<악동돈황(樂動敦煌)> 악무에서 돈황벽화의체화된 현존과 3대 신체미학적 특징 (The Embodied Anwesen of Dunhuang Frescoes in the Music and Dance of Melodic Movements in Dunhuang and Its Three Distinct Somaesthetics Characteristics)

서지정보

· 발행기관 : 중국문화연구학회
· 수록지 정보 : 중국문화연구 / 66호 / 79 ~ 104페이지
· 저자명 : 孟欽照, 김현태

초록

Melodic Movements in Dunhuang is a Dunhuang music and dance work staged in a cave-like immersive theater, centered on the theme of the inheritance of ancient Dunhuang musical instruments. This work “revitalizes” the Dunhuang frescoes into a flesh-and-blood Dunhuang music and dance work, relying not only on the “physical body” but also on the engagement of the “digital body”. The “body” serves as the aesthetic foundation for both the performance and acceptance of Melodic Movements in Dunhuang. The “body” is also a crucial avenue for the sensual beauty of art to gain popular acceptance within the contemporary aesthetic landscape. Since its introduction by Schusterman, the concept of body aesthetics has been extensively employed across various artistic domain, such as music, dance, theater, painting, etc. In the realm of art aesthetic experiences, it becomes evident that the “body” portrayed in art embodies a dual nature, simultaneously serving as both a subject and an object, capable of being both the agent and the perceived. In the dimensional context of the body, Schusterman’s body aesthetics furnishes a reference framework for appreciating the aesthetics of Melodic Movements in Dunhuang. This masterpiece shows a seamless interplay and fusion of the dancer’s bodies, which breathe life into the artistic depictions of Dunhuang murals, as they continuously shift between their roles as both subject and object of aesthetic appreciation. This dynamism imbues the performance with a profound sense of bodily aesthetics. Meanwhile, the audience actively engages, harnessing their embodied sensations and kinesthetic awareness to resonate with the theatrical environment in an embodied manner. Through the embodied presence inherent in the two body types—the “physical body” and the “digital body”—three distinct characteristics of body aesthetics emerge: the body as a backdrop, the body where the aesthetic subject and object fuse into one, and the body imbued with religious rituality. These triple body aesthetic features intertwine and blend seamlessly, collectively shaping a unique paradigm for the aesthetic appreciation of Dunhuang art. Furthermore, they offer valuable insights and serve as a reference for the preservation and development of other historical cultural treasures around the globe.

영어초록

Melodic Movements in Dunhuang is a Dunhuang music and dance work staged in a cave-like immersive theater, centered on the theme of the inheritance of ancient Dunhuang musical instruments. This work “revitalizes” the Dunhuang frescoes into a flesh-and-blood Dunhuang music and dance work, relying not only on the “physical body” but also on the engagement of the “digital body”. The “body” serves as the aesthetic foundation for both the performance and acceptance of Melodic Movements in Dunhuang. The “body” is also a crucial avenue for the sensual beauty of art to gain popular acceptance within the contemporary aesthetic landscape. Since its introduction by Schusterman, the concept of body aesthetics has been extensively employed across various artistic domain, such as music, dance, theater, painting, etc. In the realm of art aesthetic experiences, it becomes evident that the “body” portrayed in art embodies a dual nature, simultaneously serving as both a subject and an object, capable of being both the agent and the perceived. In the dimensional context of the body, Schusterman’s body aesthetics furnishes a reference framework for appreciating the aesthetics of Melodic Movements in Dunhuang. This masterpiece shows a seamless interplay and fusion of the dancer’s bodies, which breathe life into the artistic depictions of Dunhuang murals, as they continuously shift between their roles as both subject and object of aesthetic appreciation. This dynamism imbues the performance with a profound sense of bodily aesthetics. Meanwhile, the audience actively engages, harnessing their embodied sensations and kinesthetic awareness to resonate with the theatrical environment in an embodied manner. Through the embodied presence inherent in the two body types—the “physical body” and the “digital body”—three distinct characteristics of body aesthetics emerge: the body as a backdrop, the body where the aesthetic subject and object fuse into one, and the body imbued with religious rituality. These triple body aesthetic features intertwine and blend seamlessly, collectively shaping a unique paradigm for the aesthetic appreciation of Dunhuang art. Furthermore, they offer valuable insights and serve as a reference for the preservation and development of other historical cultural treasures around the globe.

참고자료

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