현행 처용무 "상대무(相對舞),상배무(相背舞)" 춤동작의 무용서사 연구

최미연 ( Mi Yeon Choi ) 대한무용학회 2011 대한무용학회논문집 Vol.69 No.-

The purpose of this study is to interpret the epic of dance for the dance movements of Cheoyong dance ``Sangdea Sangbae dance.`` First of all, it was compared with the bibliographic explanation of Jeong-jae-mu-do-hol-gi (Suyangsu-Mureupdipimu in Ak-hak-gue-bem) known as the base of Sangdea Sangbae dance. The result showed many differences, and the comparison between the current dance movements of Cheoyong dance ``Sangdea Sangbae dance`` and the choreography of Cheoyong dance initially created in 1929, was made to find out the difference. And, these two Cheoyong dances were compared with the dance movements of ``Jang-saeng-bo-yeon-ji-mu`` and ``Yeon-baek-bok-ji-mu`` of court dance of five people Jeongjaemu which was performed in Yiwangjik Ahakbu (Yiwangjik Court Music Division) in the Japanese imperial period. The result showed that current Cheoyeong dance and that of 1929 were greatly similar to ``Jang-saeng-bo-yeon-ji-mu`` and ``Yeon-baek-bok-ji-mu`` in terms of order and formation. Specially, the part of ``Sangdea Sangbae dance`` was the one in which Sawubang formation was inserted. Sawubang is the formation appeared in all of the court dances of five people Jeongjaemu like ``Mansumu, Ohyangsun, Choiwhamu, Jang-saeng-bo-yeon-ji-mu, and Yeon-baek-bok-ji-mu.`` In addition, it was found that wish for king`s longevity became the major content of the court dance of five people Jeongjaemu when the words of song and admiration were observed. Thus, in Korean court dance, the formation of five people Sawubang in ``Sangdea Sangbae dance`` can be interpreted as the meaning related with ``longevity.`` And what Cheoyong dance used the dance movements of five people Jeongjaemu court dance alternately without resistance in terms of imagnation, means that there is epical common feature. In other words, it can be interpreted that Cheoyong dance ``Sangdea Sangbae dance`` contains the wish for ``longevity,`` the epic of Korean dance.

2009년 강원 연안의 계절별 수괴 분포 및 영양염의 시공간적 특성

최미연(Mi Yeon Choi),문덕수(Deok Soo Moon),정동호(Dong Ho Jung),김현주(Hyeon Ju Kim) 한국해양환경·에너지학회 2012 한국해양환경·에너지학회지 Vol.15 No.2

