북평원님놀이의 원형과 전승

이창식 ( Chang Sik Lee ) 한국공연문화학회(구 한국고전희곡학회) 2013 공연문화연구 Vol.0 No.27

민속놀이 중에서 대동놀이는 민간에서 내려오면서 연극적 연희적 국면이 있는 경우가 있다. 흔히 민속연희는 마을의 대동적 신앙행사의 한 부분으로 베풀어지던 예능적인 행위였으며, 민중계층에서 생업활동, 마을신앙, 세시풍속 생활을 하면서 다양한 놀이와, 의례적 행위들이 놀이로 전향되어, 현대에까지 전승되었다. 그 가운데 마당 또는 마을 길목에서 행했던 원놀음 형태의 놀이가 여러지역에 분포하였다. 특히 답교(踏橋)와 연결된 원놀음이 주목된다. 원님놀이와답교의 원형은 동아시아 정월 대표적인 의례, 놀이로 알려져 있다. 북평원님놀이는 동해시 북평 일대에 정월 대보름 전후 전승된 집단적 대동놀이다. 다리밟기형태도 수용한 이 놀이는 복합적인 전통연희 요소를 지니고 있다. 송사해결의해소와 세시놀이의 대동을 역사적 맥락 위에 보존해야 한다. 최근 북평원님놀이의 또다른 대동적 일체감과 겨루기의 몰입성에 대하여 전통적으로 전승화하는노력을 보이고 있다. 원님놀이의 원형은 정월 답교에서 비롯되었으나, 강원도 동해지역에서는 민선지향의 전통연희다. 이는 주민들의 의사에 의해 선출된 원님을 모시고 모의재판을 하며 대사와 춤과 놀이를 중시한다. 민속극 형태의 판결놀이는 향유층에게관심 집중과 신명 몰입을 드러낸다. 원님놀이는 놀음의 연희적 연극적 요소가있다. 무대가 공연화 방식을 통해 모의극의 양상을 보이는 것이다. 세련된 탈춤처럼 민속극의 수준에는 이르지 못했으나 부분적으로 구전대본과 민속연희의 극적 요소가 나타나 있다. 민속놀이의 전통연희 관련성을 새롭게 인식하는 자료이기도 하다. 놀이대본이 즉흥성과 현장성을 지닌다. 교훈적인 내용이 많다. 그러면서 민속층위가 다면적이다. 대동놀이 전승양상을 보이지만 경합, 모의, 재미, 신명 등을두루 드러낸다. 재담(才談) 위주 모의극의 세시축제는 마을 놀이꾼과 이야기꾼이민선 지도자의 집 마당 또는 마을 공터에서 구연하면서 만들어지는 이야기판 형태이다. 1930년대 민속연희의 전승방식으로 복원하는 데에는 어렵다. 마당놀이의 정통성 차원에서 전승방안을 제시하였다. 원님놀이는 구비전승의 자생적 공연문화로서 세시지향형 문화재적 가치-초기 발굴자 이기원, 김일기 등-가 있으며, 변화하는 공동체 사회에 대동놀이의 복원과 전승은 매우 값진 국면이다. Folk games come down to play in the private sector, local synthesis of various forms play a leading said. For the dynamic performance faith of the town as part of the event was given entertainment acts, the people in the hierarchy livelihood activities, village, faith, life, and various play three wind speed, and the game turned into ritual acts are modern was handed down. Are discussed in this article dapgyo(踏.) courtesy of the East Asian New Year`s representative, has been known to play. Donghae`s play won Bukpyeong after one full moon to the New Year tradition is a collective accompany play. Dapgyo WoenNim play reeve elected reeve of the people by the doctor for a mock trial and committed an emphasis on dance and to play. Play Attention in the form of folk drama decision reveals the commitment and Deuteronomy. Dapgyo performance reeve of insipid entertaining play has ever theatrical elements. Tues stage performances of the play through the use of simulation is to show patterns. Does not reach the level of folk drama, the stylish but partially entertaining folk are given the dramatic elements. Humor-driven simulation of a three-pole festival in the village storyteller elected leaders or traditional village green yard, and made a story board Playing in shape. Thus, the oral transmission reeve play as a cultural heritage of indigenous cultural performances ever it is worth. Greater changes in the knowledge-based society of the folk-play art very important to restore the tradition. Bukpyeong-WoenNim play is the dynamic viitality of folk-performance.

