Earticle

In whole world, yut-board is only found in korea. Recently in China Jib-an city`s Goguryeo Old-tomb, yut-board is found, too. Yut-board has 29 spots, these spots form round-model and cross-model. 29 constellation presumed being organized polar star and 28 constellation. 28constellation confirm Goguryeo ancient tomb`s constellation, these are our characteristic astronomical chart. Yut-board is astronomical chart that arrange constellation by solar calendar. Yut-board is appeard in three kingdoms era. According to cosmic dual force-five element, Yut-board form 28 constellation that is arranged by polar star as a center. These fact is analogized by Jib-an city Goguryeo kingdom tomb and iksan miruksaji. In ancient tomb ruins and temple ruins, there are 28 constellation. From this point of view, Yut-board has worth to look around by the future life. After death, to pray for rebirth in paradise, people paint 28constellation in ancient tomb ceiling. In contrast, in yut-board petroglyph people hope to realize paradise to actual world. In actual world, paradise is supposed richness and fecundity. So yut-board develop agriculture belief. and this type of yut-board petroglyph is found in national wide monutain and valley.

The Yootpan-type Petroglyphs which consists of 29cupmarks is unique Petroglyphs that only found in Korea. There are about 90 Yootpan-type Petroglyphs found in 30 different regions in S. Korea. Since the number is only from the S. Korea it is expected that more of them could be found in North Korea such as northen region Jian, Usanha in China, if any search could be carried into operation. The Yootpan Petroglyphs is a picture of shape of the seven stars of the Big Dipper which has cycle movement that goes around of the North Polar star. The seven stars of the Big Dipper which goes around of the North Polar star locate at fixed 4 each very position of 4 season at particular period of time in different time of a day. The drawers of the Yootpan-type Petroglyphs knew such a rule as locaton of the seven stars of the Big Dipper and changes of the season have a same mechanism and they are very definte. The cross shape azimuthangle has been searched to be proved that they made the Yootpan-shape Petroglyphs In order to prove it exactly and to use it to know in advance. One thing particular is the Yootpan-type Petroglyphs has been found from cornerstones of old structures in 4 different regions. Perhaps if assume a structure is reduced form of universe, then it is certain that it is another kind of symbol that something included in the Yootpan-type Petroglyphs, although it is thinkable that the meaning is carved into the Yootpan-type. It is tried as a methodology to understand the character of the picture. The probability of its understanding as a different azimuthangle, and first and last of manufacture is left in order to be an assignment.

In this paper, I have researched into the ancient Korean cosmological diagram what we called the "Yut-nori-pan", that was found at overall sites in South Korea. We think it may be carved in prehistoric period or ancient Three kingdom dynasties in Korea. The shape of Yut-nori-pan diagrams we found by this time in South Korea is all round-shaped having the cross-shape at the center part. There are 9 rock holes in the cross line, and 20 rock holes in the outer round circle. In brief, the Yut-nori-pan consists of one circle and plus sign shape. If we analyze it into several perspectives, it can be made of one center hole and the remnant twenty-eight holes. And if we divide twenty-eight holes four equal parts, each part has seven holes. Having seen such these structures, many past Confucians at Chosun dynasty actually thought the one center hole of Yut-nori-pan symbolized the polaris star and the other twenty-eight holes meant the astronomical twenty-eight constellations. In according to my another analysis, it can be divided into one polaris star and four Big Dipper constellations. As above analyses, ancient Korean rock art, Yut-nori-pan, may be created as the celestial moving model or the astronomical diagram. In my other articles, I suggested that some ancient Korean people would have observed the celestial motions and developed into the Yut-nori-pan diagram. Chosun dynasty's Confucians thought there were an astronomical principle in the playing method, too. So to say, the shortest cut way to the goal after stating means the sun's motion at the winter solstice and the longest way moving entire circuit symbolizes the orbit of sun's motion at the summer solstice. They also believed each two ways of half the circle motion corresponded to vernal and autumnal equinoxes. In addition to above research, I also suggested the new rock arts of Manghwa-Dae recently found at Jungup Doosung Mt. in South Korea succeeded to ancient Korean rock astronomical tradition.