선도(仙道)의 호흡(呼吸)수련법과 한국춤의 호흡원리

최미연 ( Choi Mi-yeon ) 한국예술종합학교 세계민족무용연구소 2007 민족무용 Vol.11 No.-

한국춤에 있어서 호흡(呼吸)의 중요성은 한국 춤을 추는 사람에게는 누구에게나 강조되어 왔다. 본고에서는 한국춤의 본질을 규정짓는데 있어 다른 민족의 춤과 구별되는 가장 큰 특성이 인체에서 일어나는 호흡, 즉 들숨과 날숨이 춤의 가장 기본적인 단위가 된다는 것으로 보았다. 다시 말해 서양의 춤을 비롯하여 다른 민족의 춤에 있어서는 호흡이 움직임을 더욱 힘있고 원활하게 하여 어떠한 형태나 의미를 만들어 내기 위해 취해지는 2차적인 기능을 하는데 비해, 한국춤은 인간 개개인이 가지고 있는 호흡이 그 자체로 춤을 형성하는 ‘호흡춤’이라는 특성을 가진다. 한국춤을 비롯한 한국예술이 가지는 호흡 중시의 개념은 한민족 고대의 단군신교(檀君神敎)와 선도(仙道)에서 형성되었으며 이러한 고유의 선도는 단군신교가 외래 종교의 수입에 따라 점차로 퇴락해감에 따라 그 형식은 민간신앙 형태로 축소되고, 다른 한편으로 신선사상과 호흡 수련법은 궁중과 유학자들의 사대주의로 인해 중국 도교의 것으로 왜곡되어 이어져 내려오게 되었다. 이를 근거로 하여 본 고에서는 고유의 선도의 호흡법을 설명하기 위해 중국 도교경전에 나타나 있는 내단법(內丹法)과 조선시대 단학(丹學)파의 단전호흡 수련서를 제시하였다. 또한 근대 이후 산중 수도인들에 의해 등장하기 시작하여 근래에 대중적으로 확산되는 양상을 보이고 있는 단전호흡 수련법의 자료들도 참고로 제시하였다. 현대의 단전호흡 수련법 중에서는 가장 대중성보다는 정통성을 지향하는 수련단체이자, 인내천(人內天)의 소우주(小宇宙)론을 바탕으로 고대의 과학적이고 구체적인 인체관을 이론적 체계로 가지고 있는 국선도의 단전호흡법을 한국춤의 호흡법과 비교하여 제시하였다. 이러한 호흡을 통한 양생(養生)의 목적은 민족 고유의 신체수련법인 단전호흡법에서 더욱 구체적으로 드러난다. 단전호흡법은 인체를 상단전(上丹田)과 중단전(中丹田), 하단전(下丹田)으로 인식하고, 중단전의 호흡을 하단전으로 내려 ‘흡(吸)’한 후 고요히 ‘지(止-머무름)’하여 천지(天地)의 기운을 인체의 하단전에 모으고, 다시 인체의 탁한 기운을 ‘호(呼)’하여 내보내는 삼단전(三丹田) 이단(二段) 호흡법이라고 정리할 수 있다. 이렇게 하단전으로 흡(吸)한 기운은 정(精)을 생성하는데, 정(精)이 충만하면 기(氣)가 생성되어, 중단전(中丹田-가슴부위)에 거하는 신(神)이 명(明)하여진다는 것이 또한 단리(丹理)의 핵심이다. 다른 그 어떤 장르보다도 한국춤 장르는 원시의 무교에서 비롯되었다는 점에서 볼 때 우리나라의 고대의 신관(神觀)과 우주관(宇宙觀)에 직접적으로 연관이 되어 있다. 또한 우리나라의 고대의 무교가 인내천의 인간관과, 불노불사(不老不死)의 신선사상을 가지고 있다는 것은 한국춤을 이해하는 단서가 될 수 있다. 즉, 한국춤은 인간의 호흡을 통해서 천지인(天地人)의 조화를 이루고, 인체(人體)의 양생(養生)을 꾀하는 것을 목적으로 형성되었다. The importance of breath has been emphasized so strongly that almost every Korean dancer may know it. In defining the nature of Korean dance, the present study viewed that the biggest difference of Korean dance from other countries' is that breath, namely, inhalation and exhalation are the most elementary unit of dance. In other words, while breath plays a secondary function of making movements more powerful and smooth to create certain forms or meanings in other dances including Western ones, individuals' breath becomes dance itself in Korean dance. Sinseons pursued by ancient Koreans were characteristically a group of humanly Seonins who were in harmony with heaven and earth as well as with Mother Nature. Such original Seon-do gradually faded away with the import of foreign religions and its form shrank to a folk belief. The policies of the Chosun Dynasty to destroy national scriptures, which were attempted several times by the royal court and Confucians, regarded the ancient history of this nation as presumptuous and tried to bury and annihilate it. With such a difficulty in research, this study assumed that our ancient breath training method became the root of Naedan-beop systematized in the scripture of Chinese Taoism, and presented the scripture of hipogastric breath in Taoism in order to explain the detailed breathing method. In addition, it referred to breath theories in hipogastric breath training textbooks used by Confucians in the Chosun Dynasty and materials related to hipogastric breath training methods that were introduced by mountain ascetics and recently spread among the public. It also compared the breathing method of Korean dance with one of modern hipogastric breath training methods, that is, the hipogastric breath method of Gukseon-do, which is a training organization pursuing orthodoxy rather than popularity and take as its theoretical system the ancient scientific view of the human body based on the micro-cosmos theory of Innaecheon. The purpose of health-promoting through breath is manifested more clearly in the hipogastric breath method, one of our original physical training methods. The hipogastric breath method divides the human body into the upper hipogastric, the middle hipogastric and the lower hipogastric. The method can be summarized as a three-hipogastric/two-step breath method, in which inhalation is made by bring down the breath in the middle hipogastric to the lower hipogastric, maintaining it there a while and concentrating the force of heaven and earth to the lower hipogastric of the body, and then exhaling turbid breath in the body outside. The force inhaled down to the lower hipogastric produces essence, and the full of essence produces Gi, which makes the spirit in the middle hipogastric (the breast) bright. This is the core of hipogastric theory. Considering that Korean dance came from ancient shamanism, it is directly related to ancient Koreans' view of God and universe. Moreover, it may be a lead to understanding Korean dance that our ancient shamanism had Innaecheon as its view of human beings and the Sinseon thought of eternal youth and immortality. That is, Korean dance was created with the object of achieving harmony among heaven, earth and man and promoting the health of the human body through man's breath.

