Maru refers to a basic paragraph in Korean traditional dance, which can be long or short, depending on the performance conditions or the environment. This research aims to determine if there is a paragraph corresponding to Maru in court dance based on the previous study of Han Yeongsuk's Buddhist dance and Mokjung Dance of Bongsan Mask Dance. To this end, Cheoyongmu and Chunaengjeon, representative dances of Hyangakjeongjae, are studied in this paper. Furthermore, the paragraph that was classified by the Jipbagaksa hitting "Bak" was collectively referred to as "Bak paragraph" and the previous methodology on analyzing Maru was applied. As a result of this study, the following results have been obtained. First, the elements that make up "Bak paragraph" of court dance and Maru of traditional dance are lexical chumsawi. Both show similarities in meaning, type, and composition. The court martial arts series, however, shows independence of form and meaning through a simpler and more stable pattern. Furthermore, "Bak paragraph" and the Maru of traditional dance convey a certain message despite slight differences in their compositions. In addition, Maru refers to the phrase of court music as well as the instrumental music of Pungryubang, a chorus or refrain of a folk song. Therefore, "Bak paragraph" and Maru reflect the characteristics of court dance. Also, "Back paragraph" that contains specificity can be considered to represent Maru in a comprehensive sense.

The purpose of this thesis is for extracting and distributing literal imagery about dance movements in poems written in Tang dynasty. As a result, literal imagery about dance movements were mostly extracted from blowing sleeves, slow and fast spinning movements, and various dancing movements. Furthermore, there are literary rhetorics of beautiful figures, faces, and slender waists of dancers. Adn dancing movements of Geon-Mu were described as dynamic and speediness; while as dancing movements belonged to Yeon-Mu were depicted as soft, lyrical, and elegant. Those descriptive words for dance in Tang dynasty’s poems were highly artistic language while it could be compare to the literal shaping of dance. This thesis analyzed literary phrases of dance movements in Tang dynasty’s poems; so that how the people appreciated substantive esthetics in music and dance, not for philosophy and pragmatic theory.

The findings of this study are derived from a comparison with 『Jeongjaemudoholgi』 in order to consider ㆍㆍㆍㆍㆍㆍㆍㆍㆍㆍ and Jeongjaedos: suggested a dance of eight Yeoryeongs standing in a two-fold left and right formation. In it, the dancers on the left and right sides stretch out both of their arms while facing each other and facing south. Only one piece of it remained in Uigwae, Yeoryeongjeongjae. suggested a dance of two people for Hyeopmu moving north and partnering with each other. Four pieces have been handed down through four types of Uigwae, and all are Mudongjeongjae. offered a dance moving forward on top of the edge of Daemoban. Three pieces remained intact in three types of Uigwae, including Mudong and Yeoryeong. suggested a dance performing “Naesuyeomanoesubanhageo [Horo two people]” by moving north in the front and the rear formation with Horo two people positioned in front and Hyeopmu in the rear. Five pieces have been passed down through four types of Uigwae; three of them are Mudong, and the remaining two are Yeoryeong; their dance notations are of one kind. introduced a dance of Oemugi and Naemugi turning outwards, inwards, right and left around a boat. Eleven pieces remained in eleven types of Uigwae, all of which are Yeoryeongjeongjaei, with ten kinds of dance notations. suggested a dance of Jukganja partnering in the introduction while facing left and right in twofold left and right formations in the proceedings. Eight pieces have been passed down through eight types of Uigwae, all of which are Yeoryeongjeongjae, with dance notations consisting of two contents. introduced a dance of partnering in a five-direction formation and turning inwards, outwards, left, and right in a circular formation. Four pieces are found today in four types of Uigwae: one of them is Mudong, and the other three are Yeoryeong, with dance notations composed of four contents. contains a dance of Hyeopmu 2 people heading north in a single file, centered in and out [Oesuhanaesuyeoman, Naesuhaoesuyeoman]. Six pieces are available today in six types of Uigwae, all of which are Mudongjeongjae, with dance notations consisting of two kinds of content. Jeongjaedo refers to a solo dance of one Hyeopmu heading towards the north and northwest on top of Hwamunseok. Its standing locations on Hwamunseok vary from center, north, or south. Eleven pieces remained intact in ten types of Uigwae: two are Mudong, and nine are Yeoryeong; and their dance notations contain three kinds of contents. offered a dance of Hyeopmu with two people going north to dance in a single file. One aspect that all have in common is their holding of flowers in Oesu [Oegeosunaesubanhageo]. Three pieces are found today in two types of Uigwae; two of them are Mudong, and the other is Yeoryeong; their dance notations have been reduced to two kinds of content. is composed of a story of a crane pecking at Jidangpan and thereby letting Dongi stand up. It introduced a dance involving partnering in a single file line in the south of Jidangpan. Eight pieces have been passed down through eight types of Uigwae; all are Yeoryeongjeongjae; and they have only one type of dance notation. suggested a dance of partnering in a single file or twofold left and right formation in the case of two or four people. Dancers head north or facing each other in a single file line or encounter each other around a dancer in a fourfold left and right formation. Six pieces have been found today in nine types of Uigwae; five of them are Mudong and four of them are Yeoryeong; their dance notations are divided into nine. One to eleven pieces were contained in each Jeongjaedo, and one to two, four, five, or seven pieces had the same dance notations. In some cases, the dance notations of Mudong and Yeoryeong were the same, and the pictures of one dancer were repeated in multiple Jeongjaedos. Almost all dance notations suggested similar content, and many were proposed on one page. Those can be identified through Jeongjaedo, which were the compositions of dancers, formations, movements, directions, and locations recorded in Holgi. On the other hand, what was not documented in Holgi were supplemented by pictures, through which the researcher discovered that the arrangements of dancers varied depending on the nature of banquets. Therefore, various formations were adopted, and the centers around which dancers were partnering were the formed line itself or the dancer.

