타쉬트이크(Таштык) 동물 양식과 한국 고대 미술의 상관성 연구
A Study on the Tashtyk Style Art and Ancient Korean Art: Focusing on Homogeneity
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초록
This study examines the figurative art of the Tashtyk culture that flourished in the middle Yenisei river basin in Southern Siberia from 1st century B.C. to 4th century A.D. By comparing the Tashtyk style art with ancient Korean art, and by investigating on the area of distribution of the similar relics, this article emphasizes on the homogeneity between these two arts. Similarities, in terms of materials, themes, molding method, and style of art, are reflected on the images of parade, carriage, and Masahi (Horseback archery) of the ancient tombs built in the early Koguryo period. These tombs includes Anak no 3, Tokhung-ri, and Samsilchong. Similarities can also be found in the Cheonmado of Chonemachongs (ancient tombs) of the Silla Dynasty in Gyeong-ju, the Southern part of the Korean peninsula. The Tashtyk style refers to the type of paintings that were discovered in the Tashtyk river bank, a branch of the Yenisei river. It includes the equestrian statues engraved on the wooden plates. The characteristics of Tasktyk style are well-shown in the images of horses. One of the horse’s foreleg is stretching forward, while the other kneeling down, and the hind legs are crossed together. By observing these images, one can sense the pace of horse, and understand whether it’s walking fast or running. This type of drawings were excavated in the old burial mounds built in the Tashtyk period for the first time. Afterwards, similar relics were found in Khakass-Minusinsk Hollow, the shore of Lake Bailkal, Altai Mountains, Southeastern part of Kazakhstan, and inner Mongolia. The images were drawn on top of an imaginary line, and different types of drawing methods such as perspective drawing, scorcio and superimposition were used. As such, the images provide three-dimensional and in perspective picture. This type of style did not exist in the early pastoral age nor even before. However, it was found that similar techniques were used in the ancient Korean art. For instance, in the images of parade, carriage, and Masahi in the mural paintings of early Koguryo period, as well as the Cheonmado of Chonemachong in Gyeong-Ju bear resemblance to Tashtyk style art. In this sense, one can clearly say that the Tashkyt style art reached further to the Southern region of the Korean peninsula. In addition, one can point out the errors that some scholars made by stating that the mural paintings of Koguryo period received an influence from China.
Abstract
This study examines the figurative art of the Tashtyk culture that flourished in the middle Yenisei river basin in Southern Siberia from 1st century B.C. to 4th century A.D. By comparing the Tashtyk style art with ancient Korean art, and by investigating on the area of distribution of the similar relics, this article emphasizes on the homogeneity between these two arts. Similarities, in terms of materials, themes, molding method, and style of art, are reflected on the images of parade, carriage, and Masahi (Horseback archery) of the ancient tombs built in the early Koguryo period. These tombs includes Anak no 3, Tokhung-ri, and Samsilchong. Similarities can also be found in the Cheonmado of Chonemachongs (ancient tombs) of the Silla Dynasty in Gyeong-ju, the Southern part of the Korean peninsula. The Tashtyk style refers to the type of paintings that were discovered in the Tashtyk river bank, a branch of the Yenisei river. It includes the equestrian statues engraved on the wooden plates. The characteristics of Tasktyk style are well-shown in the images of horses. One of the horse’s foreleg is stretching forward, while the other kneeling down, and the hind legs are crossed together. By observing these images, one can sense the pace of horse, and understand whether it’s walking fast or running. This type of drawings were excavated in the old burial mounds built in the Tashtyk period for the first time. Afterwards, similar relics were found in Khakass-Minusinsk Hollow, the shore of Lake Bailkal, Altai Mountains, Southeastern part of Kazakhstan, and inner Mongolia. The images were drawn on top of an imaginary line, and different types of drawing methods such as perspective drawing, scorcio and superimposition were used. As such, the images provide three-dimensional and in perspective picture. This type of style did not exist in the early pastoral age nor even before. However, it was found that similar techniques were used in the ancient Korean art. For instance, in the images of parade, carriage, and Masahi in the mural paintings of early Koguryo period, as well as the Cheonmado of Chonemachong in Gyeong-Ju bear resemblance to Tashtyk style art. In this sense, one can clearly say that the Tashkyt style art reached further to the Southern region of the Korean peninsula. In addition, one can point out the errors that some scholars made by stating that the mural paintings of Koguryo period received an influence from China.
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