『악학궤범』 "무룹디피舞"와의 비교를 통한 현행 처용무 "평진(平進),전배(前拜),상배(相拜)"의 무용서사 연구

최미연 ( Mi Yeon Choi ) 대한무용학회 2010 대한무용학회논문집 Vol.65 No.-

Cheoyong dance has a unique epic with dance movements, which are different from Cheoyong`s myths, poems, and songs. It is necessary to analyze the unique epic of the Cheoyong dance by focusing on the meaning of dance movements. In this paper, I analyze the dance movements of contemporary Cheoyong dance, Pyeongjin(平進), Jeonbae(前 排), and Sangbae(相背), in relation to those of Mureupdipi dance listed in Ak-hak-gwe-beom (樂學軌範), a synthetic music book of Chosun Dynasty. The results of this study are as follows. First, the current ``Pyeongjin`` in Cheoyong dance is a series of dance movements done by a dancer coming onto a stage, though not included in Ak-hak-gwe-beom. It has been yet transmitted by the statements about spiraling dance movements, which recorded as procedural rituals in Ak-hak-gwe-beom (1610) and Jeongjaemudo (1893). The epic of ``Pyeongjin`` is similar to that of Mureupdipi dance explained in Ak-hak-gwe-beom. It embodies the divine beings in the secular world and the human view of the world. Second, the current ``Jeonbae`` in Cheoyong dance is a kind of dance movements intended to greet the King. But it is not described by Cheoyong dance listed in Ak-hak-gwe-beom, the ritual procedures of Jeongjaemudo, and Iwangjikaakbu in 1929 during the Japanese colonial period. These movements initially appear in the 1931 records. They can be seen as what was added the explanations of preparatory movements in the Mureupdipi dance written in Ak-hak-gwe-beom. Considering the dance trend that had involved these movements, there are some possibility that dancers performed all-directional twice-repeated worshipping movements, usually done at the period of Iwangjikaakbu and shown in Tongyoung seungjeon dance. It might have served as a frame of reference. Third, the current ``facing each other`` in the Cheoyong dance is a dance movement done by five-directional Cheoyongs, with which they look at and greet one another, and translate the comments of Mureupdipi dance in Ak-hak-gwe-beom. What the Mureupdipi dance in Ak-hak-gwe-beom explains is ``a dance to lift the right and left hand alternately with one of the legs lifted to match the hand movements.`` However, contemporary Cheoyong dance necessitates greeting with a dancer`s hands placed on the waist without any hand and leg movements. Regarding the fact that ``Mureupdipi dance`` is performed at the introductory phase of the dance and requires the alternate lifting of the hands and legs, kneeling and turning the head to face one another, ``Hwajang dance`` in the Song-pa-san-dae play resembles most of the dance movements thereof. While the words of song corresponding to the Mureupdipi dance in Ak-hak-gwe-beom is about phrasing the physical appearance of Cheoyong, the dancer`s movements in ``Hwajang dance`` are represented by a scene in which an old monk finds out and comes close to a woman. In the Song-pa-san-dae play, a scene emerges in which dancers, with gestures done in Hwajang dance, look at and wash their faces reflected in their mirrors. This scene is more similar to that of washing and mirroring one`s face performed by Sejon, a heavenly ghost presiding over the invocatory rites for the starry hosts in the East sea to meet with Dang-keum-ae-ki. Accordingly, the dance movements in these two scenes commonly indicate that the divine beings initially come into and look at the human world, and go somewhere to meet women. The virtuous physical appearance of Cheoyong is worded into and sung as a song. This would mean the phrasing of Cheoyong`s curious look at the world, which is also seen from the perspective of the audiences.

