• Title/Summary/Keyword: 중국 무용의 기원

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On some Problems in describing of the History of Ancient Chinese Dance (중국 고대 무용사 기술에 있어서의 몇 가지 문제점)

  • Nam, Jongjin
    • (The) Research of the performance art and culture
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    • no.25
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    • pp.31-56
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    • 2012
  • This paper were reviewed on some problems in the early history of Chinese dance written by scholars of contemporary China. Results of the review, were found the following problems; First, In describe to the early history of Chinese dance, contemporary Chinese scholars do not distinguish myths, legends and historical materials, so the history of ancient Chinese dance makes to mystery, thus, eventually will cause a lack of truthfulness. Second, In order to fill the lack in the early history of Chinese dance, the Chinese scholar often use a drawing of earthenware or mural. However, in certain cases, the same drawing by the other observer to be interpreted differently. In this case, if use as evidentiary material, there is a problem. Third, Most contemporary Chinese scholars usually say that the origins of dance is labor. It is to have originated from materialistic historical view can be said. However, in ancient China, but rather about the origin and function of dance there were diverse views. Therefore, this aspect should be cautious.

The Transition and Transmission of Yeonhwadae-Jeongjae through the Ages (<연화대>의 시대별 변천과 전승)

  • Sin, Tae-young
    • (The) Research of the performance art and culture
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    • no.32
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    • pp.427-463
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    • 2016
  • This article deals with five main theories about the origin of Yeonwahdae(蓮花臺), a Korean court dance(jeongjae; 呈才) and its transmission process through the age from Chinese Dang(唐) and Song(宋) to Goryo(高麗) and Joseon(朝鮮) in Korea. As a result, it was found that there was a significant difference between Chinese Chaj-u(?枝舞) dance and Korean Yeonwahdae, and furthermore there was an enormous change as it came to Joseon period in the number of performer, costume and music. Therefore, it is seriously necessary to select, restore the main version of Yeonwahdae in each period, and to make an effort to create new version of Yeonwahdae that reflects the spirit and taste of our time. Besides, it is important to inherit the inner spirit of Yeonwahdae as well as its outer appearance. Shortly, the main purpose of Yeonwahdae performance at present should be to reflect the most important, urgent issues of our time thereby to pray the welfare and prosperity of our country.