대곡리 암각화 호랑이상의 표현과 의의 - 민화의 시원양식에 대한 논의 -

Abstract

Among the Daegok-ri petroglyph, which is the beginning of Korean painting and the beginning of folk painting, this study examined the iconographic features and stylistic features that reveal the purpose of production centered on the tiger image that are intimately related to the folk paintings of the Joseon Dynasty. What is noteworthy here is that the shape shows that the tiger is captured in a net and shut up in a pen. This can be interpreted as being made for shamanic purposes to secure food. To look at the expression style of the tiger image, since it is the image of the early period, while it only has a simple and humble appearance it appeals to expression in a realistic way. The natural curvature of the tiger on the neck, back, and tail was utilized, and in some cases, the muscles and joints were expressed, and the body faithfully showed stripes and dot patterns. In addition, it is important to note that the six tiger images that were used as targets of this study were all embroidered in various shapes without any of the same. This suggests that they are conscious of various or varied expressions rather than simple repetitions. When Daegok-ri petroglyph is compared to folk tigers in the late Joseon, they have commonness in their concise, simple and lively expression. However, if Daegok-ri petroglyph focused on vivid and realistic expression, it would be different from the late Chosun folk paintings in that it was expressed graphically, humorously, and graphically. The tiger, which is the same materials for both Daegok-ri petroglyph and Joseon folk paintings, has been given varoiusmeanings as it has been through many years, and it has changed into an image of completely different character while being affected by various images at home and abroad.