학(鶴)춤에서 나타나는 노장(老莊) 심미관(審美觀) 고찰 : 동래학춤과 양산학춤을 중심으로

Abstract

This research aimed at investigating the dynamic(動態的) aspect of crane(鶴) dance done in Youngnam area from Lao-Chuang(老莊)'s aesthetic view(審美觀). The dynamic aspect of dongrae hak dance does not restricted by a regular form, but imitates natural movements of crane. Therefore, dancing steps of dongrae hak dance has naturalness and simple beauty which excludes artificiality. On the other hand, yangsan hak dance was created in a temple and transmitted to the general people, which depicts cleanness and nobility of crane, living in easy as well as more realistic movement of crane than dongrae hak dance. Particularly, the characteristic of dance movement has freewheeling dance steps based on simple naturalness. Therefore, the two hak dances have beauty[大美] to be unified [harmonized] with the nature and the aesthetic characteristic of inactive nature(無爲自然) beauty. In this aspect, there's an organic connection with Lao-Chuang's idea. Lao-Chuang idea considered the nature and naturalness of all objects in the natural world as aesthetic objects, particularly, selected the standard to reach beauty as simplicity related to Tao. Dance steps of dongrae hak dance and yangsan hak dance symbolize the nature through the figure of a crane which stays in the nature and paddles, and have the characteristic of the nature and harmony. Lao-Chuang's beauty can be found in the aesthetic view of naturalness and simplicity of these hak dances. In the aspect of aesthetics, inactive nature beauty of Lao-Chuang becomes the standard of the highest value of art. Various dynamic aspects of hak dances which have Lao-Chuang's aesthetic standard of inactive nature beauty reveal aesthetic communication in the aspect of having naturalness and planless feature escaping from artificiality and formality. Hereupon, this research has a significance that it can derive new ideological approach result in researching aesthetic characteristic of hak dance.