문학치료학의 서사이론을 접목한 시대별 처용무의 무용서사 해석과 비교연구 : 『악학궤범』 처용무·현행 처용무를 중심으로

최미연 ( Choi Mi-yeon ) 한국무용예술학회 2015 무용예술학연구 Vol.52 No.1

This paper has the purpose of utilizing the four basic epic theory of literature therapy and then interpreting the epic of dance of Ch’ŏyong Dance based on it. As a result, the ‘son and daughter epic’, which focuses on ‘conformity’, is equivalent to ‘Ho (呼)’, which means breathing out and ‘knee bend’. The ‘the man and woman epic’, which focuses on ‘selection, corresponds to a ‘walk’. The ‘husband and wife epic’ which focuses on ‘continuity, corresponds to ‘spinning’. The ‘father and mother epic’, which focuses on ‘upbringing’, corresponds to ‘upper body movement’ coming from ‘Hep(吸)’ By the epic of Ch’ŏyong Dance of the current Ch’ŏyong Dance and that of 『Akhakgwebeom』, this research finds that the ‘continuity’ epic is reduced and ‘upbringing’ epic is expanded.

처용무 무용서사의 불교사상적 측면에 대한 연구 : 고집멸도(苦·集·滅·道)의 깨달음을 중심으로

최미연 ( Mi-yeon Choi ) 한국무용예술학회 2014 무용예술학연구 Vol.50 No.5

The five main points which emerge from this study of Buddhist ritual and the Dance of Cheoyong are as follows: First, in the Dance of Cheoyong the figure of Cheoyong was probably considered to be Maitreya Buddha or Avalokiteśvara Bodhisattva. Second, the silence which is emphasized in the dance of Cheoyong refers to the practice of ‘sudden enlightenment.’ Third, Cheoyong’s silence is related to Śākyamuni Buddha’s lecture on Mt. Vulture and the Music in the Buddhist Song of the Meeting on Mt. Vulture is considered the finest of traditional Korean music and arts. Fourth, the figure of Cheoyong, the lotus flowers, and the cranes share narratives with Buddhist elements, as well as being symbols of longevity in Korean culture. Finally, the Circle Dance as part of the Dance of Cheoyong expresses an ideal world governed by the Buddhist Wheel-Turning Sacred King and the hope for an eternal lifespan.

처용무 무용서사의 유교사상적 측면에 대한 해석 -“수기치인(修己治人)”을 중심으로-

최미연 ( Mi Yeon Choi ) 大韓舞踊學會 2013 대한무용학회논문집 Vol.71 No.3

This study is about Cheoyong Dance in the idea of ``Su Chi Gi In``, which is one of the core elements of Confucianism. Following are the results from the study. First, Cheoyong, the protagonist of the epic, shows a character of ``Su Chi Gi In`` himself. Second, one of the functions of Cheoyong Dance in royal banquets to have the King and vassals learn ``Su Chi Gi In`` and pledge to follow the virtue. Third, the Cheoyong Dance includes dance styles of ``Su Gi`` and then ``Chi In`` takes the main theme.

키리바시 타라와의 지속가능발전목표 달성 지원을 위한 해수플랜트 기술 활용

최미연(Mi-Yeon Choi),지호(Ho Ji),이호생(Ho-Saeng Lee),문덕수(Deok-Soo Moon),김현주(Hyeon-Ju Kim) 적정기술학회 2021 적정기술학회지(Journal of Appropriate Technology) Vol.7 No.2

