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A Study on the Rock Art of the Tongtian River Basin, Tibetan Plateau of China

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A Study on the Rock Art of the Tongtian River Basin, Tibetan Plateau of China Journal of Siberian Federal University. Humanities & Social Sciences 2021 14(1): 111–127 DOI: 10.17516/1997-1370-0574 УДК 902.01 A Study on the Rock Art of the Tongtian River Basin, Tibetan Plateau of China Zhang Wenjinga and Wang Xiaokun*b aAnyang Normal University Wenfeng District, Anyang, Henan , China bRenmin University of China Haidian District, Beijing, China Received 10.10.2019, received in revised form 22.01.2020, accepted 18.10.2020 Abstract. In recent years, the Yushu Museum has conducted a systematic investigation on the rock art of the Tongtian River Basin in its prefecture and newly discovered 1230 panels’ rock art (more than 1700 images). This paper is a statistical and comparative analysis of the newly discovered rock art. According to content and production techniques, we divided the rock art of the Tongtian River Basin into two big areas. The West Area is the upper part of the river basin, which is the area above the confluence of Tongtian River and Chumar River (Qumalai River); the East Area is the lower part of the river basin, which is from the confluence to the Batang estuary of Yushu. This area can be subdivided into three subareas. The majority of the Tongtian River Basin’s rock art is categorized as animal type. Yak and deer are respectively the main themes of the West Area and the East Area. In addition, there are other rock art types like symbol, character, pagoda, carriage and so on. The two areas have both commonalities and their own characteristics. Through the typological analysis of production techniques, in the cases of carriage rock art, and deer rock art, we think that the rock art mainly used the whole-image chiseling technique. This technique can be traced back to the Shang Dynasty; the rock art mainly chiseled linearly is dated to the early Zhou Dynasty to the Warring States Period; the rock art that was creates with the line carving technique is dated to the Warring States Period to the Western Han Dynasty; the rock art that was creates with the grind carving technique can be dated back to the Qin and Han dynasties; and the rock art mainly used scratching technique can be traced back to the Ancient Tibetan Empire Period (618-842 AD). Keywords: Rock art, Tongtian River Basin, Tibetan Plateau. This paper is supported by the scientific research fund, Renmin University of China. Research area: archeology. © Siberian Federal University. All rights reserved * Corresponding author E-mail address: [email protected] – 111 – Zhang Wenjing and Wang Xiaokun. A Study on the Rock Art of the Tongtian River Basin, Tibetan Plateau of China Citation: Wenjing, Z., Xiaokun, W. (2020). A study on the rock art of the Tongtian River Basin, Tibetan Plateau of China. J. Sib. Fed. Univ. Humanit. Soc. Sci., 14(1), 111–127. DOI: 10.17516/1997-1370- 0574. The Tongtian River is the main stream of and a total of more than 1700 images were dis- the Yangtze River’s source section. It got its covered, which were twice the number of all name from its high terrain, because it orig- other rock art in Qinghai province (NimaJiang- inates from the Roof of the World, the Qing- cai, 2016). This paper analyses and explores the hai-Tibet Plateau. The Yangtze River origi- zoning, regional characteristics and the dating nates from the Tuotuo River, whose source is of rock art in the Tongtian River Basin. located in the hinterland of the Qinghai-Tibet Plateau, flowing out from the 5820m snowl- I. The zoning of the Tongtian River ine of the Southwest side of the Jianggendiru Basin’s rock art Peak, the Geladandong Snow Mountains, the 1. The production techniques of rock art middle part of the Tanggula Mountains. The Rock art refers to the images and symbols 44 kilometers’ valley area of the snow moun- engraved, using stone or metal tools, or paint- tain is called Naqinqu, thereinafter known as ed, using mineral pigments, by ancient people Tuotuo River. Flowing passing 346 km from on the outdoor rocks or cave walls. So, in gen- the snow line, it joins together with the south eral, there are two types of rock art: carved rock source Dangqu River in Nangbalong, below the art and painted rock art. The northern Chinese confluence known as Tongtian River. Flowing rock art were mainly carved, rarely painted. passing 278 km from the Nangbalong, it flows The techniques of carved rock art can be di- together with the north source Chumar River, vided into chiseling and grinding. Chiseling above the confluence known as the upper part is mainly composed of whole-body chiseling, of the Tongtian River. From the Chumar River shaped by the whole image and showing