『악학궤범(樂學軌範)』 당악정재(唐樂呈才)의 규칙성과 사상체계의 상관성 -춤절차를 중심으로- = Correlation between Rule of Dancing Pattern and Systemof Philosophy in Dangackjungje (唐樂呈才) of 『Ackhakquebeum(樂學軌範)』

다국어 초록 (Multilingual Abstract)

The objective of this study is to derive a correlation between the system of dancing patterns in Dangackjungje(唐樂呈才) of 『Ackhakquebeum(樂學軌範)』 and the structure of philosophy in 『Ackhakquebeum(樂學軌範)』 vol. 1, traditional way of correlative thinking in ancient times. As a result, the first, Goychahwoemu(交叉回舞) describes a form of uniting yin and yang by crossing left line(左隊) which takes position to East symbolizing yang(陽) and right line(右隊) which takes position to West symbolizing yim(陰), and also has correlation of movements of Sun and Moon, and the Big Dipper. This is to symbolize the unity of yin and yang by dancers` Goychahwoemu(交叉回舞) following the natural laws like haven representing yang and earth representing yin crossing each other. The second, circling turn (回旋) in which all the dancers move in big circle is all left turn(左旋) and the meaning of the left turn is in association with Pal-Pung(八風). That is, the left turn in dancing movement is related to the wind[風] blowing and turing clockwise. The third, it is the correlation of `3` times of reiteration in dancing pattern to the system of philosophy. In the ancient times, haven, earth and people were interpreted from an universal perspective and `3` was the symbol of Chun-Ji-In and it meant the perfection of arts and perfection of natural changes. Likewise, the systemic pattern of dancing movements is an integrated expression of the unity of yin-yang. the harmony of the energies in Chungan(天干) and Jiji (地支). Pal-Pung`s direction. ‘3’, and it can be interpreted as a realization of adaptation to nature(自然順應) and movements of energies in haven and earth(天地氣運順行). In summary, it can be concluded that the systemic pattern of dancing movements is symbolization of `the harmony(和) of haven and earth`. The results of this study can be the basis of explaining the principle of making musical instruments in history as well as objectively securing the appearance in the realization of ideologic structure immanent in Dangackjungje(唐樂呈才) of 『Ackhakquebeum(樂學軌範)』.