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
Gonu game that has been enjoyed by Koreans and Mongolians can be played variously. The game can be changed by magnifying a playing board or from simple to complex shape. Since the game is transformed more easily than any other game, it is relatively flexible. Stones or animal bones are used for Gonu pieces. If there is not a wooden board, one can play the game by drawing on the bare ground. This shows the simplicity of the game, which makes it popular among the ordinary people.
There are three kinds of methods for playing Gonu : besieging by putting pieces one by one in order, killing pieces by moving them on the board from the beginning, removing pieces when meeting the opponent’s. By mixing the above methods, it can be played variously. The most essential part of this game is player’s intellectual judgment and coping ability. Because people can develop their intellectual ability by playing this game, it was loved by both Koreans and Mongolians.
Considering the face that the playing board of Ruchi, a kind of Gonu, was found in the inner Mongolia and the excavation site of Manangung, the history of Gonu is longer than thought. In Korea, a board in which Chamkkoni was drawn was found in a celadon porcelain kiln in Hwanghae-do Bongcheon-gun Wonsan-ri, which means that the history of Gonu can be traced back to the early 10th century. However, it is evident that both countries have deep origin of Gonu.
I draw a conclusion summarizing discussions on it so far.
Firstly, the origin of the word Gonu may be derived from Gu and Rok. Also, according to a book titled 『Mulbobakhui』, Umulgono was possibly related with Gonu. This is a linguistic task that should be explored with sufficient supporting materials.
Secondly, after comparing several types of Gonu of Korea and Mongolia, I found that its board and playing method are almost identical. Some other games enjoyed by certain ethnic groups in China are also very similar to Gonu. The process of its diffusion has to be analyzed in the future.
Thirdly, in addition, it is revealed that the genre painting of Gonu by Kim Hong-Do is not actually the picture of Gonu, but thar of Korean four-stick game. Originally, the painting had not a title but Murayama Jijun named it in his book 『Local Entertainment of Korea』, Since then, many research paper and books used the name without critique. So it should be corrected properly.
Moreover, four-wheel Gonu, Seonjeongi of China, Paeraengi Gonu (or Sipja Gonu), and Sipjagi are interrelated and in-depth comparative research on Gonu including the above items which aims at competing with intelligence should be done in the future.
There are three kinds of methods for playing Gonu : besieging by putting pieces one by one in order, killing pieces by moving them on the board from the beginning, removing pieces when meeting the opponent’s. By mixing the above methods, it can be played variously. The most essential part of this game is player’s intellectual judgment and coping ability. Because people can develop their intellectual ability by playing this game, it was loved by both Koreans and Mongolians.
Considering the face that the playing board of Ruchi, a kind of Gonu, was found in the inner Mongolia and the excavation site of Manangung, the history of Gonu is longer than thought. In Korea, a board in which Chamkkoni was drawn was found in a celadon porcelain kiln in Hwanghae-do Bongcheon-gun Wonsan-ri, which means that the history of Gonu can be traced back to the early 10th century. However, it is evident that both countries have deep origin of Gonu.
I draw a conclusion summarizing discussions on it so far.
Firstly, the origin of the word Gonu may be derived from Gu and Rok. Also, according to a book titled 『Mulbobakhui』, Umulgono was possibly related with Gonu. This is a linguistic task that should be explored with sufficient supporting materials.
Secondly, after comparing several types of Gonu of Korea and Mongolia, I found that its board and playing method are almost identical. Some other games enjoyed by certain ethnic groups in China are also very similar to Gonu. The process of its diffusion has to be analyzed in the future.
Thirdly, in addition, it is revealed that the genre painting of Gonu by Kim Hong-Do is not actually the picture of Gonu, but thar of Korean four-stick game. Originally, the painting had not a title but Murayama Jijun named it in his book 『Local Entertainment of Korea』, Since then, many research paper and books used the name without critique. So it should be corrected properly.
Moreover, four-wheel Gonu, Seonjeongi of China, Paeraengi Gonu (or Sipja Gonu), and Sipjagi are interrelated and in-depth comparative research on Gonu including the above items which aims at competing with intelligence should be done in the future.
목차
Ⅰ. 머리말
Ⅱ. ‘고누’에 대한 기존 문헌 기록 검토
Ⅲ. 한ㆍ몽 ‘고누’ 비교
Ⅳ. 맺음말
[참고문헌]
장장식 선생의 「한ㆍ몽의 고누놀이에 대한 비교연구」에 대하여
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