무애무 연행의 사적 개괄

Abstract

Muaemu(無㝵舞) occurred in the purpose of propagation and reformation rather than Buddhist ritual dance at the age of Shilla when Buddhist culture was brisk. Wonhyo(元曉)'s Muaemu is thought to have designed a unique method, the introduction of aesthetic·emotional code for popularizing Buddhism. Accordingly, Wonhyo's Muaemu is assumed to have had the spirit of SungSok non-duality(眞俗不二), and one mind whajang(一心和諍). However, after Shilla's Muaemu flowed in the court, it maintained as the special form of Jungjae(呈才), and it was handed down as the changed form which held court and aristocratic aspect without its own folk․popular spirit and characteristics. Muaemu is known to have been performed since the age of Silla, but, the specific historical materials has not been handed down until now, and it depends on the materials of existing Koryo Dynasty and Chosun Dynasty Periods materials. The historical materials about Muaemu in Koryo Dynasty Period are Pahangip(破閑集)ㆍSamgukyusa(三國遺事)ㆍ Koryosa(高麗史) 「Akji(樂志)」 and materials in Chosun Dynasty Period are three versions of Uiggwe(儀軌)ㆍsix versions of Holgi(笏記)ㆍAkhakgwebum(樂學軌範)ㆍSejongsilrok(世宗實錄)과Seungjungwonilgi(承政院日記). What should be noticed is the question on in what form Muaemu was performed in the early modern times. As presented in the body of this thesis about this, we can know through the data at that time that Muaemu was performed at Chosunmulsangongjinhoe(朝鮮物産共進會) in 1915 of Japanese Ruling Era. Soon after the restoration of independence, National Gugak Center(1951년) was established, and in 1980s Muaemu was represented as Korean traditional royal court dance through the representation work. In addition, the representation of Muaemu has been continued to the present. The studies of Muaemu have been on continuously. In this thesis, it was examined dividing into several periods from Wonhyo through the early modern period (Shilla, Koryo, Chosun) up to Modern and Contemporary period.