악학궤범에 나타난 처용무 복식 고찰

• 영문명: A Study of Clothing for Cheo-Yong Dancing Appeared in Ak-Hak-Gue-Bum
• 발행기관: 전남대학교 생활과학연구소
• 저자명: 박양경(Bark Yang Kyoung) 김용서(Kim Yong Suh)
• 간행물 정보: 『生活科學硏究』家政科學硏究 第9輯, 81~89쪽, 전체 9쪽
• 주제분류: 자연과학 > 생활/식품과학
• 파일형태: PDF
• 발행일자: 1999.12.30

영문 초록

The purpose of thesis is to make an analysis of a symbolic meaning color combination and construction for Cheo-Yong dancing as traditional royal dancing costumes shown in Ak-Hak-Gue-Bum. Cheo-Yong dancing is originated by a primitive religion effected charmanism in Shin-La period, developed as the royal dancing effected Buddhism in Go-Ryeo period. After all, Cheo-Yong dancing was in all its glory as dancing in Jo-Seon period effected Eum-Yang-Oh-Haeng thought. Cheo-Yong dancing costumes shown in Ak-Hak-Gue-Bum of Jo-Seon period was consisted of Wei(衣), Gun(裙), Sang(裳), Han-Sam(汗衫), Cyun-Wei(天衣). Kil-Kyoung(吉慶). Sa-Mo(紗帽). Dea(帶), Hye(鞋). Indeed it showed dignity of the royalty as the royal court dancing costumes from head to toe. In addition, Dan-Lyoung of Wei and Sang among every costumes from taking a style of official outfit showed a bureaucratic character. Also, Gun, Han-Sam, Cyun-Wei, Kil-Kyoung had charmanistic factors with wearing a costumes of the other sex. Moreover Man-Hwa moonyang represented that Wei, Cyun-Wei, Bang-Sl was involved in the Buddhist character. Cheo-Yong under the influence of Eum-Yang-Oh-Haeng thought was composed of Oh-Bang Cheo-Yong dancing costumes have weared clothes each other colored according to each directions like this East-West-South-North-Middle due to idea of Eum-Yang-Oh-Haeng thought royal dress for dancing and this idea also had effect on life style and Yellow clothes was placed in the middle and wore the clothes colored like this(Blue-Red-Yellow-White-Black). The Eum-Yang-Oh-Haeng thought is to make a harmony the positive and negative element in nature, symbol of all things, is in creative and disappearance and make a harmony the theory of each other very much.

목차

Abstract

Ⅰ. 머리말

Ⅱ. 처용무의 기원과 변천

Ⅲ. 복식의 형태적 구성

Ⅳ. 복식구성의 상징적 의미

Ⅴ. 맺음말

참고문헌