Earticle

초록

영어

The aim of this study is to round up and analyse previous achievements in researches on the dances of the Kingdom of Goguryeo(高句麗) with a view to discovering new directions and tasks for the future. I have looked into some 55 publications, mainly books, dissertations, and academic journals that have come out since 1966, when the study of Goguryeo’s dance was pioneered by Yi, Du-heon(이두현). Scholars have demonstrated great interest in unearthing possible artistic and religious meanings embedded particularly in dances and murals. Along with the foundations of anthropological studies, for the past three decades, Yi, Byeong-ok’s(이병옥) complimentary achievements in pointing to possible variations of Sangmu Dance(尙武춤) have led this realm of study. In many cases, however, researches have re-iterated the same results owing to repetitively set subjects and objectives. Qualitative improvement has not kept up with quantitative expansion, in my view.The following are my summarization and suggestions for the study on the history of Goguryeo’s dances. 1)-1. There is a need to clearly identify the diversity of Goguryeo dances in gi-ak(伎樂) that was passed on by the emperor Mu of the Han dynasty in 107 BC. 1)-2. Based upon the definition of gi-ak, it is important to point to the early periods of Goguryeo as a time when the culture of courteous music of the murals on MuyongChong(舞踊塚, a kind of tomb) was established. 1)-3. I was able to comprehend that the Chinese notion of gi-ak and jab-ak(雜樂), taken from the dynasties of Han(漢), Su(隋), and Tang(唐), was the music of ‘four barbaric peoples’ and that reveals the ostentatious connotations of the word taken on as the Chinese received foreign peoples.1)-4 The diversity of Goguryeo dances of 25 kinds should not be overlooked because of the fact that there was only one dance 100 years later.2)-1 Comparing the costumes on the mural paintings of Goguryeo with the culture of the Han dynasty, we can understand that the long-sleeve culture only existed in written materials. Pictures and written materials should be interpreted logically.2)-2 The difference between ‘wide sleeve’ and ‘long sleeve’ should not be overlooked. Gwangsumu(廣袖舞, dance in wide-sleeve costume) of the Joseon dynasty is different from the dance performed during the Goguryeo period.
3)-1 The beauty of the dances that exist only in history should not be exaggerated esthetically. 3)-2 There probably was composite game plays such as ‘Gakjeohee’(角抵戱), but making new names for dances related to life should be restrained.

목차

1. 연구의 필요성과 목적
 2. 고구려무용사 연구의 성과 개관
  1) 단행본에서 본 고구려무용 연구 성과
  2) 학위 및 학술지논문에서의 고구려무용 연구
 3. 선행 연구결과의 쟁점 사안 분석
  1) 고구려 기악을 중심으로 한 논점의 분석
  2) 극장기수(極長其袖)의 복식과 춤의 외형성ㆍ의미
  3) 상무(尙武)의 춤 분석
 4. 맺음과 덧붙임
 <참고문헌>
 Abstract

키워드

저자

• 이종숙 [ Lee, Jong-Sook | 한양대 생활무용예술학과 강사 ]

참고문헌

발행기관

간행물

표지보기 관심저널 등록

• 간행물명

  한국무용사학 [The History of Korean Dance]

• 간기

  반년간

• pISSN

  1598-9933

• 수록기간

  2003~2013

• 십진분류

  KDC 685 DDC 792