하회탈춤 복식의 역사적 복원과 무형문화 유산의 전승방향

• 영문명: Historical Restoration of Dresses and Ornaments of the Hahweh Masked Dance and Transmission Method of Intangible Cultural Heritage
• 발행기관: 백산학회
• 저자명: 朴仙姬(Park, Sun-Hee)
• 간행물 정보: 『백산학보』第82號, 151~184쪽, 전체 34쪽
• 주제분류: 인문학 > 역사학
• 파일형태: PDF
• 발행일자: 2008.12.30

영문 초록

Through setting the bride mask that preserves its own hairstyle at that time as an example among many Hahweh masks, the fact that dress and its ornament should find its own appearance in the masked dance got a big and specific write-up. To restore the style of dresses and ornaments of Hahweh masks, we need to know the production period of masks. That is the reason why I studied the bride mask that remains hairstyle of that time. In consequence, it was assumed that production period of Hahweh masks was between the early and the middle years of Goryeo. I tried to figure out the original form of the bride mask, matching with women’s dresses and ornaments in Goryeo according to the age estimate. As a matter of fact, if we put on the restored dress and its ornament of those days with the bride mask, the culture of dress and its ornament in Goryeo would revive from hair ornaments to dress. As the mask is not just a piece of sculpture but it also shows character’s personality, dress and that its ornament has a great importance as a dress-up tool. The dress and its ornament that surpasses flatness should be restored at the same times with mask’s production period as the mask which is not flat like a picture but three-dimensional differs the formative beauty according to its movement in the place. Only when dress of those days that goes with Hahweh mask harmonizes with entire dress and its ornament, uncommon formative beauty of Hahweh mask can be expressed as it is. Therefore, we have to consider that transmission of intangible cultural asset does not come down in itself but with tangible cultural property. Admitting the changeability and allowing re-creationis desirable in case of transmission of intangible culture. But if there is an assigned cultural asset, modification is not desirable in case of tangible culture. In conclusion, the expected transmission direction is that the dress matching with this should be revived with peculiarity and identity of the dresses and ornaments of those times.

목차

Ⅰ. 하회탈춤 복식의 원형 복원 의미

Ⅱ. 탈 제작시기의 검토와 복식의 역사적 복원

Ⅲ. 각시탈 복식의 원형과 무형문화의 재창조

Ⅳ. 하회탈춤 복식의 주체적 전승방향

【참고문헌】

[Abstract]

키워드

하회탈춤 각시탈 탈의 제작시기 무형문화재의 전승 복식 the Hahweh Masked Dance the bride mask mask’s production period Intangible Cultural Heritage dresses and ornaments