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夢金尺에 對한 考察

Title
夢金尺에 對한 考察
Other Titles
(A) Study on the "Mongkumcheok"
Authors
李美瑛
Issue Date
1987
Department/Major
대학원 무용학과
Keywords
몽금척무용학Mongkumcheok한국무용
Publisher
이화여자대학교 대학원
Degree
Master
Advisors
김천흥
Abstract
This thesis aims at the restoration of the old Jeongjae, which is handed down only in documents, by anyalysis and comparison of the "Mongkumcheok", which is the type of the "Dang-Ak-Jung-Jae" among the traditional court dances, with the old documents as the central figure making clear the content of the "Court Jeongjae" by illuminating the form and the characteristics of it and considering the transitions of "Mongkumcheok". Now let's consider the structure and transition of the "Court Jeongjae". Every Jeongjae has the national character transcending the individual expression of emotion and it contains the thought of oriental philosophy of the Yin-Yang Five-Elements in its course of rite and the structure itself. Its dancing form is very elegant and polite and the purpose and intention of it is very definite. The construction of its form is so well arranged that the performing course is made up of the severe rule and order of introduction, development, turn and conclusion. "Mongkumcheok" is one of the dance which was created and typed by Jeong, Do-Jeon who worked at "Kwansupdogam" in the second year of King Taejo of Lee dynasty. It is made into a dance with the contents that King Taejo founded a nation honoring the Heaven's intention. It chants the old story that before the foundation, a godlike person appeared in his (king Taejo) dream and gave him "Kumcheok" (a gold measure) saying that he was gifted with literary and military arts and all of the peoples appeal belonged to him. Its dancing form is as follows; first, Bongjukja and Bongjukganja go ahead and outstretch to the left and right while Bongjukganja leading the first song. And then the first dancers who are the heads of the right and left go ahead seperately and dance Jeolwhamu (flower-picking dance) and they stand on the right and the left of Jogja holding hands. After the second to the sixth dancers of the right and left column do like this one by one, kumcheok takes with whanggae and presents compliments and then Kumcheok and the 12 dancers of six columns sing Kumcheoksa by Suakjeol. In the meantime, all of the dancers dance the Kumcheokmu of three times backwards and forwards, and Hoeseonmu and then the dance goes to the end as Jukganja finishes the last song and all of the dancers leaves dancing the Toesumu (a finishing dance). Now lets compare the "Akhagkwebeom" and "Court Jeongjaemudohulki" (at the end of old korea) in its transitional content. There are the same and the different title of that music and we can't know which is right because it is not recorded in documents and so we are using the popular and literary name of current National Classical Music Institude. There are no changes in the song sung by Jukganja and the compliments and the words sung by Wonmu. The dancing members have the same organization made up of 12 Wonmu dancers, 2 Jukganjas, 1 Jogja, 1 Kumcheok and 1 Hwanggae and the Bongwi Ritual is made up of 