<춘앵전> 춤 자리 연구

Abstract

This study is animated by a curiosity about the dance mat of Ch’unaengjŏn (The Spring Warbler's Song, 春鶯囀). The question is as follows: Most dance pieces in Sunjo Muja Chinjak Ŭigwe(Collection of Royal Protocols in 1828, 純祖戊子進爵儀軌) are related to Tang China. According to the Ŭigwe, Ch’unaengjŏn was also inspired by the story of a Tang court dance, the Chunying Zhuan (The Spring Warbler's Song, 春鶯囀). When the creator of the dance made the dance, he consulted many chinese documents such as the Chinese encyclopaedia, Yuanjian leihan (淵鑒類函). When we consider Tang court dances, most dances pieces were performed on a carpet. Famous poems from the Tang period such as Du Fu(杜甫)’s Boating on the Reservoir West of the City (城西陂泛舟), Bai Juyi (白居易)’s Twenty Rhymes of Blue Tent (靑氈帳二十韻), and the Mandarin Melonberry Branch Dancers (柘枝妓) show a carpet utilized for dance, called wuyan (舞筵). Wuyan was introduced to China from Persia, Saracen, and Central Asia, which shows the influence Central Asia had on much Tang’s court music and dance pieces. The dances from the Central Asia which were called huyue (胡樂, barbarian music and dance) became popular in China. During this period, the carpet for dance, wuyan was also introduced in China. Later, the carpet for dance, wuyan, became considered as a symbol of the Tang court dance. In addition, the choreographer of Chunying Zhuan, Bai Mingda (白明達, Aqqari Manda), came from Central Asia. In this sense, the Korean creator of Ch’unaengjŏn might have come across to these facts through Chinese documents. However, he interpreted the carpet as a figured mat. This way of thinking within Korean traditional dance, which is based on references, can be called “Create the new while do not contradict the spirit of the classics (Pŏbgo Ch’angsin 法古創新)”, which influenced the creation of Ch’unaengjŏn along with an interest in both China and abroad. Through the acknowledgement of these influences, we can see that creation in this period followed a detailed study of literature.