驪州의 전통 민속놀이 일고찰 - 집단놀이를 중심으로 -

송재용 단국대학교 동양학연구원 2008 東洋學 Vol.44 No.-

This study examines traditional folk games of Yeoju, including Heunamri Ssangryongger tug-of-war, Wonburi bridge-crossing game, Bonduri Haechon water fireworks, Maraeri turtle game, etc. The investigation involves comparison with other related group games of the adjacent regions such as Icheon and Yongin. Heunamri Ssangryongger tug-of-war is different from tug-of-war games in other regions of Yeoju in terms of scale and contents. Besides, after the game, the used cord is carried away by water, which is unique and different from the way of disposing the cord in Icheon and Yeoju. Wonburi bridge-crossing game members consist of a king, prime minister, and court lady, etc, which is a unique formation, different from those of Yongin and Icheon. Bonduri Haechon water fireworks are unique in playing the game on the 16th of the first month, and the way of making water fireworks. Especially, the way of making water fireworks is different from those of Icheon and Yeoju. As to Maraeri turtle game, unlike other regions, the head of the turtle looks like that of a horse. Besides, the game is unique and different from those of Icheon and Yeoju in terms of the player formation, Gosadam, Gosachang, etc. Among the games stated above, especially Heunamri Ssangryongger tug-of-war and Maraeri turtle game are the representative, excellent traditional folk games of Yeoju. As to traditional folk games, especially group games, of the Southeast part of Gyeonggi province such as Yeoju, Icheon, and Yongin, it seems that there is no outstanding difference among regions although each game is partly unique. Heunamri Ssangryongger tug-of-war and Maraeri turtle game of Yeoju, however, are regarded as unique and different from games of Yongin area. Lastly, it is urgent to take measures to preserve and succeed traditional folk games of Yeoju, especially those excellent traditional folk games that are disappearing. 본고는 여주의 전통 민속놀이 가운데 대표적 집단놀이인 흔암리 쌍룡거 줄다리기·원부리 답교놀이·본두리 해촌 낙화놀이·마래리 거북놀이 등을 중심으로 준비 및 제작과정, 진행과정 및 방식, 인원편성 등에 초점을 맞추어 살펴보았다. 그리고 논의과정에서 해당 놀이와 연관이 있는 인접지역인 이천, 용인의 집단놀이와도 비교 검토하였다. 논의한 사항들을 종합하여 요약 제시하면 다음과 같다. 흔암리 쌍룡거 줄다리기는 여주의 다른 지역의 줄다리기보다 규모나 내용면에서 차이를 보이고 있을 뿐 아니라, 줄다리기가 끝나면 줄을 처리하는 방식에 있어 이천이나 용인지역과는 달리 참여한 마을주민들이 줄을 메고 가 강에 띄워 보내는 厄送 방식이 색다르다. 이런 점 등에서 마을 공동체의식을 엿볼 수 있어 민속학적으로도 의미가 있다고 하겠다. 원부리 답교놀이는 인원구성이 왕·정승·궁녀 등으로 되어 있어 특이한데, 이는 변형으로 보인다. 이 점은 이천이나 용인과 차이를 보이고 있다. 따라서 민속학적으로도 가치가 있다. 본두리 해촌 낙화놀이는 정월 16일에 행한다는 것과 낙화 순대를 만드는 방식이 독특하다. 특히 낙화순대를 만드는 방법이 이천과는 다르다. 독특한 제작과정 등은 그 의미와 함께 민속학적으로도 가치가 있다. 마래리 거북놀이의 경우 다른 지방의 거북과는 다르게 마래리의 거북이는 머리 모양이 말과 비슷하게 생겼다는 점이 특징이다. 그리고 제작과정, 진행방식, 인원편성, 고사담, 고사창 등에서 이천, 용인과 차이점을 보이고 있다. 그러므로 민속학적으로도 의미가 있다. 이들 집단놀이 중 흔암리 쌍룡거 줄다리기와 마래리 거북놀이가 여주의 대표적인 우수 전통 민속놀이라 할 수 있다. 한편, 여주, 이천, 용인 등 경기 남동부 지역의 전통 민속놀이, 특히 집단놀이의 경우 각 놀이마다 부분적으로는 차이가 있지만, 전체적인 측면에서 볼 때는 큰 차이가 없는 듯하다. 그럼에도 여주의 흔암리 쌍룡거 줄다리기의 액송의식과 방법, 원부리 답교놀이의 인원구성, 본두리 해촌 낙화놀이의 낙화순대 만드는 방법, 마래리 거북놀이의 거북이 머리모양이 말과 비슷하다는 점 등에서 특색 있는 놀이로 평가된다. 따라서 그 의의와 함께 민속학적으로 가치가 있다고 하겠다. 끝으로 점차 사라져 가는 여주의 전통 민속놀이, 특히 우수 전통 민속놀이는 앞에서 언급한 바와 같이 민속학적으로 가치가 있는바, 이를 보존 계승할 수 있도록 제반 대책(여주군청, 여주교육청, 여주문화원, 여주신문 및 케이블방송, 민속놀이 보존회 등 여러 단체나 기관에서 인터넷사이트 개설운영 및 홍보, 행사지원 및 공연, 보존 및 계승을 위한 각종 프로그램 개발 등등)을 수립하여 시행하는 것이 시급하다.

