‘관觀’의 측면에서 본 승무에 내재된 심미성 고찰

Abstract

This study examines the aesthetic origin in regard to how to relate the intrinsic artistic form and spirit of Buddhist dance through the concept of ‘seeing.’ In other words, this study examines the aesthetic philosophy of Buddhist dance hidden in the cone by relating Buddhist dance, with internal symbolism and spiritual boundary expressed from Buddhist thought, to ‘seeing.’ The intrinsic artistic spirit of ‘seeing’ and Buddhist dance embraces the emotional dimension through empathy, as well as aesthetic and fundamental dimensions acquired from the convergent relationship between the ‘heart’ and ‘externality.’ Buddhist dance has a philosophical symbolic system, including the process of ‘deep recognition’ (the stage of awakening) through ‘seeing.’ The aesthetic characteristics of Buddhist dance are as follows. First, Buddhist dance pursues the stages of awakening and self-reflection by sublimating internal sentimentality formed through ‘seeing’ into aesthetic arts. Particularly, expression of the humility of the dancer wearing a cone and internal spiritual world containing internal aesthetic sentimentality sublimate the artistic values through ‘seeing,’ a philosophical thought of Buddhism. Second, the dancer, the subject, is absorbed into the dancing form of ‘Buddhist dance’, the object, to feel Buddhist dance more than herself. At the same time, the object ‘sees’ Buddhist dance to complete true dance to identify with the dancer by giving aesthetics to the artistry and reflection on one’s emotions. Third, the aesthetic values of ‘seeing’ in Buddhist dance is completed in the facial expressions of the dancer hidden in the cone and the spiritual world. Therefore, better artistic values are sublimated by reaching the ideal spiritual boundary expressed from the philosophical thought of ‘seeing.’ The concept of ‘seeing’ in eastern philosophy emphasizes the meaning of the spiritual boundary and internal symbolism expressed from the Buddhist thought to prove that the intrinsic world of aesthetic ‘qi (氣)’ in Buddhist dance is the result of the awakening reached through the self-discipline of the dancer. Therefore, this study reveals the expression of the aesthetics of Buddhist dance corresponding to the context of ‘FanGuan (反觀)’, a philosophical perspective that oversees things with a free mind, as desiring awakening and contemplation through internal discipline of the dancer.