이미지 살해: 시베리아의 '술렉크스카야 피사니차'를 중심으로

장석호(Jang Seog Ho) 한국역사민속학회 2010 역사민속학 Vol.34 No.-

이 글은 남부 시베리아 하카시아 공화국 서북쪽에 소재하는 술렉크스카야 피사니차(이하 '술렉크 암각화'로 표기) 속에서 살펴지는 훼손된 동물 형상을 통하여 이미지 살해의 제 문제에 관하여 논한 것이다. 글은 술렉크 암각화의 개관, 동물 형상의 고의적인 훼손 사례와 유형, 선사 미술에서 이미지의 의미, 맺음말 등의 순서로 구성되어 있다. 필지는 이 암각화 속의 일부 동물 형상들이 심하게 훼손되어 있는 점을 주목하고, 동굴벽화, 지닐 미술(動産美術), 바위그림 그리고 조소 등 각종 선사 미술 가운데서 그와 유사한 사례들을 파악하여 그 유형을 분류하였다. 그런 다음 이미지 살해, 모의 사냥과 사냥 의례 그리고 그 의례에 대한 해석의 예 등을 차례로 검토하면서 선사 및 고대 수렵 어로민들의 기층문화 속에서 이미지가 무엇인지를 논하였다. 몸통에 화살과 창 그리고 작살 등이 그려진 동물 형상이나 동물 형상 또는 그 모형을 제작한 후 그것을 표적으로 삼고 벌인 각종 모의 사냥의 흔적 그리고 동물 가장을 하고 거행한 사냥꾼들의 사냥의례 등은 모두 이미지 살해의 전형들이며, 술렉크 속의 훼손된 동물형상도 그 가운데 한 가지이다. 그러한 행위의 밑바탕에는 이미지 속에 영(靈)이 깃들어 있고, 그런 까닭에 그것은 살아 있으며 또 실물과 같은 힘을 갖고 있다는 믿음이 깔려있었다. 이러한 인식에 의거하여 선사 및 고대 수렵 어로민들은 필요에 따라 이미지를 만들었으며, 또 그것을 훼손하는 등의 살해 행위를 통하며 그들이 원하는 바를 얻고자 하였다. 이미지와 관련한 각종 터부나 무고(巫蠱) 그리고 화형식 등의 예를 통해서 살필 수 있듯이 선사 및 고대 수렵 어로민의 이미지에 관한 믿음은 아직도 그 잔형이 우리들의 생활 속에 면면히 전승되고 있음을 확인할 수 있다. This writing treats Image Homicide question through damaged animal figures which are found in Sulekskaya pisanitcha located in northwest republic of Khakasiya. This writting is composed of Sulek petroglyph's overviews, examples and categories of wilful damages, meanings of images in the prehistory arts, concluding remarks. I have taken a note of severely damaged animal figures in this petroglyph and compared then with other damaged examples of cave paintings, mobile arts, rock pictures, sculpture in various prehistory arts and classified them into several categories. Examining the existing interpretations on image homicide, trial hunting, and hunting rite, I explored the meaning of the images in prehistory and ancient hunting people's basic culture. These are the three typical images of image homicide: 1) Paintings of spears, arrows, harpoons within animal figures, 2) Animal figures or models, which are targeted for the trial hunting's traces, and 3) Hunter's disguisings as animals for hunting rites. The damaged figures in Sulek can be categoried into one of the three types. These behaviors are founded on the belief that spirits are embodied into the images and the drawings are alive to have the same power with the real creatures. Based upon this belief, prehistory and ancient hunting peoples have made images for their needs. Also they intended to acquire what they wanted by damaging the images. As we can find in examples such as taboos, imprecations, and burnings, concerned with images, beliefs of prehistory and ancient peoples on images are passed down into our lives.

