지원사업
학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
커뮤니티
연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
초록· 키워드
오류제보하기
Sottdae-tagi(솟대타기, Climbing an acrobat's pole) is one of the main events of Sanakbaekhui(산악백희), which was a traditional composite art play. It is the play followed by the basis of giddiness because this accomplishment performs at the high altitude. Sottdae-tagi has its origin in labouring art as the other art plays, and it may derive from the bamboo working in Myanmar.
Sottdae-tagi in China can be traced to the Three Kingdoms and Six Dynasties and its techniques developed more variously when Dorosimjang(도로심장) from Myanmar was introduced in the Han Dynasty. Afterward, Sottdae-tagi in China was at the top of its variety in types and ways of the play during the Tang Dynasty. However, it was deteriorated due to oppressing artists during the Ming and Qing periods and finally became one of the circus plays in the nineteenth century.
Records about Sottdae-tagi in Korea was appeared very lately and it is the first mention at the poet of Lee Saek in Koryo, which can be found up to now. Interestingly, it cannot be seen even in the tomb-paintings of the Koguryo while the other Sanakbaekhuis(산악백희) were founded out. Later, Sottdae-tagi in Korea was played at many places such as the Munhuiyeon(문희연, party for successful examinees of Kwago) and the name of 'Sottdae-jaengi Pae(솟대쟁이패, group of the Sottdae-tagi)' informs that the main event of the play was the Sottdae-tagi, Moreover, it can be known that up to recently, Sottdae-tagi was very popular up according some tales. For example, the Tal Paes (traditional mask dancing group), who usually bring the big poles group(대광대패), from Bamma-Ri, Kosung-Gun, Kyungsangnam-Do climbed Sottdae, and there was Sottdae-tagi even in new dramas. Like this, Sottdae-tagi in Korea was the play, which was played before main plays by Sottdae-jaengi Paes and Tal Paes, or as one of the events of Sanakbaekhui(산악백희) in market places. However, it was eventually absorbed into the circus.
On the other hand, in Japan, Sottdae-tagi can be found in of Sanakbaekhui(산악백희) paintings with lacquering on bow-backs at the Syosyo-In, the Dotai Temple. Therefore, Sottdae-tagi of the Tang Dynasty could be introduced into Japan earlier than Korea, nevertheless, it was different such being the case that Sottdae-tagi in Japan was developed mainly by masters.
Sottdae-tagi has very diverse types and ways of the play, and techniques of the play is also various and difficult. It has been transmitted as the one of the main events of the circus because it is the play based on giddness which give the feeling dizzy, tension and trill.
Sottdae-tagi in China can be traced to the Three Kingdoms and Six Dynasties and its techniques developed more variously when Dorosimjang(도로심장) from Myanmar was introduced in the Han Dynasty. Afterward, Sottdae-tagi in China was at the top of its variety in types and ways of the play during the Tang Dynasty. However, it was deteriorated due to oppressing artists during the Ming and Qing periods and finally became one of the circus plays in the nineteenth century.
Records about Sottdae-tagi in Korea was appeared very lately and it is the first mention at the poet of Lee Saek in Koryo, which can be found up to now. Interestingly, it cannot be seen even in the tomb-paintings of the Koguryo while the other Sanakbaekhuis(산악백희) were founded out. Later, Sottdae-tagi in Korea was played at many places such as the Munhuiyeon(문희연, party for successful examinees of Kwago) and the name of 'Sottdae-jaengi Pae(솟대쟁이패, group of the Sottdae-tagi)' informs that the main event of the play was the Sottdae-tagi, Moreover, it can be known that up to recently, Sottdae-tagi was very popular up according some tales. For example, the Tal Paes (traditional mask dancing group), who usually bring the big poles group(대광대패), from Bamma-Ri, Kosung-Gun, Kyungsangnam-Do climbed Sottdae, and there was Sottdae-tagi even in new dramas. Like this, Sottdae-tagi in Korea was the play, which was played before main plays by Sottdae-jaengi Paes and Tal Paes, or as one of the events of Sanakbaekhui(산악백희) in market places. However, it was eventually absorbed into the circus.
On the other hand, in Japan, Sottdae-tagi can be found in of Sanakbaekhui(산악백희) paintings with lacquering on bow-backs at the Syosyo-In, the Dotai Temple. Therefore, Sottdae-tagi of the Tang Dynasty could be introduced into Japan earlier than Korea, nevertheless, it was different such being the case that Sottdae-tagi in Japan was developed mainly by masters.
Sottdae-tagi has very diverse types and ways of the play, and techniques of the play is also various and difficult. It has been transmitted as the one of the main events of the circus because it is the play based on giddness which give the feeling dizzy, tension and trill.
목차
Ⅰ. 머리말
Ⅱ. 솟대타기의 기원
Ⅲ. 한중일 솟대타기의 전개 양상
Ⅳ. 솟대타기의 놀이원리와 종류, 연희기술
Ⅴ. 맺는말
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