Image Modeling And Cultural Implication Of Rock Paintings In Inner

Tens of thousands pieces of rock painting remains have been found in Inner Mongolia area. At present, the excavation is the main research method of petroglyph. How to explain the relationship between the petroglyph of animal images and the portrait is a difficult problem. Petroglyph the age of the site is not verified. Is Mongolia plateau on the existence of many ethnic groups more closely related with the petroglyph? As a people in front of the ancestor left rock remains, I be aware of Mongolia nationality culture is important for today. This thesis attempts to directly face the rock paintings of the image itself. According to a large number of rock art image contrast, through rock art image description technique, composition, art style, to explain the petroglyph image implied cultural meaning, as well as the implication of culture to the Mongolia nationality spirit effect. At the same time, according to rock the image itself situational relevance, giving the petroglyph image of different alignment, on the rock of animal images with the portrait of the relationship between shift, as well as Inner Mongolia area rock remains between propagation, lasting relationshops. The purpose of the thesis is to promote the research on the rock painting in Inner Mongolia area.The prologue introduces the current research situation in China. Most scholars prefer the modern perspective rather than the combination of Stone Age and Bronze Age status. They also ignore the petroglyph environment correlation. Therefore, in the prologue, this paper wants to use a method including archaeology and anthropology of art and artistic fields of anthropology to study petroglyph, and to access the purpose.The first chapter includes three parts. The main content focuses on the natural and social environment of the Inner Mongolia area rock remains. It is about the tremendous changes of the geography and social humanities from the stone age to the bronze age. It also emphasizes on the natural environment and its distribution characteristics in detail, and exhibits the environmental state.The study from the second chapter to the fifth chapter is about the petroglyph images itself. The first object is the animal image. The sheep, horse and deer are the animals which occur most frequently. In the study of animal images, different images using different stone tools are used to describe. Deer and horse using chipped stone tools depict more pictures. Sheep is used of polished stone tools of depicting more pictures. Three animal species according to their characterization techniques, composition, image style three parts carries on the elaboration. The second object is the human face image. Human face image was considered as a communication medium and a bridge between man and animal, man and nature, man and God. Hongshan region and the Mandela region have the most human face picture on the rock. This paper chooses the Hongshan regional because the regional archaeological culture sequence comparison well, and human face pictures reflect the cultural connotation of coherence. Once again is a portrait. The third object is the portrait that appeared later than the animal and human face image. The horse has been tamed, and became mount not later than2000.BC. The combination between portrait and animal images is the last object that mostly showes hunting and herding. In the late Neolithic age, regional social economy of Inner Mongolia has turned to animal husbandry. According to the relation between human and animal, the human rely on fusion to active control. A variety of petroglyph images, all through its characterization techniques, composition style, image interpretation. For the image to reflect the cultural mean.The main content of the sixth chapter is about the different meaning of culture implied by the petroglyph images. In the paper, without using more profound theoretical system, the research on the cultural meaning of painting focuses on the image itself. The rock painting remains documented the history rarely. This paper uses the archaeological materials of rock paintings to interpret the cultural meaning. The Mongolia historic materials will be used frequently. However, the study will imply the cultural meaning of the image without modern perspective as far as possible. On the cultural meaning of animal images in animal form, form individual to community groups, such as a series of ecosystem evolution. In the evolution of animal, animal rock paintings in multiple roles, these rotes by the performance of the relationship of population to the prairie nationalities have important meanings to life. Secondly, like the face of cultural meaning, how to communicate with people and nature, is a media with Mongolia nationality religious significance. Finally, animal images and portrait combination of cultural meaning, accompanied by environmental changes, changes in the relationship between human and animal, have a different story.The seventh chapter mainly studies the petroglyph image cultural meaning and spiritual connotation of the relationship between Mongolia national. As an example, the horse is a petroglyph image that has been presented in the species. Early, the horse is a worship of Totem. Later, the horse tamed as a mount. In the Inner Mongolia area, most of the petroglyphs are horse image picture. In the Mongolia family, the horse became the most intimate partner. The horse culture has become the important national culture of Mongolia nationality. So this chapter mainly emphasizes on the art characteristics of horse in Mongolia ethnic culture and the spirit reflected from horse to the Mongolia nationality.The last part is the conclusion. The author tries to classify the approximate age of petroglyph images through the collation and research on a large number of rock art image, and to discuss the perpetuation and dissemination relations in the Inner Mongolia regions.