선사 미술 속의 에로틱 장면에 대하여

장석호 ( Jang Seog Ho ) 중앙아시아학회 2021 中央아시아硏究 Vol.26 No.2

This paper discusses the erotic scenes that are portrayed in prehistoric art. It is composed of four chapters including introduction and conclusion. The motive behind writing this paper and its contents are discussed in the introduction part. Chapter 2 briefly examines the types and styles of the ancient artworks that depict sexual characteristics of man and woman, as well as the scenes of erotic behaviors. In the beginning of this chapter, the characteristics of the ancient people from Neolithic era, and their artworks portraying sexual characteristics of man and woman, such as the statute of Venus, are introduced. Next, the sexual scenes found in the rock art of Mongolia, Gorno Altai, Kazakhstan, Kyrgyzstan, China and other regions are investigated. In chapter 3, the above-mentioned erotic scenes are classified into different categories such as: sexual organs of man and woman, sex positions, and the structure of the scenes depicting sexual intercourse. Subsequently, the word ‘erotic’ itself, along with its synonyms, are thoroughly studied. While pointing out on the fact that the words such as ‘erotic’, ‘erotism,’ ‘eroticism,’ ‘sexy,’ and ‘lewd’ were once considered vulgar and obscene in the past, the paper shed lights on the art and literary movements that once faced suppression and neglection because of their sexual and erotic motifs. For instance, Amedeo Modigliani’s paintings of nudes were confiscated by police during his solo exhibition due to the issue of obscenity. Likewise, professor Ma Kwang-soo’s novel Happy Sara (1991) also raised much of the public discussion because of the obscenity issue. However, as time passed, such negative perspective diminished, and the works such as L’origine du Monde (1866) by Gustave Courber (1819-1879) and Sonata Erotica by Erwin Schulhoff were allowed to be exhibited and performed in the art museum. The paper emphasizes on the importance of drawing a line between prostitution-related ‘pornography,’ and ‘eroticism.’ It also attempts to find the cases of people having negative perspective toward sex and eroticism during the prehistoric era just as today, and the outbreak of social conflicts caused by the issue of prostitution or obscenity. The paper acknowledges the fact that these artworks were created not just for a pure enjoyment but as a faithful recording of everyday lives of the people. As such, one can trace the early form of the sexual discourse that human beings held fast to. In addition, the primitive style of plastic arts and archival culture, as well as the process of its transformation, can be observed.

바위그림 유적지의 공간과 제재의 상징성 연구 : 대곡리 암각화를 중심으로

장석호(Jang Seog-Ho) 한국역사민속학회 2011 역사민속학 Vol.37 No.-

이 글은 대곡리 암각화를 중심으로 하여, 이 유적지의 공간적 특성과 그 속에 그려진 제재들의 상징 의미를 논한 것이다. 필자는 대곡리 암각화를 비롯한 바위그림 유적지가 물가, 외딴봉우리, 동남쪽으로 향한 바위 그리고 바위그늘 등의 요건을 갖추고 있음을 주목하였으며, 이들이 사이, 단 그리고 축 등의 공간성이 내포되어 있음을 파악하였다. 그것은 곧 하늘과 땅 그리고 지하(물) 등이 하나의 축으로 통합된 공간임을 의미하는 것이다. 암각화는 바로 이와 같은 공간 중에서도 특히 물과 산의 '사이'에 위치하는 바위에 그려져 있는데, 이로써 그 바위는 세계와 세계를 이어주는 '사다리'와 같은 구실을 함을 살피게 되었다. 또한 그 속에 표현된 형상들은 겉으로는 현실 세계의 리얼리티를 구현한 것이지만, 그 이면에는 서로 다른 세계를 자유로이 넘나들거나 종의 구분이 애매한 것, 다른 세계에서 서식하는 것, 생태적으로 특이성을 지닌 것 등 이중의 속성을 지니고 있음도 파악하게 되었다. 이러한 점을 통해서 이 암각화를 남긴 제작 집단은 삼계가 하나로 통합되는 곳을 특별히 선택하고, 그곳에 양면성을 지니는 제재들을 선택하여 형상화함으로써 세계와 세계 사이의 경계 허물기, 타자 및 타계와의 소통 그리고 궁극적으로는 이질적인 세계의 대통합 등을 구현하였다는 결론에 이르렀다. This article focused on Daegok-ri petroglyphs discussing about its historic's spatial traits and material's symbolism. The Daegok-ri petroglyphs are required to be around the waterfront, secluded mountains, on rocks facing the southeast direction and in the rock shades; among these things, spaciousness like tier, axis and etc are implied. In other words sky, ground, underground(water) and etc are integrated space with one axis. Petroglyphs are drawn in these spaces, especially rocks located in the middle zone which lies 'between' water and mountains, and these rocks are consider as the middle zone in connecting both worlds, water and mountain, together like a 'ladder'. In the petroglyphs, I found out that the shaves relate to existence in the real world, but behind the artwork, there are species of different world or things that are difficult to distinguish; the different kind of species that exist in a different world, things that have ecological uniqueness and etc, all have dual distinctive qualities. By focusing on these points, in conclusion the group that made these petroglyphs chose the place where three worlds (sky, ground and underground) are integrated, and drew petroglyphs. The visualized materials have duplicity, so that they could break boundaries, communicate with others and the other worlds, and visualized integration of World.

