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혜산 유숙(1827-1873)의 「大快圖」에 보이는 택견의 이해

Title
혜산 유숙(1827-1873)의 「大快圖」에 보이는 택견의 이해
Other Titles
Understanding Taekkyon, as seen in Hyesan Yusuk(1827-1873)'s 「大快圖(Daequaedo)」
Author
이성노
Keywords
Taekkyon; Daequaedo; Gwanghwaemun; Gyeollyeon Taekkyon
Issue Date
2015-12
Publisher
한국체육과학회
Citation
한국체육과학회지, v. 24, NO 6, Page. 25-35
Abstract
This study analyzes Hyesan(惠山) Yusuk(劉淑)’s 「Daequaedo(大快圖)」and tries to examine Gwanghwaemun(光熙門) and Gurigae(Junggu) Taekkyon, which make up the painting’s background, and Taekkyon’s matches, philosophy, and so on in the painting. This aims to provide a basic document that allows people to see Taekkyon – the people’s physical and living culture in late Joseon dynasty – with the right point of view and perspective. The deducted conclusion is as follows. First, in 「Daequaedo」’s background Gwanghwaemun actually existed Taekkyon groups, and this was the area in which masters such as Park Mu Gyung and Kim Hong Sik were active; we were able to check these through historical sources. Also, due to the characteristics of Gyeollyeon Taekkyon, in which groups competed by being divided into two groups of the upper and lower group, we can assume that the upper Taekkyon group living inside the castle and the lower Taekkyon group living outside the castle gathered around Gwanghwaemun to play in Taekkyon matches. Second, through 「Daequaedo」, we can learn that Taekkyon matches were a form of practical games that could take place whenever, wherever without separate equipment, and that in these matches the use of hands was limited but feet were used to attack the opponents’ bodies. Also, seeing from the form of the two Taekkyon players’ feet and distance in the painting, we can know that established dignity and laws of rules were used. Third, we can make certain that the characters of various age groups and social status classes that appear in「Daequaedo」aimed for grand unification called accompaniment, and that those were coming true through the medium of Taekkyon and ssireum(Korean wrestling). When it comes to this study, we must realize that there’s a slight limit to analyzing the absolute forms of Taekkyon at the time with a single painting, overcome these problems from now on and make continuous research and analysis based on much more various historical sources come true in order to establish the right history and identity of the traditional martial arts, Taekkyon.
URI
http://www.dbpia.co.kr/Article/NODE06590751http://hdl.handle.net/20.500.11754/29281
ISSN
1226-0258
Appears in Collections:
COLLEGE OF ART AND PHYSICAL EDUCATION[S](예술·체육대학) > PHYSICAL EDUCATION(체육학과) > Articles
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