키리바시를 포함한 태평양 도서국가들은 기후 변화, 지하수 오염 및 식생 변화로 인한 해수면 상승 및 해안 침식으로 인해 생활 공간의 감소 뿐만 아니라 필수 자원 부족으로 고통받고 있다. 이러한 문제를 해결하기 위한 글로벌 활동은 SDGs 이행을 위한 UN의 노력으로 진행되고 있다. 태평양 도서 국가들이 풍부한 해양 자원을 이용하여 기후 변화에 대응하고 적응할 수 있도록 모색해 왔다. 즉, 해수 플랜트는 이러한 태평양 도서 국가에서 SDG # 14를 기반으로 SDG #2, #6 및 #7을 달성하는 데 도움을 줄 수 있다. 선박해양플랜트연구소(KRISO)는 2016년에 설립한 지속가능 해수이용 아카데미(SSUA)를 통해 키리바시 SSUA협회를 결성하고, 해양수산부(MOF)의 해양수산 ODA사업으로 키리바시에 해수플랜트를 지원하였다. 키리바시 SSUA협회는 해수 및 태양에너지를 이용하는 해수플랜트를 이용하여, 2018년부터 2020년까지 지역 사회에 식수와 채소를 공급하는 공익사업을 하고 있다. 역량강화 과정을 통해 키리바시 SSUA협회는 기술 이전을 받았고, 지역사회에 수경재배 시스템의 설치, 모종과 비료 보급, 재배관리 기술지도 및 모니터링을 실시하였다. 협회는 3년 동안 140여 가구에 수경재배 시스템(일부는 태양광발전 패널 제공)을 보급하고, 다양한 채소를 재배하여 자가 소비 또는 판매하게 하였다. 또한, 태양광발전 연계 해수담수화 시스템을 설치하여 식수를 공급하도록 하고 있다. 만족도 조사를 통해 대부분의 수혜 가구가 만족하였고, 주변 지역 및 도서로 보급확산을 희망하고 있음을 알수 있었다. 따라서, 키리바시 SSUA협회는 공동체 이용 및 관리 체계화를 지원하는 자활사업을 추진할 계획이며, 이러한 활동은 태평양 도서국가들의 SDGs 달성을 지원하기 위한 ODA 프로그램으로 확산될 수 있을 것이다. Pacific island countries, including Kiribati, are suffering from a shortage of essential resources as well as a reduction in their living space due to sea level rise and coastal erosion from climate change, groundwater pollution and vegetation changes. Global activities to solve these problems are being progressed by the UN s efforts to implement SDGs. Pacific island countries can adapt to climate change by using abundant marine resources. In other words, seawater plants can assist in achieving SDGs #2, #6 and #7 based on SDGs #14 in these Pacific island countries. Under the auspice of Korea International Cooperation Agency (KOICA), Korea Research Institute of Ships and Ocean Engineering (KRISO) established the Sustainable Seawater Utilization Academy (SSUA) in 2016, and its 30 graduates formed the SSUA Kiribati Association in 2017. The Ministry of Oceans and Fisheries (MOF) of the Republic of Korea awarded ODA fund to the Association. By taking advantage of seawater resource and related plants, it was able to provide drinking water and vegetables to the local community from 2018 to 2020. Among the various fields of education and practice provided by SSUA, the Association hope to realize hydroponic cultivation and seawater desalination as a self-support project through a pilot project. To this end, more than 140 households are benefiting from 3-stage hydroponics, and a seawater desalination system in connection with solar power generation was installed for operation. The Association grows and supplies vegetable seedlings from the provided seedling cultivation equipment, and is preparing to convert to self-support business from next year. The satisfaction survey shows that Tarawa residents have a high degree of satisfaction with the technical support and its benefits. In the future, it is hoped that SSUA and regional associations will be distributed to neighboring island countries to support their SDGs implementations.

문학치료학적 무용치료의 가능성 모색

최미연 ( Choi Mi-yeon ) 한국문학치료학회 2008 문학치료연구 Vol.9 No.-

현대인들에게 심리적 병증이 심각한 문제로 대두되고 있는 요즈음의 상황에서 무용치료의 확산은 대중들에게 심리의 치료와 삶의 활력을 찾는 효과를 가져올 수 있을 것으로 기대된다. 이 글에서는 현재까지의 무용치료 활동과 무용치료 연구사에 대하여 살펴보고, 문학치료학적 방법론을 통해 무용치료의 가능성을 찾도록 시도하였다. 현재 무용치료가 안무자나 무용전문가를 위한 무용치료나 일반인들을 위한 대중적인 무용치료로까지는 아직까지 확대되지 못한 상황이며, 이를 위해서는 무용학적 관점에서 인간의 서사와 무용과의 관계를 이해하는 연구가 필요하다. 문학치료학은 문학 창작의 치료적 본질을 강조하고, `작품서사`를 통해 `자기서사`를 수정하여 심리를 치료할 수 있다는 이론인데, 무용동작도 분석하면 각기 `서사`를 가지고 있으며, `무용서사`를 해석하여 분류한다면 개인의 창작물인 `무용작품서사`를 통해 창작자의 `자기서사`를 진단하고, `무용작품서사`를 활용하여 개인의 `자기서사`를 수정하는 것이 가능할 것이다. These days, when modern people`s psychological symptom has become a serious social problem, it is expected that spreading of dance therapy can have a good effect on treating people`s psychology and recovering their vitality. This paper attempted to examine dance therapy activity and historical study on dance therapy, and in terms of dance, seek the effective methodology of dance therapy in relation to Literary therapy theory. At present, dance therapy has not yet been provided as a popular dance therapy for choreographers or dance specialists and ordinary people. For this, in a little more choreographic perspective, a study on understanding the relation between human epic and dance is needed. It is an established theory that Literary therapy can treat human psychology by emphasizing the therapeutic bottom of literary creation and modify the Epic of Self through the epic of literary work. Careful analysis of these dance movements shows that they have the epic respectively. Therefore, if the epic of dance movement is found out properly, it will be possible to use the methodology of literary therapy in order to diagnose a creator`s `Self Epic` and modify a personal `Self Epic` by using `the literary work epic` through `the dance work epic`, a personal artistic creation.

