본문 바로가기
KERD
논문KCI 등재

알타이 지역 고대 암각화 속의 기마 전사 연구

Mounted Warriors Depicted in the Ancient Rock Art of Altai Region

장석호
한국몽골학회 (KAMS)|2015.11|몽골학 (Mongolian Studies)|제43호|pp. 297-326|DOI 10.17292/kams.2015..43.013

1

조회

0

다운로드

1

인용

0

참고문헌

키워드

암각화rock artpetroglyph바위그림기마전사알타이 산맥개마mounted warriorsAltai mountainsarmored horses
주제분류기타동양어문학

초록

This article focuses on the images of mounted warriors depicted in the ancient rock art (the Huns – Turkic Period) of Central Asian region, where the Altai mountains stretch across. With the rise of the Hunnic Empire, the new types of motifs, styles, and techniques were introduced in the ancient art of Central Asia. The good example of this is the portrayals of mounted warriors. Warriors usually wear helmet and armor, hold a long spear or flag, and depicted as having a battle with one another. Sometimes one can find warriors riding armored horses. The images are mainly engraved in thin lines. The legs of horses are portrayed as walking fast or running. One of the foreleg of the horse stretches forward, while the other kneels down. The hind legs are crossed together. The images that embody such motifs, styles, and techniques can be found in the ancient rock art of Shinskino (Russia), Gorno Altai (Mongolia), Eastern Kazakhstan, and Kyrgyzstan. They can also be found in the ancient tomb murals of Korea’s Goguryeo Kingdom. These are the images of cavalry (mounted warriors riding armored horses) discovered in Anak Tomb no 3, Deokgunegri Mural Tomb, and Myuyongchong. As such, these were the main motifs of the ancient art for almost 10 centuries, which was from 3 B.C to 7 A.D. By studying these images, one can grasps the fact that Central Asia during this period was undergoing severe regional and ethnic conflicts. At the same time, the images confirm that Korean ancient art, including that of Goguryeo’s, shares the common root with the Northern Nomads’ art.

Abstract

This article focuses on the images of mounted warriors depicted in the ancient rock art (the Huns – Turkic Period) of Central Asian region, where the Altai mountains stretch across. With the rise of the Hunnic Empire, the new types of motifs, styles, and techniques were introduced in the ancient art of Central Asia. The good example of this is the portrayals of mounted warriors. Warriors usually wear helmet and armor, hold a long spear or flag, and depicted as having a battle with one another. Sometimes one can find warriors riding armored horses. The images are mainly engraved in thin lines. The legs of horses are portrayed as walking fast or running. One of the foreleg of the horse stretches forward, while the other kneels down. The hind legs are crossed together. The images that embody such motifs, styles, and techniques can be found in the ancient rock art of Shinskino (Russia), Gorno Altai (Mongolia), Eastern Kazakhstan, and Kyrgyzstan. They can also be found in the ancient tomb murals of Korea’s Goguryeo Kingdom. These are the images of cavalry (mounted warriors riding armored horses) discovered in Anak Tomb no 3, Deokgunegri Mural Tomb, and Myuyongchong. As such, these were the main motifs of the ancient art for almost 10 centuries, which was from 3 B.C to 7 A.D. By studying these images, one can grasps the fact that Central Asia during this period was undergoing severe regional and ethnic conflicts. At the same time, the images confirm that Korean ancient art, including that of Goguryeo’s, shares the common root with the Northern Nomads’ art.

참고문헌 (35)

