처용가무의 전승 및 연행 과정에 나타난 오방처용의 성격

Abstract

King Heongang from the Silla Dynasty enjoyed the dances and songs of the Deities, touring around the eastern, southern, northern and central parts of Gyeongju, except for the west. Cheoyong was the Deity of the East. After Obang Cheoyongmu Dance was formed during the King Sejong’s reign in the Joseon period, however, Cheoyong symbolized ‘Obang (‘five directions’: east, west, south, north and center).’ Even though it is hard to find the reasons why Obang or the Deity of Obang appears in old Korean folk songs and Korean ballad ‘Cheoyongga,’ there is a high possibility that Obang, the symbol of Obang, Deities of Obang and color throughout Goryeo and Joseon Dynasties would be given to Cheoyong. Therefore, Cheoyong which has been widely recognized as the subject of blessing as a part of court music was heard inside and outside the royal palace to respond to the Deity of Obang. According to the records written outside the royal palace of the Joseon Dynasty, however, there also is a chance that Cheoyongmu having the contents of the original tale was kept as it was in a private place. In other words, Cheoyonggamu and Obang Cheoyongmu within a royal palace were not the only inheritance of Cheoyong. Therefore, it is needed to consider a possibility of the separate transmission of Cheoyong outside the royal palace and its practice. Obang Cheoyong was the extension of Cheoyong which covered the east only during the Silla period, covering the center and four directions. Even if the rich ideology of the Deities of Obang, which had been established throughout the Goryeo and Joseon periods was reflected, the incantatory and sexual factors which were hardly responded in a private sector weakened during the practice, which is the face of Cheoyong according to Joseon Dynasty’s own esthetics.