‘일무’(佾舞)의 상징과 스토리(story)에 대한 다산 정약용의 제언(提言) :『악서고존』(樂書孤存) ｢무의｣(舞義)를 중심으로

Dasan(茶山) Jung Yak-yong(丁若鏞, 1762∼1836) published a unique theoretical book 『Akseo-gojon』(樂書孤存), which is the only historical book representing research on music during the late Choseon dynasty. Furthermore, there is another importance on the title of the book Akseo-gojon(樂書孤存), which means ‘Music book(樂書) is lonely but should exit in itself’ by Dasan himself impressing the value of the existence. He analyzed various problems of traditional music book which had accepted Chinese music theory after Bun-seo Geng-yu(焚書坑儒 historical disaster firing books and bury scholars during Chinese Emperor Chin Si-Hwang in BC 213) without any edition for country revision. He analyzed and revealed the distorted contents of the traditional music books in his research. The major content list of the book Akseo-gojon consists of Non(Discussion)[論]․ Byeon(Argue)[辨]․Bak: (Debate)[駁]․Sa Examination)[査]․Jeong(Correction)[訂] type item structure with additional discussion on the subject ｢Mu-eui｣(舞義-rightness of dance)․｢Napeon-eui｣(納言義-Rightness of concerning). I focused on the additional discussion on ｢Mu-eui｣ which described the origination of ancient Ilmu(佾舞-line dance), the performance style, and an opinion on new pattern of the dance by Dasan, which showed a new vision concerning Jongmyo-Jaerae(宗廟祭禮) ritual performance until present. Especially, Dasan emphasized the importance of the inherent story and the symbolic motion of the dance in Ilmu of Jongmyo-Jaerae in the discussion of the book ｢Mueui｣ pointing out the teaching as assignment to his students. This study examined the original meaning of traditional Ilmu dance music in Dasan Jung Yak-yong’s aspect for ancient Chinese concept in ‘Ak’(樂-music) and ‘Mu’(舞-dance), and reviewed Dasan’s opinion and suggestions on Ilmu of Jongmyo-Jaerae music. He pointed out the distorted meaning of descended Ilmu dance in Jongmyo-Jaerae of Korea that we need to refer the logical or reasonable understanding on Dasan’s suggestion over simple change of the music theory. I hope this study may present a meaningful motivation to the next researchers and examine the general contents of Dasan’s suggestion in Ilimu to find reasonable elements as a persuasive logical theory for Korean Jongmyo-Jaerae music to be descended and developed in the future.