  1. 동북아역사재단, "중앙아시아의 바위그림" (2007), 동북아역사재단
  2. 동북아역사재단, "역주 중국정사 외국전 1, 사기 외국전 역주" (2009), 동북아역사재단
  3. 동북아역사재단, "카자흐스탄의 바위그림" (2011), 동북아역사재단
  4. 류정한, "천마, 다시 날다" (2014), 국립경주박물관
  5. 장석호, "몽골의 바위그림" (1995), 도서출판 혜안
  6. 장석호, "중앙아시아 고대 암각화와 고구려 고분벽화의 주제 및 양식 비교 연구", 중앙아시아연구, 15, pp.299~326 (2010), 중앙아시아학회
  7. 니시노 요시히로, "말과 황하와 장성의 중국사" (2007), 북북서
  8. 베이징대륙교문화미디어, "역사를 뒤흔든 대이동 7가지" (2010), 현암사
  9. 블라지미르 D.꾸바레프, "알타이의 암각 예술" (2003), 학연문화사
  10. 에릭 힐딩거, "초원의 전사들" (2008), 일조각
  11. 요코야마 유지, "선사예술기행" (2004), 사계절
  12. 스기야마 마사아키, "유목민의 눈으로 본 세계사" (2013), 시루
  13. 장 드니 비뉴, "목축의 시작" (2014), 알마
  14. 김인순, "최초의 것" (2012), 지식트리
  15. J.C.블록, "인간과 가축의 역사" (1996), 도서출판 새날
  16. D.체벤도르지, "몽골 서북부 지역의 암각화" (2009), 동북아역사재단
  17. Jean Clottes, "World Rock Art" (2002), The Getty Conservation Institute
  18. K.Tashbaeva, "Petroglyphs of Central Asia" (2001), Bishkek
  19. JEAN CLOTTES, "L’ART DES CAVERNES" (2008), Phaidon
  20. Louis-René Nougier, "L’ART de Préhistoire" (1993), La Pochothèque
  21. А.П.Окладников, "Сокровища Томских Писаниц, Искусство", М, ~
  22. А.П.Окладников, "Ленские Писаницы" (1959), НАУКА СССР
  23. Д.Г.Савинов, "О Происхождении таштыкского стиля, Древнее искусство Азии-Петроглифы" (1995), КГУ
  24. Екатерина Дэвлет, "Каменная летопись Алтая", pp.2014, ИА РАН
  25. O.H.Baдер, "Kaповая пешера" (1965), НАУКА
  26. С.П.Нестеров, "Конь в культах тюркоязычных племен Центральной Азии в эпоху средневековья" (1990), НОВОСИБИРСК
  27. Ч.М.Жолдошов, "Изображение вооружения в средневековых петроглифах Кыргызстана", Материалы и исследования по археологии Кыргызстана, 1 (2005)
  28. А.Очир, "Эртний нуудэлчдийн Бунхант Булшны Малтлага Судалга" (2013), МУ-ШУА ТХ
  29. Д.Дорж, "Петроглифы Монголии" (1975), ШУАХ
  30. 宮脇淳子, "モンゴルの歷史" (2002), 刀水書房
  31. 藤川繁彦, "中央ユーラシアの考古學" (1999), 同成社
  32. 佐原眞, "騎馬民族は來なかった" (1998), 日本放送出版協會
  33. 林俊雄, "東北アジアの歷史と文化" (2010), 北海道大學出版會
  34. А.П.オクラドニコフ, "黃金のトナカイ: 北アジアの岩壁畵" (1968), 美術出版社
  35. ピゴット, "別冊特集サイエソス: 考古學文明の遺産" (1976)

관련 논문AI추천

중앙아시아 고대 암각화와 고구려 고분벽화의 주제 및 양식 비교 연구장석호중앙아시아학회 · 중앙아시아연구2010 · 제15권 타쉬트이크(Таштык) 동물 양식과 한국 고대 미술의 상관성 연구장석호중앙아시아학회 · 중앙아시아연구2016 · 제21권 제2호선사 미술을 통해 본 몽골의 고대 문화장석호한국몽골학회 · 몽골학2014 · 제36호알타이출토 고대 유목민 복식에 관한 연구김용문중앙아시아학회 · 중앙아시아연구2019 · 제24권 제1호한국 암각화와 북방아시아 지역 암각화의 조형적인 특징 비교 연구김호석중앙아시아학회 · 중앙아시아연구2007 · 제12권 알타이지역 등자의 특징과 기원 문제정석배고구려발해학회 · 고구려발해연구2025 · 제82권

이 간행물의 다른 논문 (12건)

제주 항몽유적의 역사성과 문화콘텐츠화 방안김일우pp. 1-29북방민족의 정체성과 계승성윤은숙pp. 31-5720세기 중기 몽골 역사가들의 민족사서술 분석이평래pp. 59-83할하몽골 내분 관련 인명(人名)과 연도(年度)에 대한 사적(史的) 비정조병학pp. 85-103동북아시아 유목음악 표제어의 준거 제안박소현pp. 105-127
원문 보기