왕양명의 심론心論으로 본 한국 전통춤의 내재미 고찰 (An aesthetic review of the body and mind inherent in traditional Korean dance viewed as Wang Yang-myeong’s psychological theory)

서지정보

· 발행기관 : 한국무용교육학회
· 수록지 정보 : 한국무용교육학회지 / 32권 / 4호 / 45 ~ 57페이지
· 저자명 : 이용희, 임정희

초록

This study aims to examine the aesthetic source by applying the relationship between the embodied philosophy that can realize body and mind integration through dance based on Wang Yang-myeong’s psychological theory. In other words, since Korean traditional dance reveals the mind originating from the inner world of Muja, I would like to argue based on East Asian aesthetic traditions, focusing on the aesthetic worldview of Wang Yang-myeong and the body and mind reached through the training of Muja. Traditional Korean dance requires a proper understanding of the mind and performance based on it, as the direction and content of practice vary depending on the sexual nature of the mind and how you view of the mind. Therefore, I would like to raise the methodology for specific presentations as follows. The aesthetic characteristics of the body and mind inherent in traditional Korean dance are divided into the beauty of envy, the beauty of lightness, the beauty of temple, and the beauty of rain as follows. First, the beauty of traditional Korean dance refers to the artistic spirit and mind function of a Muja person seeking aesthetic values in an unconscious world that he does not know, and this can be seen as the texture of the dance in which Muja’s fermented spirit and dance mind are expressed in temperament and disposition.
Second, the “beauty of light white” of traditional Korean dance expresses the naturalness of the dance and reveals its lightness and purity, and is pursued through the mental world of the body and mind. This “beauty of light white” is not a mind that moves along the form of dance, but an aesthetic spirit that expresses the dance of a warrior who is restrained by a mind that flows along with this.
Third, the beauty of the temple can be seen as an aesthetic idea that captures the balance of moderation and mind that suppresses the feelings rising from the inside of the warrior as an external tool and technique that naturally reveals the taste of residence by itself.
Fourth, the beauty of rain in traditional Korean dance is an aesthetic spirit that lives with an empty heart without putting a mind to the world. For example, crane dance can be seen as the aesthetic spirit of “the beauty of rain” because it contains the flavor of nature and the light and simple taste of dance, away from the artificiality that values formality and form. Therefore, it can be seen that Wang Yang-myeong’s psychological theory has an interdependent relationship with the dance of traditional Korean dance, starting with the mind and spirit filled through foreign objects in the mind of the Muja from the perspective of reception.

영어초록

This study aims to examine the aesthetic source by applying the relationship between the embodied philosophy that can realize body and mind integration through dance based on Wang Yang-myeong’s psychological theory. In other words, since Korean traditional dance reveals the mind originating from the inner world of Muja, I would like to argue based on East Asian aesthetic traditions, focusing on the aesthetic worldview of Wang Yang-myeong and the body and mind reached through the training of Muja. Traditional Korean dance requires a proper understanding of the mind and performance based on it, as the direction and content of practice vary depending on the sexual nature of the mind and how you view of the mind. Therefore, I would like to raise the methodology for specific presentations as follows. The aesthetic characteristics of the body and mind inherent in traditional Korean dance are divided into the beauty of envy, the beauty of lightness, the beauty of temple, and the beauty of rain as follows. First, the beauty of traditional Korean dance refers to the artistic spirit and mind function of a Muja person seeking aesthetic values in an unconscious world that he does not know, and this can be seen as the texture of the dance in which Muja’s fermented spirit and dance mind are expressed in temperament and disposition.
Second, the “beauty of light white” of traditional Korean dance expresses the naturalness of the dance and reveals its lightness and purity, and is pursued through the mental world of the body and mind. This “beauty of light white” is not a mind that moves along the form of dance, but an aesthetic spirit that expresses the dance of a warrior who is restrained by a mind that flows along with this.
Third, the beauty of the temple can be seen as an aesthetic idea that captures the balance of moderation and mind that suppresses the feelings rising from the inside of the warrior as an external tool and technique that naturally reveals the taste of residence by itself.
Fourth, the beauty of rain in traditional Korean dance is an aesthetic spirit that lives with an empty heart without putting a mind to the world. For example, crane dance can be seen as the aesthetic spirit of “the beauty of rain” because it contains the flavor of nature and the light and simple taste of dance, away from the artificiality that values formality and form. Therefore, it can be seen that Wang Yang-myeong’s psychological theory has an interdependent relationship with the dance of traditional Korean dance, starting with the mind and spirit filled through foreign objects in the mind of the Muja from the perspective of reception.

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