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초록· 키워드
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The aim of this study is to consider cultural/historical facet of prehistorical art by 〈Petroglyphs in Cheon-Jeon-Ri(川前里)〉 which preserve continuous trace from the Bronze Age until early to middle Silla dynasty. For making scrutiny into the general symbolic structure of Sill a , I set a 'iconotext' with three other materials. petroglyph image as an artistic text. inscription(銘文) on 〈Petroglyphs in Cheon-Jeon-Ri〉 as historical text. and 〈ode to comet〉 as a literary text and then. In this standpoint. reading with 'cultural/linguistic imagination' means a methodological way which considers cultural/historical phrase and communicational structure. Thus, this treatise has an eye to carry out the further ground of interdisciplinary study by means of 'cultural/linguistic imagination' rather than transcending new interpretation.
〈Petroglyphs in Cheon-Jeon-Ri〉 have images incised by the Bronze Age and list of visitors including loyalty and Hwarangdo members of early Silla dynasty. In chapter 2, by analyzing an inscription what is called Won-myung(源銘) and Chu-myung(追銘) in a historical context, as it turned out, 〈Petroglyphs in Chson-Jeon-Ri〉 are a sort of texts represent cultural/ historical and spiritual/ideal ground. Regarding these fact that Silla authorized the Buddhism in the 15th year of Bubhung King(A.D. 528) and Hwarangdo was reorganized thoroughly in the 37th year of Jinhung King (A.D. 576), the political purpose and motive of their visiting can be clarified. Also, the connection between changed status of early to middle Silla loyalty and the inscription is revealed. The trace found around the site of 〈Petroglyphs in Cheon-Jeon-Ri〉 recover that this patroglyphs have associated with the belief in the God of Mountain and especially with 'Uroh-san-soo(Affection for mountains and rivers 遊娛山水)' of Hwarangdo.
In chapter 3, reading by overlapping is used as a method for diversified understanding on materials given above And as a result of application on Yungchunsa's 〈Ode to comet〉, the context and meaning of 'Amusements(遊)' are extended. The 〈Ode to comet〉 seems to be a healing amusements for the people of Silla who rendered a connection between the appearance of comet and human acknowledge and historical context, they sought a way to overcome the fear of repeating astronomical phenomena. In chapter 4, I try to find the clue for interpretation of images in 〈Petroglyphs in Cheon-Jeon-Ri〉 by means of conclusions drawn above. In the result, 〈Petroglvphs in Cheon-Jeon-Ri〉 was served as the map of astronomical phenomena (天文圖) in Silla dynasty and utilized as ritual space. The images in petr oglyphs have meant' documentary picture(記錄畵)' which shows the political group's process of conflict and reconciliation from Bronze age to Silla's early to middle period as well. The last chapter is employed for reflection on the limit of this treatise and examination on the other task and possibility for further study.
〈Petroglyphs in Cheon-Jeon-Ri〉 have images incised by the Bronze Age and list of visitors including loyalty and Hwarangdo members of early Silla dynasty. In chapter 2, by analyzing an inscription what is called Won-myung(源銘) and Chu-myung(追銘) in a historical context, as it turned out, 〈Petroglyphs in Chson-Jeon-Ri〉 are a sort of texts represent cultural/ historical and spiritual/ideal ground. Regarding these fact that Silla authorized the Buddhism in the 15th year of Bubhung King(A.D. 528) and Hwarangdo was reorganized thoroughly in the 37th year of Jinhung King (A.D. 576), the political purpose and motive of their visiting can be clarified. Also, the connection between changed status of early to middle Silla loyalty and the inscription is revealed. The trace found around the site of 〈Petroglyphs in Cheon-Jeon-Ri〉 recover that this patroglyphs have associated with the belief in the God of Mountain and especially with 'Uroh-san-soo(Affection for mountains and rivers 遊娛山水)' of Hwarangdo.
In chapter 3, reading by overlapping is used as a method for diversified understanding on materials given above And as a result of application on Yungchunsa's 〈Ode to comet〉, the context and meaning of 'Amusements(遊)' are extended. The 〈Ode to comet〉 seems to be a healing amusements for the people of Silla who rendered a connection between the appearance of comet and human acknowledge and historical context, they sought a way to overcome the fear of repeating astronomical phenomena. In chapter 4, I try to find the clue for interpretation of images in 〈Petroglyphs in Cheon-Jeon-Ri〉 by means of conclusions drawn above. In the result, 〈Petroglvphs in Cheon-Jeon-Ri〉 was served as the map of astronomical phenomena (天文圖) in Silla dynasty and utilized as ritual space. The images in petr oglyphs have meant' documentary picture(記錄畵)' which shows the political group's process of conflict and reconciliation from Bronze age to Silla's early to middle period as well. The last chapter is employed for reflection on the limit of this treatise and examination on the other task and possibility for further study.
#천전리 암각화
#암각화
#향가
#학제간 연구
#언어문화적 상상력
#상상력
#겹쳐 읽기
#이코노텍스트
#놀이[遊]
#도상
#명문(銘文)
#혜성
#혜성가(彗星歌)
#신라
#화랑도
#천문
#인문
#주술
#반복
#제의
#〈Petroglyphs in Cheon-Jeon-Ri〉
#Petroglyphs
#Hyang-ga
#Interdisciplinary study
#Cultural/linguistic imagination
#Imaginative power
#Reading by overlapping
#lconotext
#Amusement[遊]
#Images on petroglyph
#Inscription(銘文)
#Comet
#〈Ode to comet(彗星歌)〉
#Silla
#Hwarangdo
#Astronomical phenomena
#Human acknowledge
#Incantation
#Reiteration
#Ritual
목차
1. ‘언어문화적 상상력’을 통한 학제간 연구의 가능성
2. 세 겹의 텍스트에 드러난 ‘遊’의 문제
3. 매개로서의 〈혜성가〉, 주술과 ‘반복’
4. 천문(天文)과 인문(人文)의 ‘겹쳐 읽기’
5. 반성과 과제
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