동해시 <북평원님답교놀이>를 통한 지역문화콘텐츠 개발 방안

김경희 한국고전문학회 2023 古典文學硏究 Vol.64 No.-

이 논문은 북평지역에 전승되고 있는 <북평원님답교놀이>를 통해서 지역문화콘텐츠를 개발하는 방안을 모색하는 데 목적이 있다. 2022년 <북평원님답교놀이>는 한국민속문화제에 출전하여 좋은 성적을 거두었고 음악극 <동해랑>으로 제작되어 전통을 보존하고 현대화하는 작업이 활발하게 진행되고 있다. <북평원님답교놀이>는 답교놀이와 모의재판으로 구성된 민속극으로 북평장을 중심으로 연희되었다. 이러한 특성을 반영하고 현재 동해시에서 추진 중인 ‘뒤뜰 관광자원화’ 사업을 통해서 북평민속시장의 전통성을 살려 <북평원님답교놀이>에 담겨있는 다리밟기 문화를 복원하고자 한다. 다리를 밟으면 1년간 다릿병이 없어지고 12개의 다리를 밟으면 12달 액을 면한다는 속신적인 믿음을 적용하여 관광객들의 건강과 평안을 기원하고 소원을 성취할 수 있는 프로그램으로 기획한다. 이를 위해서 전천에 조성된 징검다리를 활용할 수 있다. 또한 북평장터에 설치하고자 하는 ‘디지털 사이니지’(Digital Signage)를 통해 만들어진 12개의 징검다리를 건너면서 1년 내내 액운을 버리고 행복하게 살 수 있는 체험 마당을 구성할 수 있다. 한국민속예술제에 참가한 서사에서 ‘소’와 관련된 분쟁과 그 해결과정은 공동체가 지닌 갈등과 그것을 풀어내는 과정에서 유의미한 결과를 보여준다. 또한, <동해랑>의 서사에서 펼쳐지는 애정 성취 과정 역시 과부의 재가 금지라는 사회적 갈등을 풀어낸다. 두 갈래의 서사는 구조적인 면에서 갈등 해결이라는 공통점을 지닌다. 전통적인 서사를 계승하고 현대의 문제적인 갈등 상황을 반영하는 스토리텔링을 만들어가는 것이 흥미로울 것으로 기대된다. 현대 사회의 문제를 <북평원님답교놀이>의 모의재판에 대입시켜 해결 과정을 보여주는 연희를 통해서 우리가 직면하고 있는 갈등을 연희 속에서 풀어나갈 수 있을 것으로 기대된다. The purpose of this paper is to explore ways to develop local cultural contents through <Bukpyeongwonnim’s walking on the bridge play>, which is handed down in the Bukpyeong region. In 2022, <Bukpyeongwonnim’s walking on the bridge play> received good results at the Korean Folk Culture Festival and was produced as a musical play, <Donghaerang>. Work to preserve and modernize the tradition is actively underway. <Bukpyeongwonnim’s walking on the bridge play> is a folk play consisting of a field trip play and a mock trial and was performed mainly at Bukpyeongjang. Reflecting these characteristics, we aim to revive the tradition of Bukpyeong Folk Market and restore the bridge-stepping culture contained in <Bukpyeongwonnim’s walking on the bridge play> through the ‘Backyard Tourism Resource’ project currently being promoted by the Donghae City Council. By applying the secular belief that stepping on a bridge will eliminate leg disease for a year and that stepping on 12 bridges will avoid bad luck for 12 months, tourists can pray for health and peace. For this purpose, the stepping stones built in Jeoncheon can be used. In addition, by crossing the 12 stepping stones created through the ‘digital signage’ that is planned to be installed at Bukpyeong Marketplace, you can create an experience yard where you can discard bad luck and live happily all year round. In the narratives that participated in the Korean Folk Arts Festival, the dispute related to ‘cow’ and its resolution process show meaningful results in the community’s conflict and the process of resolving it. In addition, the process of achieving affection that unfolds in the narrative of <Donghaerang> also resolves the social conflict of the prohibition of widows living at home. The two narratives have something in common in terms of structure: conflict resolution. However, it is far from modern society, so it is expected that it will be interesting to create storytelling that sets up problematic conflict situations in modern times. It is expected that we will be able to resolve the conflicts we face in a fun way through a performance that shows the problem solving process by substituting the problems of modern society into the mock trial of <Bukpyeongwonnim Dating Game>.

