한국무용의 원류(原流)와 조형예술

Abstract

Goguryeo’s murals in ancient tombs, Baekje’s large incense burners, and Silla’s clay dolls are works of formative art to represent the period of the Three Kingdoms. They reflect the original sentiment and aesthetic sense to represent the dance of the three kingdoms, respectively. They granted symbolism to forms, types, and tastes of dance performed during the era according to their own aesthetic sense and expressed them in iconography. The formation of this communication and bond of sympathy demonstrates that dance was not restricted to a simple performance art but had a total symbolic system. As a result, the invisible artistic spirit that was considered to be unrecordable met a visible symbol, which allows people to check the truth today. Formative artists played important roles, especially in communicative relations, and their important roles were attributed to their artistic achievement in the implicative expression of dynamic and continuous expressions, and their complex delivery process of dance in a single static iconography. This effort is the representative symbol of the times where everyone could sympathize and the core of profound correlations that made the aesthetic sense of the times develop into the communion of the times.