18 members. We can find that there are many same things with the other Jeongjaes in its tools and clothes for the rite. But we can't compare because there are no definite records in old documents, although we can guess that there might be many a change in its forms and contents of performance according to the performing situation of that time. Like as above mentioned, "Mongkumcheok" belongs to the "Dang-Ak-J-eongjae" in its types and constructions of dancing but it is not wrong to regard its origin as the "Hyangak Jeongjae" if we see the motive of the dancing created and because this dance contains the King Taejo`s idea of the foundation of a nation as recorded in the historical documents. But if we consider the "Mongkumcheok and other 7" "Dangak Jeongjaes", we can find that they take on the appearance of the "Dangak Jeongjae" because the tools for the rite, the existence and the non-existence of Jukganja and the compliments and words, which are made of purely chinese letters, are introduced from the types of "Dangak Jeongjae", and besides, the accompaniment is also brought mainly from the Dangak. Therefore we can conculude that "Mongkumcheok" was created in the second year of King Taejo of the earlier Lee dynasty and belongs to the descended "Dangak Jeongjae" which has little change and holds nearly its original form in its form and content through the period of Lee dynasty. And "Mongkumcheok" is the dance which was socially and politically conditioned by the ideology of the foundation of Lee dynasty.;本 論文은 博統宮中舞踊중에서 唐樂呈才 양식인 夢金尺에 관하여 그 內容과 形式 및 제반적인 요소들을 및 文獻을 中心으로 比較分析함으로써 宮中呈才에 對한 내용을 명백히 하고, 그 一般的 形態 및 特徵을 규명하고 夢金尺의 변천과정을 考察함으로써 文獻에만 傅하여오는 옛 呈才의 再現을 모색하는데 그 意義를 두었다. 宮中呈才의 構造와 變化過程을 살펴보면, 呈才는 개개의 作品이 독자적인 感情表現을 초월하여 民族的인 性格을 지니며, 儀式節次 및 構造자체에 陰陽五行의 東洋哲學 思想이 깃들여 있고, 춤사위가 우아하고 정중하며, 춤의 내용에 있어 목적과 의도가 분명하고, 形態構成이 잘 정돈되어 연희과정에는 起·承·轉·結의 엄한 格式과 질서를 바탕으로 이루어져 있다. 夢金尺은 朝鮮 太祖2年에 慣習都鑑의 鄭道傳이 典樂署 武工房을 거느리고 신악을 올려 창제되었고, 唐樂 呈才의 양식을 導入한 춤의 하나이다. 그 內容은 하늘의 뜻을 받들어 나라를 이룩하였다는 것을 歌舞化한 것으로 太祖가 創業전에 있을 때 꿈에 神人이 나타나 太祖의 바탕이 文武를 겸하고 民願이 屬함을 이르면서 金尺을 주었다는 옛일을 노래하였고, 그 舞作形態는 먼저 奉簇子와 奉竹竿子가 앞으로 나가 竹竿子가 先口號를 부르고 左右로 벌려 서면, 左右除의 머리가 되는 第1人이 각각 나와 折花舞를 추고 斂手하면서 簇子 左右로 서며, 차례로 左右隊의 第2人 이하 第6人까지 이와같이 하고 난 다음 金尺이 黃蓋를 데리고 나와 致語를 한다. 이윽고 金尺과 6隊 12人이 隨樂節로 金尺詞를 노래한다. 이 사이에 三進三退의 金尺舞, 일동이 回旋舞등을 추고 난후에 竹竿子가 後口號를 끝내면 舞員이 退手舞를 추면서 물러나는 것으로 이 춤을 맺고 있다. 변천 내용에 있어 樂學軌範 및 宮中呈才舞圖笏記(韓末)를 比較하여 보면, 音樂은 그 曲名이 같은 것과 다른 것이 있는데 그 확실한 것은 文獻上에 明示되어 있지 않아 알 수 없으므로 現行 國立 國樂院의 俗名과 雅名에 의존하고 있다. 또 竹竿子가 부르는 口號와 元舞가 부르는 致語·唱詞는 거의 변화가 없다. 無員 또한 元舞12人과 竹竿子2人·簇子1人·金尺1人·黃蓋1人으로 構成된 것이 같고, 奉威儀는 18人으로 儀物 및 服飾은 다른 呈才와 同一한 것이 많음을 알수 있다. 그러나, 舞作 및 形態에 있어서는 當時의 演戱 상황에 따라 그 內容과 形式에 많은 변화가 있었겠으나, 확실한 것은 옛 文獻에 구체적인 記錄이 없어 比較할 수 없다. 이상에서와 같이, 夢金尺은 춤의 構成이나 양식은 唐樂呈才에 속하나, 우리 나라에서 창작하게 된 그 發生動機와 歷史的 근거인 文獻으로 볼때 李太組의 건국 이념이 이 춤에 담겨 있는 것으로 보아서는 그 유래를 鄕樂呈才로 보아도 잘못이 없다고 생각한다. 그러나 朝鮮초기에 창제된 夢金尺 이하 7가지 唐業呈才의 경우에도 우리 나라에서 창작하였음에도 불구하고 儀物과 竹竿子의 有無, 純漢文으로 된 口號와 致語·唱詞등 唐樂呈才 양식을 도입하였을 뿐만 아니라, 그 伴奏音樂도 唐樂위주로 사용하여 唐樂呈才의 면모를 갖추고 있다. 그러므로 夢金尺은 朝鮮 太祖2年에 우리 나라에서 창제되어 朝鮮時代를 거치는 동안 內容 및 形式面에 있어 커다란 變形없이, 거의 그 原形을 保存하면서 傳해 내려오는 唐樂呈才 양식에 속하는 춤 중의 하나로 그 起源자체가 李太祖의 건국 이념에 부합되는 政治的·社會的으로 조건지어 진 춤이다.
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