장생보연지무(長生寶宴之舞)와 보살만(菩薩蠻)의 관계에 대한 고찰 = A Study on the Relationship between Changsaeng poyon chimu(長生寶宴之舞) and Posalman(菩薩蠻)

다국어 초록 (Multilingual Abstract)

During the reign of King Sunjo 純祖(1800-1834), a total of 23 new types of chongjae 呈才 were created, and a lot of Yeje chongjae 睿製呈才, which Crown Prince Hyomyong 孝明世子 composed in person, are included. ‘Changsaeng poyon chimu’ 長生寶宴之舞 is one of the chongjae, and records related to it are found in Kich’uk Chinch’an uigwe 『己丑進饌儀軌』. Until now, many researches on Changsaeng poyon chimu have been conducted, but most of them focused on organization of documentary records, background, dance movements, construction of music and costumes.
The name of Posalman 菩薩蠻 often appears in the records in Changsaeng poyon chimu, attracting public attention. However, until now, no explanation has yet been found about Posalman, especially the study on the relationship between Changsaeng poyon chimu and Posalman. Posalman existed as a form of music and dance during the Tang 唐 and Song 宋 dynasties, and is one of the sap’ae 詞牌 often used by men of letters. For this reason, questions are raised about the reason why Changsaeng poyon chimu and Posalman are juxtaposed, and to solve this, this paper investigated Changsaeng poyon chimu and Posalman, and organized them through bibliographic data on the historical transitions and performance types. After finishing this basic work, this paper compared Changsaeng poyon chimu and Posalman in terms of rhythm and lyrics to see if there is any relationship between them, and summarized the results as follows:
First, the name of Posalman was never found in the Choson wangjo sillok 『朝鮮王 朝實錄』(Annals of the Choson Dynasty) and the several holgi 笏記 of the second half of the Choson Dynasty, and it appears only in the several uigwe 儀軌 of the second half of the Choson Dynasty. In addition, how Posalman was recorded is relatively unique. That is, except for Muja Chin ch’an uigwe 『戊子進饌儀軌』 during the reign of King Sunjo, Posalman was never recorded singly, and it tended to be juxtaposed with Changsaeng poyon chimu, e.g. ‘Changsaeng poyon chimu Posalman’ or ‘Changsaeng poyon chiak Posalman.’ And the characters in the recording was made smaller than the general name of the music, and the same as the real name of the music was recorded below the amyong 雅名 (elegant name) in uigwe.
Second, it confirmed that Posalman was recorded in the various procedures of court ceremonies.
Third, when the construction of music and lyrics were compared, it is confirmed that Changsaeng poyon chimu is not related to Posalman at all. The accompaniments to Changsaeng poyon chimu are Pohoja ryong 步虛子令 and Hyangdang kyoju 鄕唐交奏, and < Table 2 > confirms that Changsaeng poyon chiak is Pohoja ryong. Also, it was confirmed through the transitions of Pohoja ryong and Hyangdang kyoju that it has nothing to do with Posalman.