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In this essay, I will explore how pungryu, the unique aesthetic experience of Korean, had been accepted, realized, and changed in the cultural contexts of Korean history. Dividing the core part and the changeable part of pungryu, types, aims, concepts, background thoughts, modes, subjects, media, spaces, and social influence will be analyzed, and compared.
In religious pungryu of pre-Samkuk age, pungryu had been accepted as the means of encountering God. Based on Shamanism and mountain belief, it had been realized in the form of collective behavior at the festival. Importing the Chinese culture like Confucianism and Taoism, pungryu had been changed into the form of Hwarangdo, which aimed at training the mind and body at the nice place in nature.
At the time of Koryo, pungryu meant the recovery of traditional folklore. That is why I call it the legend pungryu. It was realized in the form of national festival named Palkwanhoe. Beginning the new age of Chosun Dynasty, pungryu got the strong background of Confucian ideology, and was changed into the form of fine arts and musics with moral concern. I call it ethical pungryu.
At the later time of Chosun Dynasty, pungryu got the sarcastic character. Masked dances and dramas were newly developed in that aesthetic pungryu. In the Japanese colonial age, pungryu meant the entertaining the artistic emotion. It sometimes had the form of religious mysticism. Recently pungruy means decadent artistic behavior with ecological concern.
This historical exploration of pungryu shows us that the concepts and modes of pungryu has been changed with the influence of cultural contexts of each ages.
In religious pungryu of pre-Samkuk age, pungryu had been accepted as the means of encountering God. Based on Shamanism and mountain belief, it had been realized in the form of collective behavior at the festival. Importing the Chinese culture like Confucianism and Taoism, pungryu had been changed into the form of Hwarangdo, which aimed at training the mind and body at the nice place in nature.
At the time of Koryo, pungryu meant the recovery of traditional folklore. That is why I call it the legend pungryu. It was realized in the form of national festival named Palkwanhoe. Beginning the new age of Chosun Dynasty, pungryu got the strong background of Confucian ideology, and was changed into the form of fine arts and musics with moral concern. I call it ethical pungryu.
At the later time of Chosun Dynasty, pungryu got the sarcastic character. Masked dances and dramas were newly developed in that aesthetic pungryu. In the Japanese colonial age, pungryu meant the entertaining the artistic emotion. It sometimes had the form of religious mysticism. Recently pungruy means decadent artistic behavior with ecological concern.
This historical exploration of pungryu shows us that the concepts and modes of pungryu has been changed with the influence of cultural contexts of each ages.
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UCI(KEPA) : I410-ECN-0101-2013-601-001435074