상모춤의 프랙탈 미학

Abstract

This study made an effort to analyze respective layers of pungmulgut, gutmul, and sangmo dance through the cycle of‘3’, ideal number to Koreans, and to offer a new view and symbolism on sangmo dance through the peculiarity and aesthetic value of sangmo dance inherent in respective layers. Fractal aesthetics in sangmo dance is a precondition for limitless conception and shows a relationship of an endless net. So, fractal aesthetics connotes a paradox, a limitless way in a limit space, and becomes a basis of aesthetics with‘three-divided structuralization’in a cycle. This is a structure,‘three-is-one’structure, bringing to one through a irregularity formed by self-construction process with self- reproduction and repetition performed through the concentrative view of the world and a cycle process, in which all of the objects logically compose a whole with parts. Sangmo dance is noteworthy in the point that it is a series of layers based on a limitless conception through self-reproduction. This study made respective layers networks and enlarged them in the area of reciprocal action with three-divided structure from pungmulgut to pungmul dance and sangmo dance. Respective structures are basically composed of a particle and repeated in the endless process, centering on sangmo dance. A respective layer is a great existence in pungmul dance. Small particles such as sangmo dance rotate endlessly. The performance of a work is no more than a particle inside sangmo dance extended due to a series of layers. In addition, three-divided structuralization appearing in sangmo dance shows fractal aesthetics linked with traditional beauty and thought principle structurally and composed on the basis of philosophical thought.