處容舞 服飾, 天衣의 神聖性 고찰

• 영문명: A Study On Divinity Inherent to Cheoyong Dance Costume, Cheonui
• 발행기관: 백산학회
• 저자명: 이종숙(Lee, Jong-Sook)
• 간행물 정보: 『백산학보』第83號, 297~322쪽, 전체 26쪽
• 주제분류: 인문학 > 역사학
• 파일형태: PDF
• 발행일자: 2009.04.30

영문 초록

This study aimed to explore the divine symbol of Cheoyong as a deity through his costume, Cheonui(literally meaning Heavenly Robe, 天衣), in an effort to define his divinity. Through a comprehensive literature research, the divinity inherent to Cheoyong's costume was described in the way of understanding the Joseon culture. The study on costume held the view that Cheonui originated from or was similar to a kind of woman's muffler, namely, Gyeondae(肩帶), Pyo( ), Yeonggeon(領巾), and Hapi(霞). However, Gyeondae, a word similar to Jeondae(纏帶), is totally different from Cheonui in terms of meaning and usage, and thus Cheonui, which is a kind of men's costume, should be distinguished from Gyeondae. Cheonui means the costume of the Heavenly Son( Cheonja, 天子), the costume of the Divine Being( Seonin, 仙人), or the costume of the Buddhist Heavenly Man( Cheonin, 天人); the examination of Seong Hyeon's poem on Cheoyong indicated that Cheonui worn by Cheoyong constitutes Unpo(雲袍), which means the costume of the Divine Being( Seonin) or a deity( Doin, 道人). It was found that Cheonui, which reflected the virtuous and benevolent face ( Ongmyeon, 翁面) of a deity and Cheoyong's divine elements, represented the cultural symbol of the power(ability) of Cheoyong who fought against and dispelled the Epidemic Evil Spirit( Yeoksin, 疫神). The study examined painting albums dating back to the late Joseon period of 1600s to 1800s where a variety of Cheonui appeared. Judging from those paintings, Cheonui changed greatly from the Cheoyongmu Dance costume, which was described in Akhakgwebeom(Musical Canon, 樂學軌範, 1493). In fact, however, in the case of paintings of dance depicted in albums of paintings featuring feasts for elderly people or in folding screens with paintings, the second stage of coloring, unlike the first stage of base drawing, changed the alignment and order of colors, and details of costume and decorative ornaments, etc., thereby compromising the original details. This is presumably because these paintings sought to comprehensively record and celebrate the feasts. Thus, the research findings indicated that these records are inappropriate to study the prototypes of then costumes and the way of wearing them, and the dance. The right way of wearing the Cheoyongmu dance costume should be based on the painting of Cheoyongmu dance depicted in the first volume of Records on King Heonjong's Holding A Feast for Celebrating the 60th Birthday of Queen Dowager( Musin Jinchan Uigwe, 戊申進饌儀軌). Therefore, the major divine symbol of Cheoyong as a deity described as having a unique face and wearing a queer costume( gihyeonggwebok, 奇形詭服) is Cheonui like Seven Treasures( Chilbo, 七寶) which flutter over theshoulders of a kite( Yeongyeon 鳶肩). And, Cheonui can be said to be a representative emblem that symbolizes the divinity of Cheoyong.

목차

Ⅰ. 연구 목적과 필요성

Ⅱ. 天衣에 대한 선행연구 검토

Ⅲ. 조선시대 천의의 착용 양태

Ⅳ. 처용무에서의 天衣의 상징성

Ⅴ. 결 론

[Abstract]

키워드

처용무 복식 천의 하피 신인 신성성 피 화보 의궤 處容舞 服飾 天衣 帔 霞 神人 神聖性 畵報 儀軌 Cheoyong's dance costume Cheonui Hapi deity divinity painting album ritual records