Comparative Study Of The Mythological Images On China And Korean Peninsula

The mythological image stereoscopically shapes the mythological image with distinct personality in a mysterious and simple visual language form and points directly at the emotion of the subject,which transcends the limitations of mythological writing and mythological oral biography at the level of expression,it is the most plain natural revelation and origin of aesthetic consciousness,and also the true projection of cultural value orientation and spiritual and emotional structure.As an and comprehensive interpretation of primitive beliefs and historical civilizations,mythological images examine and analyze the essence of texts hidden under the representations of symbols and discourses hidden in mythological images.Behind the mediocre and trivial mythological images,look for the far-reaching roots of aesthetic memory and styling cognition in the "drifting signifier",in this way,the cultural genes left behind in the tide of history can be picked up again,and the common true knowledge can be exceeded under the cover of many well known ones.The connotations,metaphors and symbols contained in the cultural texts intentionally or unconsciously set up a "riddle" in the historical inheritance of the mythological images,and put them in the framework of cultural comparison for a holistic perspective,in order to decipher the "riddle" in the dialogue filled with intersubjectivity.In today’s trend of integrating multidisciplinary knowledge and breaking through the limitations of a single discipline,this thesis explores the field of art in depth with the research methods of literary anthropology and art anthropology,and the original myths,images,and literatures that are complex and cumbersome.Cultural information such as folklore and the mythology are connected in series and see them as an organic whole connected to each other.Trying to construct a complete clue and research method for finding the grand structure of Eastern civilization,Its core lies not only in the conclusion itself,but also in the test and practice of structural clues and research methods in the process of verification.Is a continuation of anthropology in the field of art,and also plays the role of inheritor of literary anthropology,artistic anthropology and other disciplines.The first chapter takes the "four-element evidence method" proposed by Mr.Ye Shuxian as the logical starting point and basic theoretical basis of the mythological image research,and takes the "N-level coding theory"and the "cross-cultural comparison method" as the context of the two research contexts,supplemented by the dual dimensional media of time and space,to realize the visual threshold convergence between the two,and tentatively constructs a widely connected latitude and longitude frame structure as the research method of this paper,and named it as "’N-level coding’ and’ the Nth proposition ’three-dimensional structure".The second chapter is deeply in the historical context,citing the two mythological scope definition concepts of "narrow myth" and"generalized myth",and comprehensively discusses the general regular category of mythological and mythological images in Eastern civilization.On this basis,it also recalls the two historical concepts of "the difference of Chinese and barbarian" and "the protection against foreigners",it further defines the category of mythology and mythological images between China and the Korean Peninsula.The third chapter discusses the basic composition forms of the two oriental myths,"Creation Myth" and "Induced Myth",and echoes the two mythological development rules of "Historicization of Mythology" and"Historical Mythology",it outlines the whole structure of mythology with oriental color,then deeply explores the evolution process of two kinds of mythology from imagination to image,and tries to construct the inheritance pedigree of mythological image with oriental civilization personality.The fourth chapter focuses on the natural symbol and totem worship in the creation mythological image.First of all,since "Sun and Moon worship" combs the image structure cascade thinking in the narrative of creation myth,the evolution framework of the initial order of mythological world is built,which changes from the development of unitary initial image to dualistic dual image,and then to the continuous connection and extension of dualistic dual image;secondly,taking "Bear Totem" as a clue,by comparing the visual language such as Baiji brick and stone portraits of the Han Dynasty with the literary language such as literature and classics under the civilized system of both sides,the paper realizes the mutual interpretation of images and documents under different regional civilized systems,discards and reminds the dependence and defects of traditional thinking,carefully puts forward hypotheses and draws support from the evidence among multiple evidences.Sex,showing the origin and flow relationship between the image elements of Baiji portrait brick,paving a practical way for the interpretation of "the riddle of ghost brick".It also proves the specific practicability of the research method of "’N-level coding’ and ’ N-proposition’three-dimensional structure" proposed in the first chapter of this paper for breaking through the inherent cognition.The fifth chapter focuses on the sacred narrative and the psychic metaphor in the mythological images of the senses.Firstly,it explores·the connection and expansion process of the extended image derived from the "Dragon Worship" as the main line,looking for the "Dragon" to "The connection of Dragon and Tiger Image",and then to the cascading relationship of the mythological image of "the connection of the images of the four gods",and extending this gaze to the "link of the image of the four spiritual beasts(five spiritual beasts)" and "the connection of the images of kirin and phoenix" the image cascade pedigree is analyzed,and the historical origins and development trajectories of the image pedigree formed by the "Dragon Worship" as a bridge are sorted out;secondly,according to the mythological imagination and mythological images derived from "Bird Worship",the relationship between the echoes and the evidences is sorted out,and the overlapping parts of the metaphors in each image are connected in series to form a non-time reference imagination and image overlay.This explores the mythological imagination of "Bird Worship" and the mythological image through the catalysis of different cultural value orientations,which have been divided and reconstructed,and finally merged and converged in phoenix.In the conclusion,the general law of mythological image generation in oriental civilization,the practical significance of mythological image to the construction of social culture,the general commonness of aesthetic consciousness in oriental civilization and the unique aesthetic complex and final purport of oriental civilization are comprehensively expounded.