<춘앵전>의 시대별 변용과 심미의식

등록일 2008.10.14 | 최종수정일 2016.07.20 파일확장자어도비 PDF (pdf) | 24페이지 | 가격 5,900원
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상세신규 배너

* 본 문서는 배포용으로 복사 및 편집이 불가합니다.

서지정보

발행기관 : 대한무용학회 수록지정보 : 대한무용학회논문집 / 53권
저자명 : 박은영 ( Eum Yung Park )

영어 초록

<Chunaing Dance> has been known for its most brilliant artistic merit out of 60 or more Korean traditional court dance works, and is also a court dance whose original form has been relatively well handed do to next generation Thus, the purpose of this paper is to investigate the historical transformations, transmission and modernization of <Chunaing Dance> in two major chronological phases on the basis of historical records on various fields including dress and its ornament, music, dance motions The first phase refers to a period for which <Chunaing Dance> originated from a piece of dance music created in the era of Emperor Taizong(Tang dynasty in ancient China) and was reinvented in form of dance by the Crown prince Hyomyeong in the era of King Sunjo(1828) via long latent period equivalent to millennium, so that it was performed in a variety of court parties after King Sunjo and remained alive even under the rule of modem Japanese imperialism. The second phase refers to post-liberation period(after 1945) in which it survived just in several gyobangs, but has been transmitted and propagated by Master Kim Cheon-heung as mudong(boy dancer) of Lee Wang-jik Court Music Club(the former body of "The Naffonal Center for Korean Traditional Performing Arts[NCKTPA]) up to date. Furthermore, the another purpose of this paper is to systematically present the ideology and aesthetic consciousness of <Chunaing Dance> In view of transformation of Chunaing Dance in the era of Joseon dynasty on the basis of Kojong Gyesanyeon Holgi(1893), which is known as oldest one of existing Holgis(court ritual protocols) that contain dance book of <Chunaing Dance>, it is found that the original appearance of dance dress still remained after Year Muja, but began to change in its upper garment(aengsam) and belt(hongdan-geum) in Showa 4th(1929) and 6th(1931) Year, while yeoryeongs(a sort of gisaeng) put on jokduri (bridal crown) and mudongs wore buyong-gwan(lotus crown), and both of them put on beoseon(Korean socks) instead of Hohwa(footwear). In addition dance lyrics changed from "Gunwang Imdajeong" to "Cheongchun Jamijeong" It was found that most of dance music works(6 pieces) contained a wish for long life of party master in terms of childish name application which was followed by lyrics expressing joy of spring, longevity, pleasure, beauty, national prosperity, peaceful 1ign and auspicious even That is, it is found that our court dare music contains various meanings of congratulation Also, Chumsawi(dance motions) of <Chunaing One> as written in『Holgi』 adopts poetic expressions and accepts most movements of about 60 court dance works, so that it is a basis of court dance. And the description of Chumsawi has a good command of figural and emotional expressions, contributing so much to reproducing Chusawi of court dance. The results of three-step content analysis of <Chunaing Dance> can be outlined as follows: First, slow Boheoja rhythm is characterized by formal aesthetics of court dance lyrics in tune with the solemnness of court dance. Second, the performance of Dodri rhythm personified a symbolic dance tune of bird to reveal beauty of elegance. Third, rapid Dodri and Taryeong rhythm express the beauty of birds and nature by means of aesthetical Chumsawi Summing up, it is expected that traditional aesthetics of <Chunaing Dance> will help correct our contemporaries unbalanced mind-set and build up their moral standards by means of court dance rules and forms; recover a sense of stability within beats under the cosmic dual forces of yin, yang, left and right; and Chumsawi`s poetic expression and beautiful figure will reproduce the beauty of our body sensuously, while lyricalness of dance lyrics will give us abundant sentiments Hence, our traditional solo dance <Chunaing Dance>, which is called "the flower of court dance" and becomes a basis of all Korean traditional dances, can deserve the title of our great court dance that implies potential opportunities
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