“Nakhwayusu (落花流水)” is the term for a dance move that appears only in Chunaengjeon (春鶯囀) and Cheoyongmu (處容舞). “Nakhwa” means falling flowers and “yusu” means flowing water. Along with these meanings, this study aims to derive a practical image of “nakhwayusu” by comparing the meanings of its various literary expressions. This study also identifies the meanings of “nakhwayusu” used in the dance moves of “jeongjae” and examine the actually performed pattern of this dance move. The contextual flow and intrinsic meaning of “nakhwayusu” were examined through a classification based on the commentaries of 35 literary works from the Joseon Dynasty, and meanings such as Taoist hermit, paradise, retirement, nature, and time were identified. For the term “dohwayusu,” the pattern of quoting and following the expressions shown in “Dohwawongi,” “Sanjungmundap,” and “Eobuga” was confirmed. In the Chunaengjeon text, “nakhwayusu” is juxtaposed with another term “jwauilbuliljeon [to spread the sleeve and turn to the left and then to the right].” In Chunaengjeon, “nakhwayusu” is a utopian paradise with a beautiful fairyland, and the flying and adjusting of the hansam, a long sleeve used for court dances, shown in a colorful and abundant space and the motion of neat rotation can be pictured. In Cheoyongmu, “nakhwayusu” appears in the closing part and is the continuous movement of powerfully spreading the hansam on the shoulder diagonally upwards. Although this dance move somewhat lacks any historical basis in the literature, this move should be understood on the basis of the classics. This study aims to identify the meaning of the poetic term “nakhwayusu” and to understand its characteristics in order to provide a modern successor by laying the groundwork for the practice of jeongjae.

This thesis examined the inherent meanings of the C-shaped movements in Chunaengjeon the Tang court dance reconstructed by Liu Feng-shueh. In this paper, we examined the cultural and aesthetic features that are contained in the breathing, basic movements, and morphological C-shaped movements portrayed by Li Chao as a feature of Chunaengjeon. First, C-shaped movements in Confucian thought appeared in two different forms: "C" in "Etiquette" and "C" in respiration. For the former, the C-shaped movements of "Etiquette" used the movements of Chunaengjeon in Japan and the form of "Etiquette" in Korea Ilmu for reference, in oder to be based Confucianism. As a result, the C-shaped movements of "Etiquette" showed characteristics of dignity and humbleness embedded in national culture of Tang Dynasty. For the latter, breathing of the C-shaped movement was inherently calm and harmonious by using the Taichichuan breathing method, which was derived from Confucianism and Taoism, that gathered the breaths from the pubic region and then pushed it down constantly. Second, the aesthetic of the C-shaped movements introduced various movement trajectories such as circular or straight lines in the static C-shaped movements in order to reveal the elegance and neat figure of the Tang court dance. The elements of imagination and beauty about the Tang Dynasty court dance were added into by Liu Feng-shueh so that ultimately aesthetic C-shaped movements were made with aesthetic sense. In addition, Liu Feng-shueh made aesthetic C-shaped movements from the Tang dynasty's court dress by learning from the characteristics of the dual structure of Japanese Chunaengjeon. This result suggested intrinsic meaning of the C-shaped movements in Liu Feng-shueh. Last but not the least, we were looking forward that Chunaengjeon could make a contribution to help reconstruction research the traditional dance of China, Korea and Japan.