김열규 Yol Kyu Kim
DOI: Vol.23(No.1) 1-19, 2008
Abstract
There are two monumental, primitive art works at Ulju province in the south-eastern end of Korean peninsula. Both of them are rock paintings on the rocky cliff by the river, running in the deep, steep and narrow valley surrounded by green mountains. They are primordial gallery of Korea located in the nature. Among them, the one is known as the Bangudae rock painting and the other, as Chonjenri rock painting. They are supposed to be formed in the era, between new stone age and bronze age. Former is covered not only with such mountain wild animals as tigers, wolves, pigs and deers, but also with such ocean animals as several kinds of whales and sharks and turtles. But latter is quite different. It is full of various kinds of geometrical figures and numerous lines. The one is concrete, other abstract. In spite of this greater oppositional difference, the observer may point out that they share common feature as the sacred alter. They are supposed to be holy place, where ritual performance took place in the remote era. There, at the food of the steepy cliff, we can witness wide and long rock floor on which some kind of ritual ceremony could have been performed in ancient age. Just in the front of numerous animal figures, the primitive Koreans may have prayed for the help of there guardian holy spirit; `Let us hunt many big games as much as we need!` However in the front of abstract figures, supposedly, something quite different could may been took place. Among the Chonjenri`s paintings, the oval figures in which the vertical line is engraved not only attracts the observer`s attention but also suggests that the figures themselves are the female fertility symbol. In the result, we can conclude that Chonjenri`s rock painting contains Great Earth Mother`s maternity itself.
Key Words
원시적 제단, 포획과 번식, 기하학적 도형, 모성의 생명력, 상징, Sacred alter, Capture, Propagation, Geometrical figures, Maternal fertility, Symbol