Earticle

초록

영어

The purpose of this study was to examine ‘mu(巫)’ or ‘mu(舞)’ as a character of oracle bone script in comparison with rock art works of western inner Mongolia; focus on song & dance performance sketches at rock art sites in Baotou city(包头市) and Bayennaoermeng(巴彦淖尔盟), China － these two towns are located in western Inner Mongolian Autonomy Region, which border on Mongol and meet with Altai, Russia － with a view to tracing back those sketches to shamanism and dance in ancient Northeast Asian region; and address historical cases of performing arts disseminated via drum, one of major shamanic means and instruments in ancient Northeast Asia. First, ‘mu(巫)’ or ‘mu(舞)’ two characters of oracle bone script originating from the age of Shang Dynasty(商代; B.C. 17th century - B.C. 11th century) were derived from any form of song & dance performance sketches observed in ancient rock art sites, and these characters symbolizes ancestral rites filled with mankind’s wishes like ritual for welcome rain from viewpoint of their inner aspects. Secondly, rock art works found in western Inner Mongolian Autonomy Region may demonstrate forms and song-and-dance performance of shamans in ancient Northeast region. Notably, the scene of lujiaoshiwu dance(鹿角饰舞; antler-shaped crown ornament dance) depicted by sketch in rock art sites shows antler ornamented on top of shaman’s head in comparison with tire of shaman’s costume, and also shows a design of shaman’s drum along with chayaowu dance(叉腰舞; a dance performed with hands on waist). Shuangwu dance(雙舞) and mabowu dance (馬步舞: a dance performed with horse) were performed by riding on partner’s shoulder and may also reveal traces of ancient nomad culture popularized in Northeast Asian region. Thirdly, there are a variety of shaman’s drums that may be collected in northern area of China. Shaman’s drum is used for instrumental accompaniment in ancestral rites as well as dance performance, and there are a wide variety of shaman’s drums. Particularly, this study discussed taipinggumu(太平鼓舞) as a model case of heritage from a variety of shaman’s drums which has been disseminated from ancient times via a changing flow of space and time toward a part of music culture our contemporary Chinese minority. Ultimately, this study highlighted needs for further research into existing music culture of northern Chinese region with a view to discovering ancient Northeast Asian shamanism that faces a critical risk of extinction at present. Ancient rock art works are mostly associated with ancestral rites that wish for prosperity and fecundity. In nomad culture, prosperity had been a target of unlimited worship because cattle and hunting were most important source of production in ancient times. Depictions of rock art works are a manifest expression of incantatory belief and a sign of ancient shamanistic rites. Shaman’s drums evolved in a flow of time and space through a primitive religion of shamanism and became a foundation for the rise of folk art, so they has been a good foundation of our contemporary Northeast Asian music culture and art. Music instruments are means and tools for expression of music; They are a part of music culture and reflect explicit historical characteristics of people. However, shamanistic music culture created in Northeast Asian region during primitive age became a foundation of national music culture from the early period of national formation. The evolution of shaman’s drums that originated from ancient Northeast Asia has facilitated creation of various music and dance categories up to the present.

한국어

본 연구는 고대로 부터 동북아 지역의 원주민들이 보유한 음악문화적 단초(端初)를 구하기 위해 내몽골 서부지역의 암각화에 나타난 악무도를 중심으로 샤만의 춤을 관찰하고, 만주지역에서 수집되는 샤만의 북(鼓)을 통해 진화된 중국 북방민족의 춤을 논의한 것이다. 중국 내몽골 서부지역으로 몽골과 접경이며 알타이와 연결되는 바오터우시(包头市)와 바옌나오얼멍(巴彦淖尔盟) 소재 암각화의 악무도(樂舞圖)에서 상형문자인 ‘무(巫)’ 혹은 ‘무(舞)’와 같은 형상을 찾을 수 있는데, 암각화 중 사슴뿔 장식 춤인 녹각식무(鹿角饰舞)의 장면은 머리위에 장식된 사슴뿔이 샤먼 복식(服食)의 머리장식과 비교되며, 목말을 타고 추는 쌍무(雙舞), 기마자세의 마보무(馬步舞) 등은 동북아지역 유목문화의 전적을 찾을 수 있다. 특히 손을 허리에 대고 추는 춤인 차요무(叉腰舞) 암각화에서는 샤먼이 사용하는 북과 같은 도안(圖案)이 있어 주목된다. 지금도, 샤먼 북은 동북아지역에서 다양한 형태로서 수집할 수 있으며, 샤먼의식의 주요한 무구(巫具)로서 사용되었지만, 중국 동북지역에서는 소수민족 춤의 무구(舞具)로 사용되고 있다. 다양한 샤먼 북 중에서는 고대로부터 시공간의 흐름과 변화에 따라 현재, 중국 동북지역 민족음악문화의 일부로 전이(轉移)되어 전하는 사례를 논급하였다. 이러한 현황은 만주지역에 집거하는 북방민족의 음악예술을 통해 사라져가는 동북아지역 샤먼의 전적을 구할 수 있다.

목차

국문요약
 Ⅰ. 서론
 Ⅱ. 갑골문의 ‘무(巫)’와 ‘무(舞)’
 Ⅲ. 암각화에 나타난 샤먼 북
 Ⅳ. 샤먼 의식과 북(鼓)
 Ⅴ. 결론
 참고문헌
 Abstract

키워드

갑골문 내몽골 암각화 단고(单鼓) 동북아 음악문화 샤먼 샤먼 북 샤먼 춤 Dango(单鼓) Northeast Asia’s Music Rock Art Sites of Inner Mongolia Shaman’s drum Shamanistic Music

저자

• 박소현 [ Park, So-hyun | 영남대학교 교수 ]

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