The article presents the authors’ interpretation of semantics of the main plot presented in the Huashan rock-paintings (Guangxi-Zhuang autonomous region), the largest site of rock-art in China. This «main plot» comprises an anthropomorphic figure depicted in the «frog’s position», with legs set aside and palms turned up, trampling an animal, as a rule, in the company of other adorant figures. Many analogies of this image were traced in rock-art of different regions of Eurasia (from the rocks of Mongolian Altai - up to the mountains of Armenia); they obviously had a typological character. Figures of adorants indicate the basic, quiet ancient cosmo-genetic myth about division of Heaven from Earth. However, the species definition of the animal on which the anthropomorphic character sets foot makes it possible to define the semantics of the entire plot. Careful visual investigation of the pictures obtained by the authors during their visit to the Huashan rock-paintings in 2018 allows to determine the zoomorphic character as that of a dog and to connect the plot with mythology of the Zhuang people. A dog played a very important role in the ritual life of the Zhuangs whose direct ancestors created the picture gallery of Huashan. According to local myths, a dog also acted as «a wonderful assistant» to the thunder deity (Lei-gong). This interpretation is based also on the pictures of the upper part (tympanum) of bronze drums with a star ornament in the center given in one complex with the main plot as the drums were treated as one of the attributes of the thunder deity. From an archaeological point of view, depictions of bronze drums connect the creators of Huashan paintings with the Dongshong-Dian civilization - a complex multi-ethnical community which dominated in South China and North Vietnam in the Early Iron age (approximately VIII century BC - III century AD).
本文介绍了作者对中国最大的岩石艺术遗址华山岩画（广西壮族自治区）中呈现的主要情节的语义解释。这个“主要情节”包括一个在“青蛙的姿势”中描绘的拟人化人物，双腿放在一边，手掌被抬起，通常在其他崇拜人物的陪伴下践踏动物。这种图像的许多类比都可以追溯到欧亚大陆不同地区的岩石艺术（从蒙古阿尔泰的岩石到亚美尼亚的山脉）。他们显然具有类型学特征。崇拜者的身影表明了关于从天上划分天堂的基本的，安静的，古老的宇宙遗传神话。但是，通过拟人化的角色对动物进行物种定义，可以定义整个情节的语义。通过对作者在2018年访问华山岩画时获得的图片进行仔细的视觉调查，可以确定像狗一样的动物形态特征，并将情节与壮族的神话联系起来。一只狗在壮族的宗教生活中起着非常重要的作用，壮族的直接祖先创建了华山的美术馆。根据当地神话，一只狗还充当了雷神（雷公）的“奇妙助手”。这种解释也是基于青铜鼓的上部的图片，中心有星饰，与主要情节形成一个整体，因为鼓被视为雷神的属性之一。从考古学的角度来看，铜鼓的描绘将华山绘画的创作者与东中滇文明联系起来。