다리밟기의 문화콘텐츠 개발 방안 연구

이호정 문화예술콘텐츠학회 2017 콘텐츠 문화 Vol.9 No.-

본 논문은 다리의 원형성을 바탕으로 ‘다리밟기’의 역사적 배경과 연행양상을 집중 조명하여 축제적 가치와 특성을 밝히고, 전통 민속예 술 축제로서의 콘텐츠 개발방안을 제시하고자 하였다. 전통 다리밟기는 정월대보름날 밤에 다리(橋)를 밟으면 한 해 동안 다리(脚)에 병이 나지 않고, 12다리를 밟으면 12달의 액을 면 한다는 민간신앙에서 발생한 정월대보름 민속놀이로 건강과 풍년을 기원하는 제의성이 담겨 있다. 서울에서는 다리밟기가 광통교, 수표교 등 청계 천에 놓여 있는 다리를 중심으로 매우 성행하였다. 정월대보름을 전․ 후로 하여 펼쳐지는 다리밟기가 온 백성들의 기원을 담아 펼쳐지는 성대한 축제였다는 것을 당시의 문헌적 전거를 통하여 알 수 있었다. 또한 다리밟기의 문화원형 중 축제적 특성은 자발성과 공동체성, 주술 성, 연희성, 개방성, 소통성 등으로 나타났다. 전통 다리밟기의 축제성에는 현재 우리사회의 심각한 문제로 대두되고 있는 공동체의식과 나 눔의 정신이 숨어있다. 따라서 이와 같은 전통문화의 축제적 특성을 현시대에 맞게 살려내고, 이를 구체화시키기 위한 다양한 방법을 지속 적으로 고민해야만 보다 발전된 축제의 공간을 이룰 수 있다. 따라서 본 논문에서는 정월대보름의 다리밟기가 공동체의식을 고양 시키는 문화콘텐츠적 가치가 무엇인지를 추출하여 문화콘텐츠 개발 방안을 구체적으로 기술하였다. 농경시대 우리민족의 고단한 삶의 원 동력이었던 다리밟기의 축제적 특성을 충분히 활용한 문화콘텐츠를 개발하여 우리민족의 신명을 되찾고 세대와 계층 간의 분열된 간극을 좁히고 사회통합을 이루는데 있어, 본 연구가 디딤돌이 될 수 있기를 희망한다. This paper focuses on the historical background and tracing of 'Bridge' based on the Archetype of the Bridge, revealing the festival value and characteristics, and suggesting the development of content as a traditional folk art festival. If you step on a bridge on the night of the first day of the New Moon, you will not get sick on your legs for a year, 12 The festival of the New Year holidays played out in the folk belief that if you stepped on the bridge, you will lose 12 months' worth of money. In Seoul, the bridge was very popular with the bridges lying on the Cheonggye stream, such as Guangtong Bridge and Suet Bridge. Before the New Year. It can be seen through the documentary authority of the time that the footsteps spreading afterwards are grand festivals spreading the origins of the whole people. In addition, the festival characteristics of the cultural prototype of the foot stepping showed spontaneity, communality, magic, playfulness, openness, and communication. In the festival castle of traditional legs, there is a spirit of community consciousness and sharing that is emerging as a serious problem in our society. Therefore, it is necessary to constantly think about the various methods of reviving the festival characteristics of traditional culture in accordance with the present age and realizing it. Therefore, in this paper, the footsteps of the New Year 'The contents of cultural contents are extracted to describe the development plan of cultural contents. A farmer's life of the Korean people Cultural contents that fully utilize the festival characteristics of foot stepping which was power, I hope that this research will be a stepping stone in the development of our nation, the restoration of the divine name of the nation, the narrowing of the gap between generations and strata, and social integration.

