선사 및 고대 미술 속 하이브리드 형상 연구
Study on The Hybrid Figures in the Prehistoric and Ancient Arts
0
조회
0
다운로드
2
인용
0
참고문헌
키워드
초록
"Hybrid Figure" is a term used for describing compounds of different kinds and species such as two animals or an animal and human. Hybrid Figure is one of the most interesting things from the ancient or prehistoric arts. This study is to examine the Hybrid Figures, and to classify materials by observing canons of models, and to find out what these embodied. To do these things, we have observed a total of 69 Hybrid Figures. Through this, hybrid forms have been observed in the entire region, made in the stone age. Even now, they have remained as an important position of ruins. The main components of the Hybrid Figures are generally animals' horns; ears and tails including legs of human. In other words, head of animals, which don't have horns or humans are combined with horns and ears; tails of deer or cattle or goats. If this is not the case, human bodies are combined with birds or the symbol of the sun. Among 69 of the Hybrid Figures, 51 of the Hybrid Figures are the compounds of human and animals or symbols, which are 73% of the total amounts. From that, 52% is the compounds of humans and animals, which is 36. The mixture of birds and humans are 5, which is 7.2% of the total amount. Sun and human are all 6, which is 8.6%. The compounds of animals are 15, which is 21.7%. We can classify those things like one that is combined with animals' head and human bodies; one that is combined with "imaginary animals" that is made up of all kinds of animals and human's legs, and one that is combined with humans' head and animals' body. We can classify the compounds of human and birds as a mixture of birds' head and bodies of human or humans' head and birds' bodies. For the compounds of the sun and human, it can be distinguished by one that is made up of a shiny head and human bodies, and one that is mixed with concentric circles and human bodies. Also, mixtures of animals can be classified as animals that basically don't have horns, but have cattle or deer's horn on their bodies; mixtures of birds and animals, those of fishes and birds' wings; those of reptile and horns on their head. From those things, we can call the mixture of animals' head and human legs "Minotauros Type." For the animals that is combined with birds' wings can be called "Griffin Type." Human faces with birds' wings are called "Siren Type." There are diverse opinions on these things like the Figures of God, God of Hunting, the Leader of Tribes, Hunters, and Shamans. Obviously, part of these figures are not only Hunters, but also Shamans. The rest of them are embodied for the figures of the God of Sun. Groups of manufacturing selected the animals part, which has a special ability, and give shape to the ideal creature. The completed figures of all these things are called "Dragons."
Abstract
"Hybrid Figure" is a term used for describing compounds of different kinds and species such as two animals or an animal and human. Hybrid Figure is one of the most interesting things from the ancient or prehistoric arts. This study is to examine the Hybrid Figures, and to classify materials by observing canons of models, and to find out what these embodied. To do these things, we have observed a total of 69 Hybrid Figures. Through this, hybrid forms have been observed in the entire region, made in the stone age. Even now, they have remained as an important position of ruins. The main components of the Hybrid Figures are generally animals' horns; ears and tails including legs of human. In other words, head of animals, which don't have horns or humans are combined with horns and ears; tails of deer or cattle or goats. If this is not the case, human bodies are combined with birds or the symbol of the sun. Among 69 of the Hybrid Figures, 51 of the Hybrid Figures are the compounds of human and animals or symbols, which are 73% of the total amounts. From that, 52% is the compounds of humans and animals, which is 36. The mixture of birds and humans are 5, which is 7.2% of the total amount. Sun and human are all 6, which is 8.6%. The compounds of animals are 15, which is 21.7%. We can classify those things like one that is combined with animals' head and human bodies; one that is combined with "imaginary animals" that is made up of all kinds of animals and human's legs, and one that is combined with humans' head and animals' body. We can classify the compounds of human and birds as a mixture of birds' head and bodies of human or humans' head and birds' bodies. For the compounds of the sun and human, it can be distinguished by one that is made up of a shiny head and human bodies, and one that is mixed with concentric circles and human bodies. Also, mixtures of animals can be classified as animals that basically don't have horns, but have cattle or deer's horn on their bodies; mixtures of birds and animals, those of fishes and birds' wings; those of reptile and horns on their head. From those things, we can call the mixture of animals' head and human legs "Minotauros Type." For the animals that is combined with birds' wings can be called "Griffin Type." Human faces with birds' wings are called "Siren Type." There are diverse opinions on these things like the Figures of God, God of Hunting, the Leader of Tribes, Hunters, and Shamans. Obviously, part of these figures are not only Hunters, but also Shamans. The rest of them are embodied for the figures of the God of Sun. Groups of manufacturing selected the animals part, which has a special ability, and give shape to the ideal creature. The completed figures of all these things are called "Dragons."
