響鈴舞 呈才圖 硏究 - 『進爵儀軌』·『進饌儀軌』·『進宴儀軌』를 중심으로 -

Abstract

This study was motivated from the notion that the difference found among court dance (chŏngjae 呈才) formations included in the picture of chŏngjae in official documents (ŭigwe 儀軌) might be presumed to be a recording error. An approach to this matter began with the viewpoint that even an original historical material needs to be analysed from multangular viewpoints rather than by an unconditional measuring stick. The literary source has not thus far been identified as to the question of whether the contents of chŏngjae vary with its court banquets (yŏnhyang 宴享). This supposition is raised out of the fact that Brass Cymbal Dance (Hyangryŏngmu 響鈴舞) shows the same holgi 笏記 records. A comparison of Hyangryŏngmu in the picture of court dances (chŏngedo 呈才圖) and akjang 樂章 for chŏngjae indicates that the difference is not based on a theoretical source but on a real situation. Above all, Hyangryŏngmu provides us with a chance to perceive that the number of dancers and contents changed to many different forms each time yŏnhyang was held. The results of analysis of Hyangryŏngmu in chŏngedo included in Chinjak ŭigwe 『進爵儀軌』, Chinch'an ŭigwe 『進饌儀軌』, and Chinyŏn ŭigwe 『進宴儀軌』, are as follows：Hyangryeongmu in chŏngedo are recorded in various ŭigwe, including one piece in Chinjak ŭigwe, two in Chinch'an ŭigwe, and four in Chinyŏn ŭigwe. And a total of seven pieces of Hyangryeongmu in chŏngedo are included in the following literature：four in mudong chŏngjae 舞童呈才 and three in yŏryŏng chŏngjae 女伶呈才. Mudong chŏngjae is included only in Chinjak ŭigwe, ŏryŏng chŏngjae and in Chinch'an ŭigwe but both yŏryŏng chŏngjae and mudong chŏngjae are recorded in Chinch'an ŭigwe at the same time. The same mudo 舞圖 contents are overlapped in inclusion in ŭigwe. The same yŏryŏng chŏngjae is included in King Kojong's Sinch'uk Chinyŏn ŭigwe (1901) and Chinch'an ŭigwe, and the same mudong chŏngjae mudo contents are represented in King Sunjo 純祖 muja 戊子 Chinjak ŭigwe 『進爵儀軌』 (1828) and King Kojong's 高宗 sinch'uk 辛丑 (1901) and King Kojong's imin 壬寅 (1902) Chinyŏn ŭigwe. On the other hand, contents different from those of Hyangryeongmu are represented in King Hŏnjong's 憲宗 musin 戊申(1848) Chinch'an ŭigwe, in which the dance formation consists of two symmetrical formations with four dancers. As aforementioned, the contents of Hyangryŏngmu reflected on Chinjak ŭigwe, Chinch'an ŭigwe, and Chinyŏn ŭigwe may be summed up as follows：First, there is a difference in the number of dancers and formations. Two symmetrical formations and p'um 品-type formation are determined depending upon the number of dancers. Second, dance movements consist of six types such as chwasu py'ŏnggŏ 左手平擧 usu hajŏnryŏm 右手下前斂, chwasu py'ŏnggŏ 左手平擧 usu hahuryŏm 右手下後斂, usu py'ŏnggŏ 右手平擧 chwasu hajŏnryŏm 左手下前斂, usu py'ŏnggŏ 右手平擧 chwasu hahuryŏm 左手下後斂, yangsu hajŏnryŏm 兩手下前斂, and yangsu py'ŏnggŏ 兩手平擧. Third, there are two direction-oriented locations, including tongsŏ sangdae 東西相對 in which the right and left formations face each other and north direction formation in which dancers face north. Fourth, there is a difference in dance objects and trimmings. Trimmings in mudong chŏngjae wear a mo 帽, while those of yŏryŏng chŏngjae hold a long hyangryeong 響鈴 seultti 술띠 as a dance instrument. As stated above, hyangryeongmu jeongjaedo presents different forms of movements, formations, trimmings and objects in the same chŏngjae. The existing knowledge of the p'um 品-type formation with six dancers was adjusted to four dancers in the musin 戊申 year of King Hŏnjong 憲宗. Furthermore, changed formations were also performed, as shown in the records of akjang 樂章 of ŭigwe. Thereupon, it was revealed that the difference in dancing may not be attributed to the recording error, and that the contents of chŏngjae varied with the characteristics of real yŏnhyang.