백거이의 시에 나타나는 예상우의무의 형식과 성격

Abstract

The aim of this study set out to investigate the form and nature of “Yesangwooui Dance”. Tang Dynasty dance is an important stage in the development of ancient Chinese dance, and among them, Yesangwooui Dance is the most famous and the same work as scripture. First, the former part of the dance was created entirely by Emperor Xuanzong of Tang, and the latter part was completed by him based on Baramungok. Second, the study examined the forms of Daegok that were in vogue during Tang to figure out the form of Yesangwooui Dance and compared them with the content depicted in Bai Ju Yi’s The Song of Yesangwooui Dance, whose form consisted of three parts, including Sanseo, Jungseo, and Pa. Third, the Yesangwooui Dance contains Taoist and Buddhist philosophical ideas. The influence of Taoist ideas are found in the costumes of the dancers. The feather costume reflects the image of a Taoist fairy, relating to the idea of Taoist hermits with miraculous powers. The influence of Buddhist ideas are found in the fact that Baramun originated in India and was identified with the Gobul piece Garubinga of Cheonchuguk and also in the use Buddhist dance as a dance position. Finally, Yesangwooui Dance was musically influenced by the music of the countries bordering on Western China from India to Central Asia. Book 33 of “Danghoiyo” states that “Satajo” and Baramungok were replaced with Taejugung and Yesangwooui, respectively. These findings show that the Yesangwooui Dance was a product of fusion between the music of the countries bordering Western China and the court music of the Han Chinese. The dance was an outcome of foreign culture and private art being accepted into the court. Tang was active in accepting foreign cultures and arts and had open policies that led to the Golden Age of ancient music and dance in China.