몽골 유목민의 ‘돌’에 표현된 예술 형상과 신화적 세계관(1) - 바위그림의 ‘성(性)’ 관련 형상과 음양론적 신화 관념을 중심으로- (A Study on the Mythical Worldview in the Rock Painting Pattern of the Mongolian Nomads)

서지정보

· 발행기관 : 한국몽골학회
· 수록지 정보 : 몽골학 / 51호 / 275 ~ 300페이지
· 저자명 : 이선아, 정부용

초록

From prehistoric times, the northern nomadic people have witnessed the myths of magical stones (Zad, Zadyn chuluu), the stone ovoo, turtle rock (yast melhii), mother rock (eejiin had, eejiin uul), Male stones, such as the sacred 'rock' and 'stone' was strong about the faith. The earliest faith in rocks, natural rocks, has become more important as a high-dimensional cultural heritage with a deeper worldview with the mythical imagination and artistic expression of mankind.
In particular, rock paintings and deer stones widely distributed in Mongolia show a prototype world view of Northeast Asian culture or Altai culture area based on Yin-Yang theory and Three stage world view through stylistic pattern patterns of these.
This view of the world has been enjoyed with the original desires of the prehistoric nomads entrusted to the "charisma of the stone," and has been consistently extended to later religions and arts. The discovery of deer stones dating back to the late Paleolithic rock paintings and the Bronze Age became an opportunity to attract attention as the birthplace of the Asian culture prototype in the early Mongolia area.
In recent years, Mongolian rock paintings have been rapidly attracted attention in Korea for the development of storytelling and content industries linked to the prototype of Asian culture. This was an opportunity to see the development possibility of Mongolian rock painting as a prototype of Asian culture, and it has been commercialized not only in Korea but also in Mongolia using rock painting patterns.
In this paper, focusing on the stylistic patterns of Mongolian rock paintings which are reproduced in a primitive space using sacred stones or rocks, focusing on the mythical meaning accompanied by storytelling, Respectively.
The rock painting in Mongolia is the earliest art form that comprehensively depicts the mythical world view of Yin and Yang, and it can be said to be a stunning art form sacred for the primitive desire of prehistoric nomads. Especially, the forms related to the genitals expressions on sacred rocks, which are based on the primitive faith such as 'zadyn chuluu', are the metaphor of human life originating from production (birth, livestock breeding), remedy disease, longevity, etc., It is symbolically suggests humanistic ideology.
On the other hand, Yin - Yang theory, which is the basic principle of rock painting style, is expanded to a three stage world view, and develops into deer stone style. The deer stones also express the shape of a mythical hero on the ground in order to protect human life on the material of stone, which is striking, and it shows interesting symbiosis between early art style and hero myth. It will be a challenge.
In conclusion, prehistoric art forms related to stones such as rock paintings and deer stones are characterized by forms that express mythical symbolism. In order to get a good understanding of these forms, it is necessary to pay attention to the relation with the background myth that becomes the storytelling of the work.

영어초록

From prehistoric times, the northern nomadic people have witnessed the myths of magical stones (Zad, Zadyn chuluu), the stone ovoo, turtle rock (yast melhii), mother rock (eejiin had, eejiin uul), Male stones, such as the sacred 'rock' and 'stone' was strong about the faith. The earliest faith in rocks, natural rocks, has become more important as a high-dimensional cultural heritage with a deeper worldview with the mythical imagination and artistic expression of mankind.
In particular, rock paintings and deer stones widely distributed in Mongolia show a prototype world view of Northeast Asian culture or Altai culture area based on Yin-Yang theory and Three stage world view through stylistic pattern patterns of these.
This view of the world has been enjoyed with the original desires of the prehistoric nomads entrusted to the "charisma of the stone," and has been consistently extended to later religions and arts. The discovery of deer stones dating back to the late Paleolithic rock paintings and the Bronze Age became an opportunity to attract attention as the birthplace of the Asian culture prototype in the early Mongolia area.
In recent years, Mongolian rock paintings have been rapidly attracted attention in Korea for the development of storytelling and content industries linked to the prototype of Asian culture. This was an opportunity to see the development possibility of Mongolian rock painting as a prototype of Asian culture, and it has been commercialized not only in Korea but also in Mongolia using rock painting patterns.
In this paper, focusing on the stylistic patterns of Mongolian rock paintings which are reproduced in a primitive space using sacred stones or rocks, focusing on the mythical meaning accompanied by storytelling, Respectively.
The rock painting in Mongolia is the earliest art form that comprehensively depicts the mythical world view of Yin and Yang, and it can be said to be a stunning art form sacred for the primitive desire of prehistoric nomads. Especially, the forms related to the genitals expressions on sacred rocks, which are based on the primitive faith such as 'zadyn chuluu', are the metaphor of human life originating from production (birth, livestock breeding), remedy disease, longevity, etc., It is symbolically suggests humanistic ideology.
On the other hand, Yin - Yang theory, which is the basic principle of rock painting style, is expanded to a three stage world view, and develops into deer stone style. The deer stones also express the shape of a mythical hero on the ground in order to protect human life on the material of stone, which is striking, and it shows interesting symbiosis between early art style and hero myth. It will be a challenge.
In conclusion, prehistoric art forms related to stones such as rock paintings and deer stones are characterized by forms that express mythical symbolism. In order to get a good understanding of these forms, it is necessary to pay attention to the relation with the background myth that becomes the storytelling of the work.

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