지원사업
학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
커뮤니티
연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
논문 기본 정보
- 자료유형
- 학술저널
- 저자정보
- 저널정보
- 한국역사연구회 역사와현실 역사와 현실 제118호
- 발행연도
- 2020.12
- 수록면
- 381 - 424 (44page)
- DOI
- 10.35865/YWH.2020.12.118.381
이용수
초록· 키워드
오류제보하기
Petroglyphs show clearly the development of prehistoric art while many tomb murals remain that show the progress of ancient Korean painting. The stippled petroglyphs of Ulsan Cheonjeon-ri Gakseok is among those that exemplify the beginning of the Korean prehistoric art. The animals and humans depicted using stippling, one of the most basic techniques, could have been left by hunter gatherer groups of the Neolithic Period.
The narrative quality seen in the stippled petroglyphs of Cheonjeon-ri Gakseok can also be found in the images created by grinding technique in Bangudae Petroglyphs. This shows that the early Korean artworks valued narratives. The whales of Bangudae Petroglyphs present in their details both the stylistic advancement and narrative quality. The level of details seen in the large whale shown diving deep into the ocean becomes more remarkable in the images of carnivores which appear in the latest works of Bangudae Petroglyphs.
The geometric images of Cheonjeon-ri Gakseok could be considered a step forward from the carnivorous animals of Bangudae Petroglyphs in the level of grinding. Moving beyond the representational expressions of the earlier period, the geometric images embody abstract concepts and expressions. The hilt motifs and geometric patterns exemplify the abstract expressive methods in petroglyphs. As the early Iron Age people adopted the Chinese characters as the method of communication, the tradition of abstract geometry disappear.
The thin line engravings of Cheonjeon-ri Gakseok from the historic period hold a common ground with the early tomb murals of Koguryo in its realistic and narrative quality. The early Koguryo tomb murals depicting life and customs while depicting a scene of afterlife represent very realistic image of actual life at the time. On the other hand, the lotus motifs of the middle period Koguryo tomb murals deal with abstract concepts with representational images.
The middle and late period images of the Four Deities could also be considered a mid-point between the representational and the abstract. The Deities, which are born of constellations, show themselves as representational images of auspicious creatures. The Four Deities of late Koguryo and 6th Century Baekje tomb murals serve as good example of such mix. Sunheung tomb murals of Silla were made under the influence of Koguryo and likely relate to the Buddhist and Buddhist art culture that dispersed from Koguryo to Silla.
The narrative quality seen in the stippled petroglyphs of Cheonjeon-ri Gakseok can also be found in the images created by grinding technique in Bangudae Petroglyphs. This shows that the early Korean artworks valued narratives. The whales of Bangudae Petroglyphs present in their details both the stylistic advancement and narrative quality. The level of details seen in the large whale shown diving deep into the ocean becomes more remarkable in the images of carnivores which appear in the latest works of Bangudae Petroglyphs.
The geometric images of Cheonjeon-ri Gakseok could be considered a step forward from the carnivorous animals of Bangudae Petroglyphs in the level of grinding. Moving beyond the representational expressions of the earlier period, the geometric images embody abstract concepts and expressions. The hilt motifs and geometric patterns exemplify the abstract expressive methods in petroglyphs. As the early Iron Age people adopted the Chinese characters as the method of communication, the tradition of abstract geometry disappear.
The thin line engravings of Cheonjeon-ri Gakseok from the historic period hold a common ground with the early tomb murals of Koguryo in its realistic and narrative quality. The early Koguryo tomb murals depicting life and customs while depicting a scene of afterlife represent very realistic image of actual life at the time. On the other hand, the lotus motifs of the middle period Koguryo tomb murals deal with abstract concepts with representational images.
The middle and late period images of the Four Deities could also be considered a mid-point between the representational and the abstract. The Deities, which are born of constellations, show themselves as representational images of auspicious creatures. The Four Deities of late Koguryo and 6th Century Baekje tomb murals serve as good example of such mix. Sunheung tomb murals of Silla were made under the influence of Koguryo and likely relate to the Buddhist and Buddhist art culture that dispersed from Koguryo to Silla.
목차
머리말
1. 주요 암각화의 사례
2. 고분벽화의 전개
3. 암각화와 고분벽화로 본 고대의 미술
맺음말
참고문헌
Abstract
참고문헌 (55)
참고문헌 신청
함께 읽어보면 좋을 논문
논문 유사도에 따라 DBpia 가 추천하는 논문입니다. 함께 보면 좋을 연관 논문을 확인해보세요!
-
울산 반구대암각화와 천전리 각석 연구의 추이와 전망
울산사학
2016 .12
-
선사시대 암각화를 통한 고구려 고분벽화 미의식의 기원에 관한 연구
인문과 예술
2022 .12
-
울산 천전리 암각화 동물문 연구
한국사연구
2018 .09
-
천전리 암각화로 본 한국 선사 및 고대 미술양식
역사와현실
2016 .09
-
기억과 표상 그리고 권력 - 울주 천전리 각석에 대한 재해석 -
역사와현실
2021 .06
-
대곡리 반구대암각화 인물상의 의미와 도상 해석
강좌 미술사
2016 .01
-
Tomb Murals of Korea
THE REVIEW OF KOREAN STUDIES
2022 .06
-
울산 천전리 각석 암각화 기하문 연구
역사와 세계
2020 .12
-
시공을 뛰어 넘은 고구려 고분벽화 : 『고구려 고분벽화 유라시아문화를 품다』(박아림, 2015), 『고구려 생활문화사 연구』(전호태, 2016)
고구려발해연구
2017 .11
-
고구려 고분벽화에 보이는 세계관과 생사관
역사학보
2018 .12
-
울주 천전리 암각화의 편년과 성격
헤리티지:역사와 과학
2021 .01
-
고구려인의 미의식과 고분벽화
고구려발해연구
2017 .11
-
울산 천전리 각석과 신성 공간
역사와 세계
2021 .12
-
선사 문화유산 문화 영토인 반구천의 공유가치 고찰 : 반구대암각화를 중심으로
인문콘텐츠
2024 .12
-
덕흥리벽화고분의 ‘觀者’묵서와 ‘觀覽者’
한국고대사연구
2021 .03
-
고구려 안악3호분의 음식문화
한국식생활문화학회지
2016 .01
-
중국 소재 고구려 고분 전개의 역사적 의미
동북아역사논총
2024 .06
-
한국 암각화의 하이브리드 형상과 상징의미 - 대곡리 암각화와 천전리 암각화를 중심으로
인문학연구
2020 .01
-
울산 반구대암각화 편녀론의 추이와 전망
울산사학
2015 .12
-
반구대암각화의 공간해석 -암각화 유적의 바위틈(crevice)에 대한 고찰-
동아시아고대학
2023 .03
이 논문의 저자 정보
이 논문과 함께 이용한 논문
최근 본 자료
댓글(0)
0