An Iconological Study On The Rock Paintings Of Human Faces In Helan Mountain

This thesis is an iconological study of Helanshan human-face petroglyphs.Based on fieldwork and literature,the research focuses on a variety of human-face petroglyphs in the major range of Helanshan,trying to recategorize the images by motif and interpret the implication.Helanshan abounds in human-face petroglyphs and previous researchers have conducted several researches on them.As an object of study,however,the exploration from the perspective of image motif is still rare.At the same time,the iconological methodology in rock art study has not yet been established.This thesis employs iconological method,i.e.by image motif,to interpret the implication of Helanshan human-face petroglyphs,as an attempt to renew the methodology and diversify the perspectives of rock art study.Based on the spatial and temporal background of Helanshan human-face petroglyphs,with the aid of research methods of iconology,and related materials in anthropology,archeology,and ethnology,this paper discusses the implication,evolvement,spatial setting and other relevant issues concerning Helanshan human-face petroglyphs at both macro and micro level.This thesis makes a lateral comparison of human-face petroglyphs in different regions of China from the perspective of iconology and attempts to demonstrate the distinctiveness of Helanshan human-face petroglyphs as well as diversity of Chinese human-face petroglyphs.The Introduction explains the origin and scope of the study and relevant concepts,reviews the trend and results in the study of Helanshan human-face petroglyphs,and also introduces the research methods and innovations in my research.In the first two chapters,I introduce the temporal and spatial background of Helanshan human-face petroglyphs.The first chapter takes time as a clue to trace the paleoecological change,prehistoric culture,migration of ancient ethnic groups,and the type of local economy and culture around Helanshan,unfolding the social and cultural condition of ancient people in Helanshan area.The second chapter,at the spatial level,analyzes various sacred elements of the setting of Helanshan human-face petroglyphs.The sacred elements,human practices and symbols altogether shape the sacred setting of the Helanshan human-face petroglyphs.Up next,from chapter third to chapter six,is the main part of my research.The third chapter,with the application of iconology,attempts to categorize the Helanshan human-face petroglyphs into four different types according to the core element of each.The fourth chapter,still using iconological method,elaborates the core elements abstracted from images,and interpret the implication of them.By image-history and image-image cross-references and specific human-face image,this chapter decodes semantic structure of particular images,elucidates the image connotation,and reveals the cultural metaphors and cognition mode behind the human-face petroglyphs.The Type A Human-face Petroglyph of Helanshan contains three subjects:the Type A-I is a combined worship of animal faces,ancestors and deities,suggesting transformation between them;the Type A-II and A-III represent the admiration of deities and ancestors;the Type A-IV signifies shaman who is of half human and half divinity and capable of connecting ancestors and deities.The Type B implies the adoration of male genitals,and further,the male ancestors.Specifically speaking,the human-faces without headdresses are symbols of reproduction worship,and the ones with headdresses ancestors worship.The Type C represents divine masks used by shamans to embody gods.The Type D features female genitals,correlating with reproduction magic,fertility magic and rain-praying magic.Within the context of Chinese human-face petroglyphs,the fifth chapter compares images from different areas of China on amount,technique and type,so as to indicate the commonalities and distinctions between each,and expound distinctiveness of Helanshan human-face petroglyphs and diversity of Chinese human-face petroglyphs.Chapter Six responds to the theory of sole-origin of human-face petroglyphs.On the basis of image comparison in Chapter Five,considering the relation between human-face petroglyphs and human-face culture as well as culturally temporal-spatial location of human-face petroglyphs,this chapter demonstrates multi-origins of Chinese human-face petroglyphs and trys to further explore the cultural relationship between American human-face petroglyphs and Chinese human-face petroglyphs.Chapter Seven is a comprehensive analysis of Helanshan human-face petroglyphs through both anthropological and iconological lens.I demonstrate the emergence,evolvement and the magic-religious nature of Helanshan human-face petroglyphs,and expound the significance of application of history-image and image-image cross-references in rock art study.The Summary sums up the types of images,the complexity of motives and the distinctiveness of cultural location of Helanshan human-face petroglyphs,and concludes with the position of Helanshan human-face petroglyphs among Chinese human-faces petroglyphs and the inspirational significance and prospect of applying iconological approach to rock art study.