의궤 정재도 가인전목단의 도상학적 연구

Abstract

This study is to understand and arrange the contents of "Gainjeonmokdan" (佳人剪牧丹) represented in jeongjaedos(呈才圖) in uigwes 儀軌, like Jinjaguigwe(『進爵儀軌』), Jinchanuigwe(『進饌儀軌』), and Jinyeonuigwe(『進宴儀軌』). Nine jeongjaedos of "Gainjeonmokdan" can be found from the above documents, one in Jinjaguigwe, four in Jinchanuigwe, and another four in Jinyeonuigwe. Four of the nine jeongjaedos are about mudong(舞童) jeongjae and five of them about yeoryeong(女伶) jeongjae. The one in Jinjaguigwe represents mudong jeongjae and the others in Jinchanuigwe and Jinyeonuigwe represent mudong or yeoryeong jeongjae. The same mudos(舞圖) are recorded in different uigwes: the mudong jeongjae in Jinyeonuigwe of Gojong(高宗, 1852~1919. 1. 21) sinchug (辛丑) and that of Gojong imin(壬寅), and yeoryeong jeongjae in Jinchanuigwe and Jinyeonuigwe of Gojong sinchug are identified the same. According to mudos of "Gainjeonmokdan" it is common to dance around a hwajun(花樽) in the center of the stage, while there are some differences among them: First, the number of muwon(舞員) who forms jwauhyeommu(左右挾舞) can be four, eight, ten, twelve, or eighteen. Especially the mudo of Jinchanuigwe of Sunjo(純組, 1790~1834) gichuk(己丑) appears to be different from other mudos with two members of muwon who seem to be aksas(樂師). Second, the dance formation of the mudo in Jinjaguigwe of Sunjo muja(戊子) is sawodaehyeong(四隅隊形) composed of sangdae(相對) and sangbae(相背) in jwaudae(左右隊) or jeonhudae(前後隊), owing to the number of muwon, while the usual formation of mudos is circle centering around a hwajun. Third, the main motion of the dance is to outstretch the arms up and down. The eight motions that are shown in the mudos are yangsubanhageo(兩手半下擧), yangsupyeonggeo(兩手平擧), usubanhageo jwasupyeonggeo(右手半下擧 左手平擧), ususanggeo jwasubanhageo(右手上擧 左手半下擧), ususanggeo jwasupyeonggeo(右手上擧 左手平擧), usupyeonggeo jwasubanhageo(右手平擧 左手半下擧), usupyeonggeo jwasusanggeo(右手平擧 左手上擧), and usuhageo jwasusanggeo(右手下擧 左手上擧). Fourth, concerning the position and the direction of muwon, those in the first row of bukdae(北隊) usually takes the course of namhyang(南向), which is common in most mudos, while those in the last row of namdae(南隊) takes the course of either namhyang or bukhyang(北向). The directions suggested in the mudos in common are donghyang(東向), seohyang(西向), namhyang, bukhyang, and bukseohyang(北西向). Lastly, about mugus(舞具), mugus are all kept in the right hand according to the mudos of Jinjaguigwe of Sunjo muja and Jinchanuigwe of Heonjong(憲宗, 1827~1849) musin(戊申), while they are kept each in both hands according to Jinchanuigwe and Jinyeonuigwe. Flowers can be held by the whole muwon or only by some of the muwon. Or the muwon with flowers can be divided into rows. Jibhwa(執花) can be done either in right or left hand. There are also differences in the ways to hold mugus. For example flowers are held above or under hansam(汗衫). It can be concluded that "Gainjeonmokdan" has a common circular formation of the whole muwon centering around a hwajun and taking the course of clockwise hoemu(回舞), dongseosangdae(東西相對), nambuksangdae(南北相對), and nambuksangbae(南北相背). Holgi(笏記) has the record of usujibhwa(右手執花), which means that flowers should be held in the right hand but in jeongjaedos of uigwes flowers can be held either in the right or left hand and mugus are taken in turn.