한국 문묘제례일무의 고유성과 이에 따른 재연 및 전승

Abstract

Korea’s current ceremony formalities and ritual music were originated from China, but they were inherited after adding Korean color to them, instead of taking the Chinese elements as they are. Ilmu[일무], a dance that is performed at the ritual, was also taken from the Chinese institution, but as it was performed for a long time in Korea, it was reborn into Korea’s own dance moves with the Korean originality and identity. Therefore, in reviving the Confucian Shrine Ritual Dance, also known as Munmyo Ilmu[문묘 일무], we should take note that it is not an issue that can take its standard only in the record of one particular era. Instead, we should consider a number of elements such as the character of Korean space and the necessity of the times. In this sense, this paper looked into the summary and the periphery of the Korean ritual for the Confucius called Seokjeon, and tried to present the desirable direction of keeping the tradition while stressing the originality and the meaning of the Korean Confucian Shrine Ritual Dance, called Munmyo Ilmu. There are several characteristics found when we look into the contents of the ritual for Confucius, Seokjeon, which was changed after the ceremony formalities from China were settled and changed into the ‘Korean type.’ First of all, in the main building of the Confucian shrine, called Daeseongjeon, in Korea, there are 18 sages of the Nation of the East (meaning Korea), and the Korean tradition performs rituals for Confucius and other sages called Seokjeonje, on the first day of ‘gan,’ one of Chinese sexagenary signs, in February. In Korean tradition, the Confucius is served as the King Munseon with Great Achievement and Extreme Divinity, or Daeseong Jiseong Munseonwang, and the ritual music was performed by two musical groups called Deungga and Heonga. Also, the two types of dances called Imu, one by civil servicemen and the other military officers, which noticed that human affairs lie between the sky and the Earth. All these can be seen as the originality and characteristics of the Korean type of ritual dance called Ilmu. In this context, the Confucian Shrine Ritual Music that is inherited in Korea must be different from the Chinese performance. This can be also seen in the facts that Korea has different way of placing of the Confucian shrine and different ways of serving the sages. Also, Goryeo Kingdom and Joseon Kingdom, both in Korean history, had different course of changes in posthumous epithets for King Munseon. In addition, Chinese ritual music was changed into the Korean music, which went through changes in the course of inheritance. One of the Korea’s cultural properties is the conservative nature. This conservative nature is settled as an approach to try to restore the prototype, and it appears as an intention to add Korean element by accepting the limits of time and space in reality. Under the premise of general meanings of such ritual formalities, it is only illogical to evaluate that detailed and partial dance moves of the dance, or Ilmu, are only theoretical only when they appear in the Chinese records. The ritual formalities came from China but were changed into the Korean tradition, instead of accepting as they are, and this researcher hopes to keep its Korean originality and identity, and this paper aims to present a more proper direction that can bring the formalities into truly Korean originality.