樂學軌範에 수록된 呈才舞圖의 記錄樣相

Abstract

This study was motivated out of the perception that an analysis of the jeongjae(呈才) dance is no less significant than that of the contents of jeongjae in holgi(笏記) The results of an inquiry into the contents of the jeongjae dance inlcuded in ‘Akhak Guebeom(樂學軌範)’ were shown, as follows: ‘Akhak Guebeom’ elucidates the jeongjae dance by classified items without distinction of dangak(唐樂) and hyangak(鄕樂), including ‘choipbaeyeoldo(初入排列圖),' ‘mudo(舞圖)’, ‘mujindo(舞進圖)’, ‘sijonghoimudo(始終回舞圖)’, ‘obangjakdedo(五方作隊圖)’, ‘wangmoheondodo(王母獻桃圖)’, ‘jakdedo(作隊圖)’, ‘jakdehoimudo(作隊回舞圖)’, ‘jiseonmudo(地仙舞圖)’, ‘jinmudo(進舞圖)’, ‘chuipunghyeongmudo(醉豊亨舞圖)’, ‘chihwapyeongmudo(致和平舞圖),’ ‘hoimugyeokgodo(回舞擊鼓圖)’, ‘hoimudo(回舞圖)’, etc. Mudos use many different kinds of mudo and many names but the formation of mudo consisted of eight forms - a straight line, a symmetry, a longitudinal form, a square, a pentagon, a four-corner form, a circle, and a dispersed form. Each of them was named after the contents of their jeongjae, away from its fixed name. The contents of mudos in ‘Akhak Guebeom’ are described with their jeongjae formation, movement, locations, directions, and so forth, visually manifested formation forms, transitional process, and the location of the formations. Jeongjae mudo has many different meanings to accurately convey its contents especially in the light of its performance, which plays the roles of presenting the source of the contents of jeongjae in performance and of perfecting the imperfect mubo function in holgi. Jeongjae mudo differs from holgi in its viewpoint of record but after all they are all a common record of the contents of jeongjae. It may be said that they have in themselves the reciprocally complementary function.