연구논문 : 고구려 초기 고분 벽화와 중앙아시아 고대 암각화

장석호 ( Seog Ho Jang ) 한국문명교류연구소 2009 문명교류연구 Vol.1 No.-

이 글은 고구려 초기 고분벽화와 중앙아시아 고대 암각화를 동일 선상에 놓고, 그 주제 및 양식을 검토하여 양자 사이에 보이는 동질성에 관해 논한 것이다. 먼저 고구려 고분벽화의 조형성을 정면성과 측면성, 주대종소(主大從小), 입체감, 운동감, 이야기 도입, 사회상 반영 등 여섯 가지 측면에서 검토하였으며, 고대 암각화도 같은 방법으로 그 조형 세계를 살펴보았다. 이를 통해서 고구려 고분벽화와 고대 암각화 속에는 주인공과 그 주변 인물들의 표현에서 주인공은 정면, 그 밖의 인물들은 측면에서 포착하여 그린 점, 주인공은 화면의 중심에 크게, 그 밖의 인물들은 역할에 따라 크기가 차등적으로 그린 점, 앞 시대와 비교할 때 사물을 포착하는 시점이 다시점(多視點)에서 일시점(一視點)으로 바뀐 점, 일시점 지각에 따라 형상 하나하나에 입체감이 구현된 점, 서로 다른 장면을 병치시켜서 화면 속에 이야기가 도입된 점 그리고 당시의 사회 상황을 살필 수 있는 제재가 형상화된 점 등을 읽어낼 수 있었다. 이로써 주제의 측면에서는 수렵, 마차, 개마무사와 전투도 등이, 양식의 측면에서는 주대종소 일시점 화법 그리고 운동감 중시 등이 고구려 초기 고분벽화와 중앙아시아 고대 암각화 사이에서 공통적으로 살필 수 있는 동질성임을 알 수 있었다. 그리고 바로 이러한 동질성이 중앙아시아 고대 미술의 보편성임과 동시에 한국 고구려 초기 고분 벽화는 중앙아시아 고대 암각화와 같은 계통의 조형 예술임을 알 수 있었다. This thesis lays the tomb murals of early Goguryeo and petroglyphs of the Ancient Central Asia on the same line and discussed its homogeneity being seen between both things by investigating its subject and patterns. First, the formative characteristics of the tomb murals of early Goguryeo were examined in an aspect of six kinds such as frontality and sidedness, largeness of main parts and smallness of accessory parts. cubic effect, a sense of movement, story introduction, reflection of a social aspect and others, and the formative world of the Ancient petroglyphs were also examined in the same way. Through this, the point that the hero was drawn in the front and other figures were drawn in the side for expression of a hero and surrounding figures in the tomb murals of early Goguryeo and petroglyphs of the Ancient Central Asia, the point that the point that the hero was largely drawn in the center of a picture and the size of other figures were differentially drawn, the point that the visual point capturing objects was changed from multi-visual points to one visual point, the point that the cubic effect was realized in every shape according to sensing of one visual point, the point that a story was introduced in a picture by putting a picture different from each other side by side, and the point that many materials viewing social situations at the time were visualized could be understood. Therefore, it could understood that hunting, a carriage, heavy cavalry and combat drawings, etc. in an aspect of a subject. and largeness of main parts and smallness of accessory parts, painting methods of one visual point and emphasis on a sense of movement, etc. in an aspect of a pattern are homogeneity that can be commonly viewed between the tomb murals of early Goguryeo and the Ancient petroglyphs of the Central Asia. And it could be understood that this homogeneity is universality of the Ancient art of the Central Asia, and that the tomb murals of early Goguryeo are formative arts with the same system of the Ancient petroglyphs of the Central Asia.