과천게줄다리기의 전설과 놀이의 전승 양상

이동철(Lee Dong-cheol) 비교민속학회 2005 비교민속학 Vol.0 No.30

This paper examined a tug of war, one of folklore plays, especially tug-of-war with side ropes among them. The number of the persons participating in 'tug-of-war with side ropes' which has been hadnded down to Gwacheon and the scope of the area participating in it are surprisingly large-scaled. The event is a large-scaled local event no less than 'Gijisi tug of war' of Dangjin-gun, Chungnam, 'Samcheok tug of war' of Gangwon-do, 'Yeongsan tug of war' of Gyeongnam, which were well known to the general public. Accordingly, the purpose of this paper is, on the basis of the contents that has been investigated up to now, to have the public be interested more in Gwacheon tug-of-war with side ropes by publicizing it to the public. To achieve this goal, in this paper, the author progressed in the following way. First, the study was made on the basis of the testimony of the aged through on-site investigation. Second, the on-site investigation record and an individual anthology were utilized as supplementary materials. Third, the author referred to a performance process of the play restored at Gwacheon Folklore Preservaton Meeting in 1992. Fourth, to indicate the characteristics of tug-of-war with side ropes in Gwacheon area, the author referred to and compared investigation materials and study results of the tug of wars in other areas. No exact: record of the history of <Gwacheon tug-of-war with side ropes> is left. But since it is a typical play that has been handed down in the area south of the Han River, it can be understood at the level as same as tug of war tradition history of the Korean Peninsula. It is resumed that the tug of war tradition history of the Korean Peninsula is long, and there remains a record of "Dongguksesigi", so that we can not but presume the history under such a record. As a record of <Gwacheon tug-of-war with side ropes>, there is "Usanmango" written by Sin Jong-muk in 1917. And, according to the testimony of Kim Su-won, an informant, it is said that tug-of-war with side ropes praying for a fruitful year has been played on the 15th of January under lunar calendar every year until 1915. In relation to <Gwacheon tug-of-war with side ropes>, a legend has been handed down that originated the tug of war. Once upon a time, a boa lived here. Then, if the people did not a tug of war on the 15th of January every year, the boa was hung on the bridge, so that there was a frequent flood and contagious diseases was prevalent in the village. So, the people in the village played a tug of war so as for a boa not to be hung on the bridge. That is, it was said that by the people pulling out a rope similar to a boa, the bridge wasn't blocked up, and the village was not flooded or contagious diseases was not prevalent in the village. This is closely related to Dragon God faith. The rope used in the tug of war is a dragon. This conception is not the one limited to our country. This faith is usually found in Southeast Asia or Northeast Asia where a tug of war is conducted. It is a generalized and clear fact that the relation between agriculture and Dragon God faith is closed. A dragon has been regarded as a god that governs rain, wind and cloud, and has been recognized as a good god which brings abundance and fecundity. Compared with tug of wars of other provinces, <Gwacheon tug-of-war with side ropes> is divided into 4 features. First, the type and name of a rope. The name is tug-of-war with side ropes, because the type of the rope is like side ropes attached to the bulky tug-of-war. Second, the number of participation people and areas is large-scaled. Gwacheon covered a very wide administrative area in the period of Japanese rule. And, the participation people was investigated to be scores of thousands of persons, so that it can be found the play was a event no less large than that of any other area. Third, Daemaengi(large boa) religious service was performed. In other areas, Dong religious service is fr