조선후기와 일제강점기 <향령무(響鈴舞)>의 상상계 비교 연구

최미연(Choi Mi-Yeon) 사단법인 한국문학과예술연구소 2022 한국문학과 예술 Vol.41 No.-

이 글은 조선후기 <향령무>와 일제강점기에 촬영된 궁중춤 무성영화인 「조선무악(朝鮮舞樂)」(1931)에 남겨진 <향령무(響鈴舞)>의 상상계를 비교하여 살펴본 것이다. <향령무>는 조선후기 순조대 효명세자에 의해 베풀어진 창덕궁 연경당 진작례(1828)에서 초연된 것으로 『의궤(儀軌)』와 『정재무도홀기(呈才舞蹈笏記)』에 그 기록이 상세히 남겨져 있다. 이 글의 연구방법인 문화인류학적인 상상계 이론은 문화가 지층처럼 층위를 가지고 있으며, 그 가장 심층부에는 민족의 신화가 존재한다고 보는 이론이다. 상상계 이론으로 보면<향령무>의 가장 깊은 층위에는 한국의 원시종교인 샤머니즘에서의 방울의 심상이 새겨져 있다고 할 수 있는데, 한국 굿의 의례와 신화에서 방울은 천신(天神)을 부르고 기쁘게 하며, 방울 소리로 인간 세상을 정화하는 의미를 담고 있다고 할 수 있다. 시대적으로는 조선 후기의 <향령무>는 창작 당시 순원왕후의 생신을 축하하며 순조의 병환이 쾌차하기를 바라는 효명세자의 기원이 담긴 효(孝)의 의미가 담겨져 있으며, 헌종시대의 <향령무> 또한 순원왕후의 무병장수를 기원하는 의미가 담겨져 있었다. 일제강점기의<향령무>는<처용무>와 두 작품을 같은 장소에서 연행했다는 점에서 조선후기에 유행했던 방울을 주인공으로 한 고전소설인 『금령전(金鈴傳)』과 연결시켜 볼 때, 서사적으로 각각 전통적인 여성적·남성적인 이미지로 대비를 이루면서 우리 민족이 일본의 침략을 비롯한 대내외적 액(厄)을 물리치고 평화와 안녕을 되찾기를 기원하는 의미를 담고 있음을 추정해 볼 수 있다. The objective of this study was to evaluate “Hyangryongmu” in the era under the colonial administration of imperial Japan by analyzing the layers of images contained in the dance, while paying attention to the fact that there is a film record of “Hyangryongmu”, which was created in 1828, during the period of an interim overseer of dynastic governance of a crown prince Hyo’myeong during the reign of Sunjo in late Joseon Dynasty. The results showed that the bell was believed to drive away evil spirits and diseases from the shamanism perspective and arouse the good energy of heaven. Hyangnyeongmu of the Joseon Dynasty contains the hope that parents love each other and live a healthy life. Hyangryongmu in Japenese Colonial period was about a heroine who saved the country with extraordinary power and dearly loved her parents, although she had a weird appearance, a bell. Considering the situation and circumstances of the time, “Hyangryongmu” was also believed to drive away evil spirits and diseases just like “Cheoyongmu”. While “Cheoyongmu” embodied the appearance of a heavenly deity with masculine dance moves, “Hyangryongmu” can be seen as having a feminine divine power. Moreover, it was highly likely that it was paired with “Cheoyongmu” because Geumbangul, the heroine, was a wife of a son of the Dragon King in “Geumbanguljeon”.