「蓮花臺舞의 歷史的 變遷過程」에 관한 硏究

다국어 초록 (Multilingual Abstract)

The purpose of this study was to trace historically the developmental process, was to investigate the characteristics and changing patterns, and was to develop a theoretical basis of Yunhwadaemoo, one of the representative dance forms among Dangakjungjae. For doing this, the following sources concerning Yunhwadaemoo were comparatively examined in terms of forms and structure, annoucement and words, dress style and dancing tools:
1) Koryosa Akji, 2) Akhakgwebum, 3) Yoryoungjungjaeholgi,
4) Hunmooeuiholgi, 5) Moodongjungjaeholgi, 6) Jinyoneuigwe,
7) Jinchaneuigwe.
As the result of this study, the following conclusive factors were identified as the historical origin and developmental process of Yunhwadaemoo:
1) It assumed that Yunhwadaemoo was transformed from Seoyuk that is one of the countries bordering on Western China through China.
2) It assumed that in China Jajimoo imported from Seoyuk transformed into the Hahwamoo pattern and in Korea it appropriated and transformed into Yunhwadaemoo.
3) It was found that Yunhwadaemoo written in Koryosa Akji, Akhakgwebum, and Jungjaemoodoholgi are different from the content of Yunhwadae Bonjoo.
4) It assumed that Yunhwadaemoo danced in Koryo age greatly developed in Chosun age and danced as a Narei-ritual with Hakmoo and Cheyoungmoo.
And the following comparitive characteristics were identified:
1) In terms of structure and composition, there are some differences in comming character among Korysa Akji, Akkakgwebum and Jungjaemoodoholgi.
2) It assumed that various music have not transformed into Chosun dynasty. It means a phenomenon of developmental process in the late period of Chosun dynasty.
3) In anouncement and words, Jookkanja words and Misihinsa were transformed in Chosun period.
4) It assumed that there were some differences in terms of length.
colors through Koryo period through Chosun period in dress style and dancing tools.

목차 (Table of Contents)

• 목차
• I. 서론 = 1
• 1. 연구의 필요성 = 1
• 2. 연구목적 = 3
• 3. 연구방법 = 4
• 4. 연구의 제한점 = 5
• II. 연화대무의 역사적 고찰 = 6
• 1. 시대적 배경 = 6
• 2. 연화무의 기원 = 8
• 3. 자지무의 구성 및 내용 = 11
• 4. 연화대무의 변천과정 = 22
• III. 시대별 연화대무의 비교, 분석 : 문헌을 중심으로 = 38
• 1. 형태와 구성 = 47
• 2. 반주음악 = 50
• 3. 구호 및 창사 = 52
• 4. 복식 및 무구(舞具) = 54
• IV. 결론 및 제언 = 77
• 참고문헌 = 81
• ABSTRACT = 84
• 부록 = 86