세시기속시(歲時紀俗詩)를 통한 조선 후기 세시풍속(歲時風俗)의 의미와 양상

신장섭 ( Jang Seop Shin ) 한국비교문학회 2008 比較文學 Vol.46 No.-

歲時紀俗詩를 통한 조선 후기 歲時風俗의 의미와 양상

신장섭 한국비교문학회 2008 比較文學 Vol.0 No.46

This study is to have checked meaning of creation background of the works which you use a work produced in collaboration form of four stanza jeunche, and described social conditions of popular manners and customs and recognition and New Year manners and customs and potery attitude of writers along of life of the people one out of custom-descriptive poetry expressing New Year manners and customs. Works which you infused to parts of the chosun poetryㆍchosun's tendency which did in order to you were intoxicated by a material and environment at chosun things, and a chosun the latter term got out at the standard which was a Chinese enemy in use of poetic word and an authentic precedent and to put on a chosun poetic expression, and reflected ethnic unique manners and customs and social conditions were created in great quantity. Writers named custom-descriptive poetry composing poem of this a style of poetry, which did New Year manners and customs only to a material especially appeared to this a style of poetry if it came in the 19th century. Generally, the illustrious official that writers of custom-descriptive poetry were ruined was, middle of people births. Therefore, the motive which it can easily approach in their world of the people falling behind became, and it is what it did so as it does so as to have great affection and interest in a life of them soon and manners and customs to rise, and to be able to make a poetry of New Year manners and customs. And it was thing that their attitude to attend to a creation carried faithfully out psychiatry, a tradition of yue-pu poetry called bopungto that make up for history through poet for a life about on-scene detailed information that was all eyes, informed of manners and customs of the people. While the writers who had this clear consciousness accept intensively from their manners and customs and life quotient by affection regarding the people and warm eyes. Sometimes were plain of them, and freedom was wild, and it seemed to be a humor, and form anger called an active figure to humorous methods. As this, leave to value recognition regarding culture unique us and early records described ethnic unique New Year manners and customs or a region custom life of each regional a country society and mainly popular manners and customs and lives state on a life of a farmhouse to stress in this dry sanctions or contents planes created in consciousness of coherent writers that preserved. And you got out of traditional style in poetic word, and you used directly that come into term at a proverb or manners and customs ethnic us like noreongjaㆍthe tree tag which you own to when you give to a draft in a palace, and you went in and out of comes out, jemiseong etc and attempted a change of an expression method. Then, To have described effectively a custom mood and ethnic unique emotion, achieved the accomplishment of realism aesthetics at points that described you looked, at this accepted from value regarding unique our culture and recognition, and having reflected, at points showed that moving toward a nation and people of chinese poetry and you will do. Is done so, and custom-descriptive poetry is to have been able to become that puts with forms of chosun literature to sing about its reality and feeling. This study is to have checked meaning of creation background of the works which you use a work produced in collaboration form of four stanza jeunche, and described social conditions of popular manners and customs and recognition and New Year manners and customs and potery attitude of writers along of life of the people one out of custom-descriptive poetry expressing New Year manners and customs. Works which you infused to parts of the chosun poetryㆍchosun's tendency which did in order to you were intoxicated by a material and environment at chosun things, and a chosun the latter term got out at the standard which was a Chinese enemy in use of poetic word and an authentic precedent and to put on a chosun poetic expression, and reflected ethnic unique manners and customs and social conditions were created in great quantity. Writers named custom-descriptive poetry composing poem of this a style of poetry, which did New Year manners and customs only to a material especially appeared to this a style of poetry if it came in the 19th century. Generally, the illustrious official that writers of custom-descriptive poetry were ruined was, middle of people births. Therefore, the motive which it can easily approach in their world of the people falling behind became, and it is what it did so as it does so as to have great affection and interest in a life of them soon and manners and customs to rise, and to be able to make a poetry of New Year manners and customs. And it was thing that their attitude to attend to a creation carried faithfully out psychiatry, a tradition of yue-pu poetry called bopungto that make up for history through poet for a life about on-scene detailed information that was all eyes, informed of manners and customs of the people. While the writers who had this clear consciousness accept intensively from their manners and customs and life quotient by affection regarding the people and warm eyes. Sometimes were plain of them, and freedom was wild, and it seemed to be a humor, and form anger called an active figure to humorous methods. As this, leave to value recognition regarding culture unique us and early records described ethnic unique New Year manners and customs or a region custom life of each regional a country society and mainly popular manners and customs and lives state on a life of a farmhouse to stress in this dry sanctions or contents planes created in consciousness of coherent writers that preserved. And you got out of traditional style in poetic word, and you used directly that come into term at a proverb or manners and customs ethnic us like noreongjaㆍthe tree tag which you own to when you give to a draft in a palace, and you went in and out of comes out, jemiseong etc and attempted a change of an expression method. Then, To have described effectively a custom mood and ethnic unique emotion, achieved the accomplishment of realism aesthetics at points that described you looked, at this accepted from value regarding unique our culture and recognition, and having reflected, at points showed that moving toward a nation and people of chinese poetry and you will do. Is done so, and custom-descriptive poetry is to have been able to become that puts with forms of chosun literature to sing about its reality and feeling.