Commend book | Russia yenisei river basin moai statues paintings research: Siberian rock art research progress

2022-07-23 0 By

Remote and cold Siberia is a magical land, where in addition to the harsh natural environment and the boundless Tagarin and grassland, there are a large number of little-known primitive art, and the most representative one is the rock painting, a large number of types, diverse painting methods.In terms of distribution, the Siberian rock paintings are mainly located in the Yenisei River, Thom River, Angara River and the lower reaches of heilongjiang river and Ussuri River in the Russian Far East.From a worldwide perspective, human face rock painting is a cultural phenomenon mainly distributed in the North Pacific Region, which is closely related to human activities.Study on The Rock Paintings of Human Faces in yenisei River Basin, Russia author: Xiaobo Publishing House: Cultural Relics Publishing House Publication Date: August 2020 Pricing:The study of Human face Rock Paintings in Yenisei River Basin, Russia, published by 118 Yuan Cultural Relics Publishing House, is the first systematic study of Russian rock paintings in China, which is of great significance in the study of rock paintings in East Asia, North Asia and the Pacific Rim.The author from the paintings of the natural environment, social environment, the distribution of rock point, the classification of the rock, dating, cultural connotation, and the relationship between the rock and the surrounding area in seven aspects, such as systemic research on the moai statues of paintings in the region, to tease out the source of rock and the evolution process, and its type is more reasonable classification, thus the convincing conclusion;At the same time, it also has a good enlightening significance for us to understand the cultural exchange and mutual influence in the wider region.Specifically, the contribution of the book is mainly reflected in the following six aspects: 1. In terms of research methods, the author discusses rock paintings under the background of the development and evolution of archaeological culture based on archaeological culture for the first time.A comprehensive survey of the relevant works on rock painting research at home and abroad shows that most of them are about rock painting, and very few of them relate rock painting to specific archaeological culture, and investigate the development and evolution of rock painting itself in the process of dynamic evolution of archaeological culture.The academic community generally believes that the rock paintings of human faces are from the Neolithic Age to the Bronze Age, but the distribution of human faces should be dynamic, that is to say, the distribution range from the Neolithic age to the Bronze Age is different, it is distributed along with the migration of a certain group, and should be corresponding to a certain archeological culture.Therefore, the author investigates the various cultural connotations, times, characteristics, distribution, and social forms of the Yenisei River area from the late Paleolithic age to the Bronze Age, and discusses the rock paintings of human faces in the context of archaeological cultural changes.Through the production technology, style, associated symbols, combined with the overall analysis of archaeological materials on the era and connotation of the research, a relatively convincing conclusion is drawn.Second, in terms of data application, the author uses a large number of first-hand Russian investigation reports and his own on-the-spot investigation materials to make his argument more convincing.The main data used in this book are basically not found in relevant domestic research, and some of the rock paintings in the Yenisei River basin investigated are the first Chinese people to set foot in.In the process of investigation, the author made a detailed record of the natural environment, latitude and longitude coordinates, elevation, rock face orientation, picture size, main content, breaking relationship and so on, and made a preliminary determination of its age.For some of the rock painting sites that could not be personally involved, he also repeatedly verified relevant information with Russian counterparts, trying to achieve the accuracy of the discussion of basic information.In addition, the author basically collected all the major achievements published by the Russian academic circle in the writing process, and digested and absorbed these materials well, which can be clearly reflected in the rigorous argumentation process of the book.Thirdly, the author makes a comprehensive review of the research history of Russian Siberian rock paintings, and on this basis, generalizes and summarizes the concepts of rock paintings in Chinese, English and Russian and the academic thoughts reflected in them.In the author’s opinion, “rock painting” in English is mainly closely related to art history. Although this tendency seems to be weakened due to the extensive intervention of anthropological school and natural science methods in the later period, the research methods of art history always occupy a place in western rock painting research.The meaning of the word “rock painting” in Russian is close to that in Chinese, and more emphasis is placed on a cultural relic entity, which is closely related to archaeology, as can be seen from the academic background of the rock painting researchers in the two countries mentioned above.The difference in the definition of rock painting stems from the difference in academic tradition and determines the difference in research path and method.Although both Chinese and Russian academic circles regard rock paintings as cultural relics, there are