덧뵈기 합동무 복식의 불교적 성향연구

Abstract

This study, paying an attention to the similarity between deotboegi hapdongmu dress, used by namsadang, and seungmu dress with strong Buddhistic indication, aims at looking into buddhistic tendency by linking with the name of namsadang and at finding out that deotboegi dress, according to group Buddhistic tendency, and seungmu dress have the same shape. Buddhism, an emotional basis of the Koreans, accepted historic value of Buddhistic culture with the shape appropriate to situations and conditions, and it put its root in the public. It is because Buddhism took a role as a mental pivot to and had an influence on Namsadang Band. In Chosun Dynasty, Buddhism, got behind by Confucianism, was ostracized by ruler classes, and it was changed into public Buddhism which introduced arts. Buddhism participated in Yeonhi Band or Geollip Band directly and indirectly. Buddhistic ceremony or style had an influence on groups’ names, Yeonhi Band’s method, plays, and dresses. In addition, in the close relation between temples and Yeonhi Band, the factors, buddhistic and artistic, had a co-existing relation exchanging each other. In this aspect, hapdongmu dress of deotboegi and representative seungmu dancing dress of Buddhistic dance were dancing dresses developed through the relation with Buddhism by mixture with folk style. As a result, jangsam of seungmu and dancing dress of deotboegi hapdongmu were seemingly almost the same in their shapes. In dresses, red belts, imaging jangsam and red gasa, and musical instrument style were very similar in use. Especially, dancing dress could be classified with dancing factor and musical style. As for dancing factor, the use of jangsam aimed at activating style, and side opening of dresses aimed at playing musical instrument. But, as for deotboegi dress, dancing dress, with jangsam style, was used in pursuit of unifying on the basis of hwanhiyongyak through interior factor Buddhism, rather than exterior factor, though its use effectiveness was not so good for dancing. Dresses for hapdongmu include symbolic meaning as a way of expressing Buddha, law, and monks. As shown above, Hapdongmu dress of deotboegi was accepted by festival players in the close relation with Buddhism, formed a mental pivot by changed form, accepted Buddhistic thoughts and customs including behavioral symbol, according to Buddhistic tendency, and it also accepted peculiar culture.