참고문헌 (64)
- 국립중앙박물관, "스키타이 황금", 에르미타주박물관․국립중앙박물관․조선일보사, ~ (1991)
- 장석호, "몽골 서북부 지역의 암각화" (2009), 동북아역사재단
- 동북아역사재단, "카자흐스탄의 바위그림", pp.2011, 동북아역사재단
- 동북아역사재단, "키르기스스탄 중동부 지역의 암각화" (2011), 동북아역사재단
- 동북아역사재단, "키르기스스탄 남부 지역의 암각화" (2012), 동북아역사재단
- 영남대학교 박물관, "돌에 새겨진 유토피아" (2004), 영남대학교박물관
- 게스트 호르스트 슈마서, "기형의 역사" (2001), 도서출판 자작
- 장석호, "몽골의 바위그림" (1995), 도서출판 혜안
- 전호태, "고분벽화로 본 고구려 이야기" (1999), 풀빛
- 홍성욱, "하이브리드 세상 읽기" (2008), 안그라픽스
- 게스트 호르스트 슈마서, "기형의 역사" (2001), 도서출판 자작
- 레오나르도 아담, "원시미술" (1990), 동문선
- 블라지미르 D, "알타이의 암각 예술" (2003), 학연문화사
- 엠마뉴엘 아나티, "예술의 기원" (2008), 바다출판사
- 엠마뉴엘 아나티, "예술의 기원" (2008), 바다출판사
- 요코야마 유지, "선사예술기행" (2005), 사계절
- 프랭크 윌레트, "아프리카 미술" (1990), 동문선
- 피어스 비텝스키, "샤먼" (2005), 창해
- 한스 아스케나시, "식인문화의 수수께끼" (1996), 청하
- 역사민속학, "몽골 흡스굴 지역의 샤머니즘", 역사민속학, 5 (1996), 보림
- 장석호, "몽골 자프항 아이막의 바위그림 연구", 고고와 민속, (창간) (1998), 한남대학교 박물관
- 장석호, "페치쉐(Pechishe)강변의 암각화", 중앙아시아, (6) (2001), 중앙아시아학회
- 장석호, "동북아 속의 대곡리 암각화", 북방사논총, 5 (2005), 고구려연구재단
- 장석호, "고구려 초기 고분 벽화와 중앙아시아 고대 암각화", 문명교류연구, (창간) (2009)
- 장석호, "덕흥리 고분벽화 속 하이브리드 형상", 동북아역사문제, 통권 : 65 (2012), 동북아역재단
- 정연학, "용, 그 신화와 문화" (2002), 민속원
- Esther Jacobson, "RÈPERTOIRE DES PÈTROGLYPHES D`ASIE CENTRALE", FASCICALE, (6) (2001), DE BOCCARD
- George Chaloupka, "Journy in time- The 50,000 year story of the Australian Aboriginal Rock Art of Arnhem Land" (1999), Reed New Holland
- Vladimir D, KUBAREV, "RÉPERTOIRE DES PÉTROGLYPHES D'ASIE CENTRALE, FA SCICULE № 3: SIBERIE DU SUD 3" (1996), KALBAK-TASHI
- Annette Damm, "Am anfang war das bild" (2000), United Exhibits group
- Wilhelm Östberg, "Bilden påklippan" (1989)
- А.П.Окладников, "Ленские Писаницы" (1959), НАУКА
- А.П.Окладников, "ПЕТРОГЛИФЫ АНГАРЫ" (1966), НАУКА
- А.П.Окладников, "Сокровиша Томских писаниц" (1972), М
- А.П.Окладников, "ПЕТРОГЛИФЫ БАЙКАЛА" (1974), НАУКА
- Религия Эвенков в историко-генетическом изучении и пробл емы происхождения первобытных верований, "А, Ф, Анисимов", ~ (1958)
- В.Д.КУВАРЕВ, "Памятники Каракольской культуры Алтая" (2009), Новосибирск
- Д.К.Дубровский, "Уральские писаницы в мировом наскальном иску сстве" (2011), Екатеринбурк
- Е.Г.Дэвлет, "Алтамира у истоков искусства" (2004), АЛЕТЕЙА
- К.М.Байпаков, "Петроглифы Баян-Журека" (2008), Алматы
- К.М.Байпаков, "Петроглифы Ак-Кайнара" (2009), Алматы
- Л.Р.КЫЗЛАСОВ, "НАРОДНЫЕ РИСУНКИ ХАКАСОВ" (1980), НАУКА
- Л. Р. КЫЗЛАСОВ, "Древнейшая Хакасия" (1986), МУ
- М.П.Грязнов, "Афанасьевская культура на Енисее" (1999), С. -Петербурк
- О.Н.БАДЕР, "КАПОВАЯ ПЕШЕРА" (1965), НАУКА
- Д.Г.Савинов, "Окуневский Сборник" (1997), Санкт-Петербург
- М, А, Дэвлет, "Петроглифы и первобытная мягия" (1998), Древние культуры Центра льной Азии и Санкт-Петербург
- Н. В. Леонтьев, "Стела среки Аскиз", ОКУНЕВСКИЙ СБОРНИК, 1997
- С. В. Студзицкая, "Тема космической охоты и фантастического зверя в изобрази тельых паятниках окуневской културы", Окуневский Сборник, 1997
- David S.Whitley, "Cave Paintings & The Human Sprit", PB(New York), ~ (2009)
- A.Очир, "Нṿṿдэлчдийн Урлагийн Галерей" (2012), Улаанбаатар
- 加藤九, "北․中央アジアの歷史と文化", NHK市民大學 敎育テレビ, ~ (1987)
- 加藤九祚, "スキタイとシルクロードの文化" (1989), 日本放送出版協會
- 三上次男, "東北アジアの民族と歷史" (1992), 山川出版社
- 土取利行, "壁畵洞窟の音" (2008), 靑土社
- 柳宗玄, "虛空散華" (1986), 福武書店
- 護雅夫, "遊牧騎馬民族國家" (1990), 講談社
- 外山卯三郞, "人類最古の藝術" (1970), 造形美術協會出版局
- A.P.オクラードニコフ, "黃金のトナカイ" (1968), 美術出版社
- S, ギーディオン, "永遠の現在: 美術の起源" (1968), 東京大學出版會
- レピㆍブルュル, "未開社會の思惟" (1939), 小山書店
- 木村重信, "イメージの復權", 藝術新潮, 75 (1975)
- ジャン=ピエール・モエン, "ロシアの秘寶 ユーラシアの輝き" (1993), 京都博物館, 京都新聞社
- ファトゥマ, "スキタイとシルクロードの文化" (1989), 日本放送出版協會