중앙아시아 고대 암각화와 고구려 고분벽화의 주제 및 양식 비교 연구

장석호 ( Seog Ho Jang ) 중앙아시아학회 2010 中央아시아硏究 Vol.15 No.-

The writer found out, in carrying out field investigation of the petroglyph in Central Asia in prehistory and ancient period(B.C. 2C~A.D. 8C) so far, that some figures are similar to the ancient tomb mural in Koguryo in terms of theme and style. In the ancient petroglyph in Central Asia, hunting drawing, carriage drawing and armed soldiers and battle drawing, which have been drawn traditionally since the Bronze Age, are produced based on a new aesthetic view. However, in the ancient tomb mural in Koguryo produced in the same period, horse-riding hunt drawing, cow and horse pulling carriage, armed-horse warrior and horse-riding battle drawing can also be seen. Review of the feature of these drawings one by one revealed the difference with the previous age and the homogeneity with the contemporary age. The differences are that the viewpoint to capture objects in respect of material interpretation is changed from multi-viewpoint to single-viewpoint, that the spatial concept like up and down and left and right is established based on horizontal line, and that unprecedented new theme appears. Homogeneity is that the lifestyle of hunters and nomadic people, the world of material culture like living apparatus and the content to be able to investigate the international relations and social situations become the theme. The homogeneity available in both styles is that the sense of speed is realized in each form, that the space is composed based on the horizontal line and that the story is introduced in the screen. These very features are the universality of antient arts in central Asia and show that the ancient tomb mural in early Koguryo and the arts in Northern region are the same linage. In other words, the hunt drawing, the carriage drawing, armed-horse soldiers and battle drawing in the ancient tomb mural in Koguryo are not the mid-land lineage, but assume the elements of hunting and nomadic people`s culture heavily.

