이매방 보렴무와 삼북놀이 리듬 채보

Abstract

The present study examined the unique artistic beauty and fineness of Lee Mae-bang style Boryeom-mu and Sambuknori of as thoroughly as possible. In this study, we reviewed the origins of Boryeom?mu and Sambuknori, which have not been studied much until now, analyzed their rhythm, costume and tools, the dancing gesture andformation of Boryeom-mu, the rhythm transcript of Sambuknori, etc. with the expectation that they may be designated as intangible cultural assets. Conclusions drawn from this research on Lee Mae-bang style Boryeom-mu and the rhythm transcript of Sambuknori are as follows. First, Boryeom in Boryeom-mu is a shortened word of Bosiyeombul, meaning blessing through the wide spread of grace and teaching in a pure heart in Buddhism. Boryeom-mu is a creative dance completed as an independent performance art by combining the dancing gesture, melody and costume of Buddhist dances such as Bara?chum, Nabi?chum and Beopgo. Sambuknori is based on Buknori, which is one of Buddhist dances sublimated artistically. It expresses man’s inner world dynamically and vividly using three drums. The dance is very enchanting with changes in stress of Daesam and Sosam, and each of the harmonious gestures gives the feeling of delicateness and magnificence. Harmony through the unique rhythm of movement within stillness is remarkable and its splendid drum beat and melody are unique. Second, as for the rhythm, costume and tools of Boryeom-mu and Sambuknori, Boryeom-mu begins with slow melody at Jungmori rhythm, develops to Gutgeori, and ends with Jajinmori. Sambuknori begins with Eotmori rhythm, develops to Gujeong?nori and Dongsalpuri, and ends with Sesanjosi. Their costume and tools were influenced by Buddhism and were newly created by entertaining artists’ aesthetic sense. There are two types of costume. One is composed of white robe, white peaked hat and surplice and the other of white and gray Paldae robe and surplice. The white robe and white peaked hat symbolize purity and brightness, the red robe expresses love and passion, and the gray Paldae robe represents darkness and power. There are three drum frames, three drums and three drum sticks. Two drums are set on the two sides and the other drum is set at the center of the back, forming a regular triangle. The rim of Beopgo used in Korean dances is engraved with a pair of dragons (yellow and blue ones) or colored in lotus pattern. Third, the dancing gesture of Boryeom-mu is powerful, heavy and restrained rather than agile. Loading the whole body with weight, the gesture looks calm and composed. The dance is expressed with the gesture of throwing Daesam and Sosam, the long train of the robe soaring into the sky and the gliding oblique step (stepping method). Its formations are largely divided into V shaped, linear and circular formations. The rhythm of Sambuknori was transcribed in the form of the combinations of Jungta, which beats the center of the drum, Byeonta, which fills rhythm by beating the rim (edge), and Chaeta, which makes sound by hitting the sticks in the two hands to each other. The author expects that the present study may be used in revealing Korean tradition and artistic value lying in Lee Mae-bang style Boryeom-mu and Sambuknori. Lastly, I pay my wholehearted respect to Lee Mae?bang, the master who created Boryeom-mu and Sambuknori.