The Primitive Belief In Ulaanchav Rock Paintings

Ulaanchav rock paintings has a long history. It is a natural grasslandhistory museum which has a high research value. This article attempts toexplore and analyze the primitive belief in the rock paintings throughresearching the Ulaanchav rock paintings, trying to find the relationshipbetween the primitive belief and modern northern grasslands’ culture in Asia.Full text is divided into six parts:In the introduction, I simply introduce the academic value, the selectedtopic goal, general research situation at home and abroad, the relatedresearch theory and methods, innovation and the difficulties.Part1focuses on the general situation of distribution of Ulaanchav rockpaintings. Ulaanchav rock paintings are mainly distributed in Baotou Citytoday, There are five area of rock paintings. These creation went throughthe Neolithic Age,3AD to6AD, Yuan dynasty, Ming dynasty and Qingdynasty. In the five periods, the primitive belief of the grasslands was themost popular between the neolithic period to before and after A.D. theprimitive paintings is also the most important in this period.In the part2, based on the content of the rock paintings, I refer to theprevious data to find that the rock paintings are divided into three categories,including scene paintings, material object paintings and symbol paintings. Ianalyze and explore the primitive belief at the same time.In part3, in study of the primitive belief in Ulaanchav rock paintings, Icome up with the basic idea and concept of my study. In the perspective ofthe Religious Anthropology theory approach, nature worship, animalworship, reproduction worship and the early activity of making god ofUlaanchav rock paintings have a new explanation way,. Sum up four points:In Ulaanchav rock paintings, the worship of the sun was mainly modality ofthe natural worship, and more symbolic describtion were in the paintings of the sun; there are obviously differences between the animal worship andtotem worship that can be concluded that the animals do not belong to thetotem in Ulaanchav rock paintings; different worship for the male andfemale genitals in reproduction worship may reflect the rise of humanpatriarchal society; face paintings may be the art of the early activities ofmaking god.In part4, I point that we could find some information interpreting theprimitive belief in Ulaanchav rock paintings from modern northerngrasslands’ culture. Among these, grasslands’ folk culture and folk beliefsare key of finding these connections, and matching mythical motif of thegrasslands with the motif of rock paintings is one of the important methods.In the epilogue, I mainly describe the conclusion of this article and myresearch tips.