연구논문 : 내몽골 암각화의 인면 형상과 한국 양전동식 암각화의 중심 도상 비교 연구

장석호 ( Seog Ho Jang ) 동국사학회 2012 동국사학 Vol.53 No.-

이 글은 우리나라 경상북도 일원에서 발견된 소위 "양전동식" 암각화의 중심 도상을 가면으로 보고, 그 원류를 내몽골의 인면 형상에서 찾고자 한 일부 연구자의 연구 결과에 불합리한 점이 있음을 지적하고, 우리나라 양전동식 암각화의 중심도상은 한국적 풍토에 기반을 둔 지역문화의 소산임을 밝힌 것이다. 이 글에서는, 그 동안 내몽골에서 발견된 바위그림 유적지를 정리하고 또 제재와 양식, 유적지명 등을 검토하여, 그것이 북방 수렵·유목민의 바위그림과 같은 계통이자 소산임을 파악하였다. 이어서, 내몽골 암각화 중의 인면 형상을 분석 대상으로 삼아 조형성을 분석하고 그 틱징을 파악하였다. 그런 다음, 우리나라 양전동식 암각화 속의 중심도장을 내몽골의 얼굴 형상과 같은 방법으로 분석하여 특징을 정리하였으며, 양자를 직접 비교하여 유사성과 차이점을 논하였다. 그 결과 내몽골의 인면 형상은 분명히 얼굴을 형상화한 것이지만, 우리나라 양전동식 암각화의 중심도상은 얼굴-마스크를 형상화 한 것이 아님을 파악하였으며, 그에 따라서 그간에 학계에 제기된 양전등식 암각화의 가면설과 내몽골 기원설의 모순점을 지적할 수 있게 되었다. This article points out the irrationality on conclusion that some researchers had made. The researchers had considered the main icon of the so-called "Yangjeun-dong"-Style petroglyphs found in Gyeongsangbuk-do, Korea, as a kind of facial mask, and they tried to find the origin in the facial shapes of lnner Mongolian people. The text also clarifies the main icon of the "Yangjeun-dong"-Style petroglyph in Korea is a local cultural outcome based on natural Korean characteristics. The article dealt with the historic sites with rock arts found in Inner Mongolia and examined sanctions, styles and the name of the places, and found out that they are the same lines and the same type of outcomes with rock arts of northem nomads. In succession, the article analyzed the formativeness of the facial shapes in the Inner Mongolia`s petroglyph, and figured out their features. Then, the article went through the Korean "Yangjeun-dong"-Style petroglyph in the same way, and discussed similarities and differences between both sides. Eventually, we found that the facial shapes of Inner Mongolian petrolyph is face-embodied, while the Korean "Yangjeun-dong"-Style petroglyph is not facial-mask embodied, and we were able to point out the contradiction in the theory about "Yangjeun-dong"-Style petroglyph being originated in Mongolia, which has been constantly brought up among academic circle.

선사 및 고대 미술 속 하이브리드 형상 연구

장석호 ( Seog Ho Jang ) 중앙아시아학회 2014 中央아시아硏究 Vol.19 No.1

Hybrid Figure is a term used for describing compounds of different kinds and species such as two animals or an animal and human. Hybrid Figure is one of the most interesting things from the ancient or prehistoric arts. This study is to examine the Hybrid Figures, and to classify materials by observing canons of models, and to find out what these embodied. To do these things, we have observed a total of 69 Hybrid Figures. Through this, hybrid forms have been observed in the entire region, made in the stone age. Even now, they have remained as an important position of ruins. The main components of the Hybrid Figures are generally animals` horns; ears and tails including legs of human. In other words, head of animals, which don`t have horns or humans are combined with horns and ears; tails of deer or cattle or goats. If this is not the case, human bodies are combined with birds or the symbol of the sun. Among 69 of the Hybrid Figures, 51 of the Hybrid Figures are the compounds of human and animals or symbols, which are 73% of the total amounts. From that, 52% is the compounds of humans and animals, which is 36. The mixture of birds and humans are 5, which is 7.2% of the total amount. Sun and human are all 6, which is 8.6%. The compounds of animals are 15, which is 21.7%. We can classify those things like one that is combined with animals` head and human bodies; one that is combined with imaginary animals that is made up of all kinds of animals and human`s legs, and one that is combined with humans` head and animals` body. We can classify the compounds of human and birds as a mixture of birds` head and bodies of human or humans` head and birds` bodies. For the compounds of the sun and human, it can be distinguished by one that is made up of a shiny head and human bodies, and one that is mixed with concentric circles and human bodies. Also, mixtures of animals can be classified as animals that basically don`t have horns, but have cattle or deer`s horn on their bodies; mixtures of birds and animals, those of fishes and birds` wings; those of reptile and horns on their head. From those things, we can call the mixture of animals` head and human legs Minotauros Type. For the animals that is combined with birds` wings can be called Griffin Type. Human faces with birds` wings are called Siren Type. There are diverse opinions on these things like the Figures of God, God of Hunting, the Leader of Tribes, Hunters, and Shamans. Obviously, part of these figures are not only Hunters, but also Shamans. The rest of them are embodied for the figures of the God of Sun. Groups of manufacturing selected the animals part, which has a special ability, and give shape to the ideal creature. The completed figures of all these things are called Dragons.

