), 소나무
- 니시노 히로요시, "말과 황하와 장성의 중국사" (2007), 북북서
- A. 야페, "미술과 상징" (1983), 열화당
- A. 하우저, "문학과 예술의 사회사" (1976), 창작과 비평사
- E.H. 곰브리치, "서양미술사" (2002), 예경
- E.Jacobson, "망자는 어디에 있는가? 청동기 시대 몽골 알타이 암각화 해석 연구, 세계의 바위그림, 그 해석과 보존" (2010), 동북아역사재단
- E.V. 뻬레보드치꼬바, "스키타이 동물양식" (1999), 학연문화사
- 루돌프 아른하임, "미술과 시지각" (1982), 홍성사
- 에릭 힐딩거, "초원의 전사들" (2008), 일조각
- 요코야마 유지, "선사예술기행" (2005), 사계절
- 파울 클레, "현대 미술을 찾아서" (1979), 열화당
- 하인리히 뵐플린, "미술사의 기초 개념" (2000), 시공사
- 이인철, "4~5세기 고구려의 무기․무장과 중장기병. 고조선․고구려․발해 발표 논문집" (2005), 고구려연구재단
- 권영필, "돈황 벽화 연구 방법 시탐", 미술사학, 4 (1992)
- 장석호, "이흐 두를지․팔로 암각화의 사람형상에 관하여. 몽골의 암각화" (1998), 열화당
- 장석호, "술렉크스카야 바위그림 연구", 한국암각화연구, 2 (2000)
- 장석호, "페치쉐 강변의 암각화", 중앙아시아연구, 6 (2001)
- 장석호, "한국 선사 시대 암각화의 양식 연구－대곡리 암각화를 중심으로－", 역사민속학, 16, pp.327~352 (2003), 한국역사민속학회
- 장석호, "한국 선사 시대 암각화에 나타난 형상성의 특징에 관한 문제. 시각 예술에서 이미지란 무엇인가" (2003), 눈빛
- 장석호, "조형 예술을 통해 본 한국과 몽골의 상관성. 한․몽 관계의 재조명" (2009), 동북아역사재단
- 전호태, "고구려고분벽화 연구문헌분류와 검토", 역사와 현실, 12 (1994), 한국역사연구회
- 정동민, "고구려고분벽화에 나타난 중장기병의 변화와 운용 형태", 석사
- 빌프리드 자이펠, "이집트 미술의 법칙과 그 시작. 파라오와 미라" (2009), 국립중앙박물관
- D. 체벤도르지, "고비 알타이 아이막 바양 올 솜 암각화의 세계. 몽골 고비 알타이의 암각화" (2008), 동북아역사재단
- M. 쳉겔, "고비 알타이 아이막 바양 올 암각화의 마차 그림. 고비 알타이의 암각화" (2008), 동북아역사재단․몽골과학아카데미 고고학연구소
- M. 킬루노브스카야, "투바 바위그림의 세계. 중앙아시아의 바위그림" (2007), 동북아역사재단, 러시아과학아카데미 물질문화연구소
- N.A. 보코벤코, "하카스코-미누신크 분지의 바위그림. 중앙아시아의 바위그림" (2007), 동북아역사재단, 러시아과하가카데미 물질문화연구소
- S,キ゛ーディオン, "永遠の現在:美術の起源" (1968), 東京大出版會
- Kubarev, V. D., "Repertoire des petroglyphes d'asie centrale fascicule №3: Kalbak-Tash Ⅰ" (1996), Paris
- Okladnikov, A. p., "Olen' zolotyie roga", ~ (1964)
- Okladnikov, A. p., "Petroglifyi Chentral'noi Azii" (1980), Nauka
- Stolyar, A., "Proiskhozdenie izobrazitel'nogo iskusstva", ~ (1985)
- Dorj, D., "Petroglifyi Mongolii" (1975), IIAN MNR
- Novgorodova, E. A., "Mir petroglifov Mongolii" (1984), Nauka
- Vadechkaya, E. B., "Tashtyikskaya epokha v drevnei istorii sibiri" (1999), IIMK RAN
- Bryikina, G. A., "Srednyaya Aziya i Dal'nii Vostok v epokhu srednevekov'ya", ~ (1999)
- Khimik, I. A., "Khudozestvennaya kul'tura pervobyitnogo obshestva", ~ (1994)
- Devlet, M. A., "Petroglifyi na kochevou trope" (1982), Nauka
- Novozenov, V. A., "Naskal'nyie izobrazeniya povozok srednei I chentral'noi Azii" (1994), Argumentyi I Faktyi Kazakhstan
- Mirimanov, V. B, "Malaya istoriya iskusstv- Pervobyitnoe i tradichionnoe iskusstvo" (1973), Iskusstvo
- Maslov, V. E, "Odatirovke izobrazenii na poyasnyikh plastinakh iz Orlatskogo mogil'nikakh, Evraziiskie drevnosti" (1999), RAN IA
- Volkov, V. V, "Olennyie kamni Mongolii" (2002), Nauchnyii mir
- Samashev, Zainolla, "Petroglifyi Kazakhstana" (2006), Uner