sil- confluence to the Batang Estuary of Yushu is houette-like images in dense chisel-points, and the lower section of the Tongtian River (Liu, linearly chiseling, shaped by lines and show- 2014). The river flows across the Yushu Tibetan ing images in carved lines, with both carved by Autonomous Prefecture of Qinghai province, stone or metal tools. The rock art used linearly which is located in the southwest of Qinghai chiseling technique has thick lines and obvious Province, with area of 267,000 square kilome- chisel-points. And the linearly chiseling tech- ters, accounting for 37.02% of the total area of nique can be subdivided further into line carv- Qinghai, having jurisdiction over 6 counties, ing technique, which carves lines with metal like Yushu, Nangqian, Chenduo, Zaduo, Zhid- tools, and grind carving technique. The lines uo, Qumalai,1 town and 47 townships (The An- carved in line carving technique are generally nals of Yushu, 2005). The Yushu Tibetan Au- thinner, visually slender and more smoother, tonomous Prefecture is located in the middle of and with more vivid images than that in the lin- the South-Qinghai Plateau, with relatively gen- early carving technique; as for grind carving tle terrain and not big relative height difference. technique, the outline of the images are first The river cutting trace here is not obvious and carved, then the metal or stone tools are used the plateau surface shape is relatively complete. to repeatedly grind lines, so this kind of images What’s more, it’s the headstream of Yangtze often have more clear lines and deeper grooves. River, Yellow River, and Lancang River, so it’s We find that in the grind carving technique, if called “rivers source.” stone tools are used to repeatedly grind images From December 2013 to April 2016, the in a long-term, the groove would be U-shaped, Yushu State Museum carried out numerous deep and wide, and details cannot be very clear. investigations on the rock art of the Tongtian Such technique was widely used in human face River Basin, which were mainly found on the rock art in Yinshan (Wang, Zhang, 2012). If cliffs or scattered rocks on both banks of the metal tools are used for grinding, the groove river and its tributaries. 21 sites, 1230 panels, would be V-shaped and the lines would be – 112 – Zhang Wenjing and Wang Xiaokun. A Study on the Rock Art of the Tongtian River Basin, Tibetan Plateau of China slender. Within the grinding technique, there We zoned the rock art in the Tongtian Riv- are two other types. One is that after carving er Basin into two areas. The West Area is the out the outline of the image, to grind the whole upper section of the river; the East Area is the image entirely rather than to grind the lines lower section of the river. The East Area is sub- of the carved outline; another is that to direct- divided into three subareas: Subarea I, Subarea ly use metal tools to scratch images without II and Subarea III. (Fig. 1). carving process. In order to differentiate these The West Area includes rock art sites techniques, we call the technique of directly Lechi, Angla, Zhilong, Zhangma, Niangza- scratching with metal tools as scratching tech- bama, Rongxiong, Zhangnang, and Gemma. nique. In the East Area, the Subarea I includes rock In the Tongtian River Basin, chiseling, art sites Tajiong, Ganglongwoma, Zhangqida, especially whole-image chiseling and linearly Keyoushan, Yunta, Bise, Gaqiong, Jiaokao, chiseling are the main production techniques, Lengpeita, and Pukagongma; the SubareaII and the line carving technique is also used has Zongqing, Xieqing, Tongji, Quzi, Nixicha- more, while the scratching technique used jia, Kalong, Saikang, Muxu, Mumosangduo, less. Painted rock arts are very few, only found and Dongguo; the SubareaIII Includes Geng- 2 in Xieqinggou, Bagan Township,Qumalai zhuo, Lagong, Bulang, Maisong, and Juese. County. II. The regional distribution characteristics 2. The zoning of the Tongtian River of the Tongtian River Basin’s rock art Basin’s rock art 1. The West Area – the upper section Through the analysis of the production of the Tongtian River techniques at each rock art site, combined with the quantity of the rock art types, we zoned the The West Area is the Northern Qumalai rock art in the Tongtian River Basin to clarify County, including rock art sites Lechi, Angla, the distribution of the rock art and lay the foun- Zhilong, Zhangma, Niangzabama, Rongxiong, dation for further analysis. Zhangnang, and Gemma in Qumahe Township Fig. 1. The zoning distribution of Yushu rock art. This was made by Google Earth according to the three-dimensional coordinate of the rock art sites in Yushu Rock Art: Tongtian River – 113 – Zhang Wenjing and Wang Xiaokun. A Study on the Rock Art of the Tongtian River Basin, Tibetan Plateau of China Fig. 2.
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