타쉬트이크(Таштык) 동물 양식과 한국 고대 미술의 상관성 연구

장석호 ( Jang Seog Ho ) 중앙아시아학회 2016 中央아시아硏究 Vol.21 No.2

This study examines the figurative art of the Tashtyk culture that flourished in the middle Yenisei river basin in Southern Siberia from 1^st century B.C. to 4^th century A.D. By comparing the Tashtyk style art with ancient Korean art, and by investigating on the area of distribution of the similar relics, this article emphasizes on the homogeneity between these two arts. Similarities, in terms of materials, themes, molding method, and style of art, are reflected on the images of parade, carriage, and Masahi (Horseback archery) of the ancient tombs built in the early Koguryo period. These tombs includes Anak no 3, Tokhung-ri, and Samsilchong. Similarities can also be found in the Cheonmado of Chonemachongs (ancient tombs) of the Silla Dynasty in Gyeong-ju, the Southern part of the Korean peninsula. The Tashtyk style refers to the type of paintings that were discovered in the Tashtyk river bank, a branch of the Yenisei river. It includes the equestrian statues engraved on the wooden plates. The characteristics of Tasktyk style are well-shown in the images of horses. One of the horse`s foreleg is stretching forward, while the other kneeling down, and the hind legs are crossed together. By observing these images, one can sense the pace of horse, and understand whether it`s walking fast or running. This type of drawings were excavated in the old burial mounds built in the Tashtyk period for the first time. Afterwards, similar relics were found in Khakass-Minusinsk Hollow, the shore of Lake Bailkal, Altai Mountains, Southeastern part of Kazakhstan, and inner Mongolia. The images were drawn on top of an imaginary line, and different types of drawing methods such as perspective drawing, scorcio and superimposition were used. As such, the images provide three-dimensional and in perspective picture. This type of style did not exist in the early pastoral age nor even before. However, it was found that similar techniques were used in the ancient Korean art. For instance, in the images of parade, carriage, and Masahi in the mural paintings of early Koguryo period, as well as the Cheonmado of Chonemachong in Gyeong-Ju bear resemblance to Tashtyk style art. In this sense, one can clearly say that the Tashkyt style art reached further to the Southern region of the Korean peninsula. In addition, one can point out the errors that some scholars made by stating that the mural paintings of Koguryo period received an influence from China.

