Journal Detail

ISSN : 2383-5214(Print)
ISSN : 2733-4279(Online)

Asian Dance Journal Vol.40 pp.141-186
DOI : 10.26861/sddh.2016.40.141

의궤 정재도의 도상학적 연구(Ⅲ) : <관동무>ㆍ<광수무>ㆍ<무산향>ㆍ<무애무>ㆍ<선유락>ㆍ<연화대무>ㆍ<처용무>ㆍ<초무>ㆍ<춘앵전>ㆍ<침향춘>ㆍ<학무>ㆍ<향발무> 정재도를 중심으로

An Iconographic Study on Uigwae Jeongjaedo (Ⅲ) : Focused on ㆍㆍㆍㆍㆍㆍㆍㆍㆍㆍㆍ

손선숙

Son, Seonsuk

Abstract

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.

Key Words : 의궤, 정재도, 도상학, <관동무>ㆍ<광수무>ㆍ<무산향>ㆍ<무애무>ㆍ<선유락>ㆍ<연화대무>ㆍ<처용무>ㆍ<초무>ㆍ<춘앵전>ㆍ<침향춘>ㆍ<학무>ㆍ<향발무>, < Gwandongmu >ㆍ< Gwangsumu >ㆍ < Musanhyang >ㆍ< Muaemu >ㆍ< Seonyurak >ㆍ< Yeonhwadaemu >ㆍ< Cheoyongmu >ㆍ< Chomu >ㆍ< Chunangjeon >ㆍ< Chimhyangchun >ㆍ< Hakmu >ㆍ < Hyangbalmu>, Uigwae, Jeongjaedo, Iconography

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