Considered as one of the important original art forms of Korea, the rock engravings of Bangudae are located on Daegok riverside area of 234-1, Daegok-li, Unyang-myon, Ulsan-goon, Kyungnam. The Daegok river is a small tributary which flows from north and joins the Taehwa river at Sayon-li, and the rock engravings are on the north-side wall of rock. They attracts an attention on the fact that the changes of tribal cultures in the both of land and sea are figuratively engraved in one picture plane. The topics of rock engravings are mainly animals: on the right side, the topics reflecting hunting economy are shown, such as tigers, deers, roe deers, antelopes, wild boars, etc.. And on the left side, whales, turtles and other sea animals as well as whale fishing and fishing related tools are described to show fishing economy. Among those animal descriptions, dears and wales particularly occupy the highest numbers. And as for whales, total 58 engravings are found, which indicates whales were the most often carved subject matter among any other animals. This leads an assumption that those engravings are related to the biggest whale fishing port, Banguhjin near the rock engraving area. The descriptions of whales shows pertinent forms of expression according to each context, and the realism of their appearance is maximized. By looking at the rock engravings one can actually recognize what kind of whale is. In order to show Eubalaena glacialis, their jaw lines and fistulas have been typified. Eschrichtius robustus are characterized as an emphasized groove under their neck, which reveals objectivity in aesthetic consciousness. Also, there is a distinctive ecological description that a Mysticeti accompanies its young and helps it to breathe. If a whale's appearance is similar with other kinds, its body is carved overturned and emphasized the lines on the ventral so that one can distinguish the whale from others. This kind of point as a biological form is missed even in a pictorial book of the Korean whales. One can assume how advanced their power of observation and figurative expressions were at that time. Furthermore, Physeter macrocephalus which can be seen in deep and far sea are described appropriately as a feature of their squared heads. Also, Globicephala macrorhynchus are expressed as the typical forms of their dorsal and pectoral fins. As for dolphins, their beaks, the location and highly protruding shape of their dorsal fins are characterized. Moreover, descriptive changes shows in engraving techniques. Orcinus orca have big distinctions from other whales on their high and perpendicular shape of dorsal fins as well as wide and big pectoral fins in a rounded scull shape. Also, their caudal fins have a 'V' shaped split and their both ends are smoothly sharpened to the backwards. These rock engravings of Orcinus orca are exactly the same as a real one. Apart from whales, two engravings that can be considered as sharks are found. Besides, there are scenes of whale fishing. They show a fact that whale fishing was actively done at that time and there must have been professional whale fishing groups in Ulsan area. The fundamental artistic creativity comes from an earnest desire of life, presented through subject matters chosen from nearby. These rock engravings of whales are artistic expressions that have historical and realistic factors. It is a big achievement that one can see the process of development from hunting, fishing to stock farming through the whales on the rock. Real beauty can be well manifested when content and form harmoniously become one. This is a motive force of creating the results of historical development. With this regard, the pictorial meaning of whales on Bangudae should be valued much in the achievement of their realism accrued from the coherence in content and form. By studying on the carving technique and the artistic form of Bangudae's rock engravings the following facts become recognized. The style of an early stage is faithful to the shapes of an object and the style is more and more true to life in the later ages. But again through simplification pictorial beauty with full maturity is at the zenith. In the next stage, the charming tension that was a distinctive feature of the previous stage becomes weakened but instead, decorative factors were adopted and popularized. Later, a brand new vision brought about a more simplified style. The development of Bangudae's rock engravings corresponds to that of a general principle of art. This proves the rock engravings on Bangudae is valuable in the history of pictorial art. Especially, the descriptions of whales not only show the artistic peculiarity of each age in technical aspects but they became stood out as an important subject matter at the later period of hunting period, which indicates there was a change in people's lives.