獻仙桃에 대한 考察 : 文獻을 中心으로 = A Study on the "Heon-sun-Do"

다국어 초록 (Multilingual Abstract)

The purpose of this study is to establish a clear concept on “Dong-Ak-Jung-Jae” (Chinese music-styled court singing and dancing) by comparatively analyzing contents, forms and various elements of “HEON SUN DO” which belongs to “Dang-Ak-Jung-Jae” among traditional court dances, and also to examine the possibility of the revival of old court singing and dancing which has been handed down only through document, by resorting “Heon Sun Do” to it’s original form through reviewing of it’s general forms and characteristics.
In the changing process and structure of “Goong-Joong-Jung-Jae” (court singing and dancing), it is considered that each work of court singing and dancing has a racial character rising above an unique expression of feeling, and oriental thought of philosophy of “Eum Yang Five Elements” dwells in the ceremonial procedures and framework itself, and that form of dance is characterized by it’s courtesy, slow tempo and it’s meaningful, free use. The “Goong-Joong- Jung-Jae” is classified into two parts of “Hyang-Ak-Jung-Jae” (Korean traditional music style) and “Dang-Ak-Jung-Jae” (Chinese music-styled singing and dancing).
The contents of “Heon-Sun-Do”, a typical dance of “Dang-Ak-Jung-Jae are that Wang-Mo comes down from the fairy land to present the fairy land’s pcaches to the King to pray for long living of the King.
In the form of dancing motion, the first KuHo of the ceremony is announced by 2 Bongjuk- Kanja (ceremony processors who are playing a role of guide for dancing), then stands facing inward each other. Then, 1 Kisaeng (youth or juniors are preferrable) gives fairy land's peach tray to Wang-Mo, and Wang-Mo faces westward, singing words of song in Chinese characters. Thus, all procedures for ceremony to announce the beginning of dance are just finished. Now, they start dancing in full scale. First, all of dancers return to their original form, performing various dances, such as “Sasu-Mu”, “SuboRock-Mu”, “Hyupsu-Mu”, etc, and singing words of other songs between some intervals of dancing. After that, facing forward, Bongjuk-Kanja announce “after-KuHo” by saluting that the dancing was finished, and all of dancers move backward.
In the comparative analysis of music journal “Koryo-Sa-Ak-Chi”, “Ak-Hak-Kwe-Bom” and “Goong-Joong-Jung-Jae-Mu-Do-Hol-Gi” (at the end of Yi Dynasty), some music used for the subject dancing is found to be of the same name of melody (or tune) and some others are found to be of different name of tune. However, the details on the forms and contents of music are unknown, because it was not shown in old documents. Therefore, the forms and contents of music used depend upon common name and pen name which were established by the National Classical Music Institute.
Moreover, “KuHo-Chio” and “Chio” of “Koryo-Sa-Ak-Chi” were divided into “before- KuHo" and “after-KuHo” since “Music Standard”, and the “Jakkan-Ja” announced it in such way, and sang it in the abridged form of contents. “Won-Mu” (dancing team consists of 3 dancers), 1 “Wang-Mo” (Sun-Mo shown in “Goong-Joong-Jung-Jae-Mu-Do-Hol-Gi”), 2 “Hyup- Mu”, and “Bongwi-Eui” consists of 18 members. Moreover, we can easily understand that costumes and ceremonial things for them are found to be the same one as in other “Jung-Jae” in most cases.
However, many changes for dancing motion and forms had been made due to the contemporary performance situation, especially in it’s contents. Moreover, we are unable to compare such changes in detail because there are not records in documents for it.
As commented above, it is well concluded that, some changes has been made for “Heon Sun Do” during the period from “Koryo-Dynasty” to “Chosun-Dynasty”, including changing of names, singing it in the abridged form of song words and changing of music, especially in con¬tents and forms. However, it is considered that “Heon-Sun-Do” is a typical “Dong-Ak-Jung-Jae” which preserves it’s original form without being much changed both in it’s contents and forms.

목차 (Table of Contents)

• Ⅰ. 序論
• Ⅱ. 唐樂呈才 獻仙桃의 史的 槪觀
• 1. 呈才의 意義
• 2. 歷史的 背景
• Ⅲ. 獻仙桃文獻에 의한 比較硏究
• 1. 內容 및 形式比較
• 2. 音樂
• 3. 舞員
• 4. 儀物 및 服飾
• Ⅳ. 結論