중국 고대무보의 유존과 당대(當代) 연구실태 개관

Abstract

China is an ancient civilization with a long history and thus has rich cultural heritage of dance. China long ago invented characters to document history as well as dance notation as a way of passing down dance. Frequent upheavals in history, however, have destroyed a great deal of literature, and as a consequence, only a tiny number of dance notations have been discovered by scholars in recent history. The extant dance notations may be classified into four categories according to their cultural forms: First, notations of shaman music, which include Dance Notation Inscribed on Bones and Carapaces(甲骨文社火舞譜); Octagram Dance Notation(八卦舞譜); Ablution Ritual Dance Notation(齋醮舞譜). Second, notations of dances for imperial court music, which includes Literary Dance(文舞) and Military Dance(武舞) of the court of the North Sung Dynasty; Artistic Dance(韶舞) of the Yuan Dynasty; dances for imperial court music restored by Chu Tsai-yü(朱载堉) of the Ming Dynasty; dances for court worship rituals of the Qing Dynasty; Notation of the Ritual Dances for Confucius and Sakyamuni(文廟釋尊樂舞舞譜) of the Ming and Qing Dynasties. Third, notations of dances for national feasts, the most important of which is those of Notation of the Dances in Dunhuang(敦煌舞譜). Fourth, notations of dances for instrumental music, the most important of which is Notation of the Dances at De Shou Gong Palace(德壽宮舞譜) of the South Sung Dynasty. The above examples largely fall into two forms of notation: character notation, including hieroglyphic, descriptive, and terminological notations, and picture notation, including notations for directions, dance formations, positions of feet, and dance movements. In this paper, I have divided Chinese history into four stages according to dynasties: Ha/Shang through Chin dynasties; Tang and Sung dynasties; Yuan and Ming dynasties; Qing dynasty. The discussion of each stage will be based on preserved materials and the academic achievement of scholars.