subtle differences.Specifically, Russian rock paintings are mainly concentrated in Siberia and the far north of Europe and Russia, where literature and materials are scarce while ethnological materials are abundant. Therefore, the study of rock paintings is more closely combined with ethnological materials.However, the situation in China is basically opposite. On the one hand, there is no ethnological data that can be associated with the rock paintings except in a few areas.On the other hand, China has a long tradition of governing history, resulting in a vast amount of documentary materials. Therefore, although rock paintings are closely related to archaeology, they are mainly used as a kind of cultural relics on earth to prove history.Fourthly, it has solved the age problem of the human face rock painting.The most important and complicated problem in the study of rock paintings is the age of rock paintings.However, most of the rock paintings are exposed on the ground, so it is impossible to date them according to the method of archaeological stratigraphy. Therefore, the rock paintings can only be dated according to the method of extensive comparison with archaeological relics.The Yenisei River basin is blessed in this respect.Here, a large number of cultural relics similar to the human face rock paintings are found;In addition, some of the rock paintings are from tombs, which can be directly compared with some types of rock paintings, providing a better reference for the determination of the age of this type of rock paintings.The author spends more than 100 pages on a comprehensive collection and extensive comparison of archaeological data from the Yenisei River basin and the whole of Siberia to convincingly sort out the ages and developmental sequences of various types of rock paintings.Five, fill a key link in the transmission chain of human face rock painting.It is widely believed that the rock paintings originated in China and spread to Siberia, Russia, and America by different routes at different times.Mr. Song Yaoliang, a famous rock painting expert in China, pointed out in his article “Prehistoric Rock paintings of human faces in the North Pacific” that the rock paintings of human faces mainly existed in the edge of the North Pacific Ocean, and there were common elements between the rock paintings of human faces in East Asia and the rock paintings of human faces in northwest North America.Their similarities are reflected in the types, symbols, decorative themes and general treatment of images. It is believed that the rock paintings originated from Asia and spread along western Alaska to the northwest coast of the United States.The rock paintings of human faces in Siberia, Russia, are the result of the northward migration of ancient settlers from Inner Mongolia, according to the visions of the Russian scholar Cin ‘el Djalet.”People from central Asia’s heartland are like boiling cauldrons spilling out in different directions, including waves of migration to the north,” she says.The human faces bear witness to their migration paths.People from Central Asia concentrated in the north and along the Pacific coast and the Angara Valley to the Yenisei River region.”In addition, there are many similar statements.However, the transmission chain of human face rock paintings is not complete, mainly due to the lack of comparative research between Chinese and Siberian rock paintings. This topic just makes up for the lack of this link, so it has very important academic value.Six, in the concrete argument, the author also has many unique.For example, it is common to find late images superimposed on earlier ones in rock art.The author thinks that the rock painting of human face belongs to the early art form, which is associated with certain religious ideology and concept, and usually changes with the intervention of new religious ideology and belief system.Therefore, the overlapping of rock paintings may be due to the good feng shui of the same rock face, which was repeatedly used by later generations. However, it cannot be ruled out that the former represented an old religious concept, which was evil in the eyes of later generations, and was suppressed by using new religious symbols.The author gives several examples to illustrate this point.On the eastern shore of Lake Onega in Russia and in Bona Escrita in Bolivia, an image of a Christian cross is superimposed on a portrait.In addition, there is an image of a leopard chasing a deer in Tibet’s Renmudong Rock painting, which has been inscribed with six-character truth by later generations.These are the best examples of later religious symbols being used to suppress symbols previously considered “evil” in order to eliminate their influence.In yenisei River basin rock paintings, human faces are often overlapped and broken by animal images. This is precisely because new religious ideas and traditions have replaced the original ideas and traditions, so the human faces are also replaced by new animal-based images.As a masterpiece in this field, Studies on Human faces in the Yenisei River Basin, Russia, shows us a world unknown to modern people. If you want to obtain a comprehensive knowledge of human faces in the Yenisei River Basin, this book is indeed the most recommended guide.At the same time, it is of great significance to the scholars who want to understand the history of Siberia, especially the early history of Siberia.The works published in this issue (including the title and the layout design added by the editor, text graphics, etc.) shall not be reproduced, excerpted, adapted or used in other ways without the authorization of China Cultural Relics Newspaper. 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