국보 제285호 대곡리 암각화의 도상해석학적 연구

장석호(Jang Seog-Ho) 한국고대학회 2007 先史와 古代 Vol.27 No.-

  이 글은 국보 제 285호인 대곡리 암각화를 도상해석학적으로 연구한 것이다. 먼저 형상 상호간의 중첩 상황을 분석하여 그 선후 관계를 파악하였으며, 그런 다음 제일 먼저 그려진 것들은 무엇이고 또 어떤 장면을 형상화한 것인지에 관해 논하였다.<BR>  이를 위해서 먼저 이 암각화 중 형상들이 서로 겹 그려진 부분 가운데서 세 곳을 예로 삼아 그 선후 관계를 분석하였다. 제작 시기의 선후 관계에 대한 그간의 연구에서는 면 쪼기로 제작된 형상들이 먼저 그려졌고, 선 쪼기로 그려진 형상들이 그 위에 덧 그려졌다는 주장이 제기되었으며, 이에 대한 이견은 없는 실정이었다. 그러나 이번의 분석 결과는 기존의 연구 성과와는 달리 면 쪼기의 형상들에 앞서 선 쪼기의 형상들이 이미 그려져 있었음과 아울러 부분적으로는 세 겹 또는 네 겹으로 덧그려진 곳이 있음을 주장할 수 있게 해 주었다.<BR>  그 다음, 이 암각화 가운데서 가장 먼저 그려진 것들이 무엇을 형상화한 것인지 밝혀내었는데, 그것들은 흥미롭게도 그동안 울타리나 사슴의 뿔로 해석되어 왔던 것들이다. 그런데 이들을 재검토한 결과 선행 연구에서 불합리한 점들이 있음을 지적할 수 있게 되었다.<BR>  우선 울타리의 경우, 그것들은 가로선을 기준으로 아래위가 서로 어긋나 있거나 짝이 맞지 않으며, 아래쪽의 세로 선은 위의 것과는 달리 약간 비스듬하였다. 뿔도 위가 아니라 앞으로 지나치게 길게 뻗어있어서 사슴의 신체 구조에 부합하지 않았다. 뿐만 아니라 두 형상의 오른쪽 끝에는 동일한 구조의 ‘무엇’이 그려져 있었는데, 이는 곧 이 두 형상이 울타리나 사슴뿔이 아님을 말해주는 것이었다.<BR>  따라서 문제의 형상을 이 암각화 속의 유사한 형상과 비교하면서 그것들의 기본 구조가 배와 동질의 것임을 파악해 내었다. 또한 오른쪽 끝에 형상화된 ‘무엇’이 ‘정박’이나 ‘예인’ 혹은 ‘망루’ 등 선박의 시설물이거나 작살자비일 가능성을 검토하였으며, 결국 그것이 작살자비를 형상화한 것임을 세계 각지의 포경도 속 작살자비의 표현 사례를 통하여 밝혀내었다.<BR>  이 연구로써 대곡리 암각화 속에 표현된 최초의 형상들은 다수의 사람들이 탄 여러 척의 배였으며, 이들이 서로 협동하여 고래를 잡는 장면이었음을 알게 되었다. 특히 사례 3에서는 두 척의 배에 작살자비가 작살을 들고 서 있는 모습이 그려져 있었으며, 바로 이 장면을 통해서 이 암각화가 세계에서 가장 오래된 포경도임을 주장할 수 있게 되었다. 뿐만 아니라 이로써 이 암각화 속 첫 번째 그림은 선단식 포경 장면이었음과 아울러 울산만을 중심으로 한 우리나라 동해안이 고래잡이의 발상지 가운데 하나였다는 주장을 펼칠 수 있게 되었다.   This thesis is an iconological research of the petroglyph of Daegok-Ri, National Treasure No. 285. First palimpsest configuration was analyzed and discussed what was first painted and what the painting demonstrated.<BR>  Three parts of painting were selected among palimpsest parts then their relationship was analyzed. Researches have suggested that chiseled surface were first done then lines were chiseled later, and everyone has agreed to this argument. However this research suggests a different analysis to the past research that lines were chiseled before the surface was chiseled, and some were over painted in multi-layer.<BR>  Then analyzed what the first part of painting demonstrated and interestingly it has been understood as a fence and an antler. However this research has proved that there have been some unreasonable aspects in the past researches.<BR>  For fence, with putting the horizontal line in the center, top and bottom miss each other and are not matched, and bottom vertical line was tilted to one side compare to the top vertical line. Antlers also were stretching out to the front not upward, which does not match with the shape of the real antler. Also at the right end of two shapes, something identity was drawn and they were not either fence nor antler.<BR>  Thus these shapes were compared with other similar shapes in rock painting and their fundamental structure was found to be a ship. Also the possibility of what is drawn at the right end may be some ship structures such as anchorage, towing or observation tower, or it may also be a harpooner.<BR>  Finally it was found to be the harpooner after investigating the examples of presentation of harpooner from overseas sources.<BR>  This research suggests that shapes shown in the petroglyph of Daegok-Ri were ships with crews and they were catching whales. Especially in the example 3, harpooner was standing holding harpoon, and this proved that this petroglyph is the oldest Whale Fishing painting in the world. It also proved that the first painting in the petroglyph was the scene of fleet Whale Fishing and also proved that East Sea, with Ulsan bay in center, was one of the cradles of whale fishing.