This is an essay about restore of court dance by searching at activiies of Kim Cheon-heung, a great master of Korean traditional dance and music and a silent film made in the 1931. To the research, Jeongjae; traditional court dance performed by Kim and the restoration procedure are reviewed. Also the contents and utilization values of which offered appropriateness and confidence of Kim's Jeongjae project to audience. As a result, it was found that core of the Jeongjae restoration was Kim Cheon-heung, not documents of Joseon Dynasty, record paintings; Uigwe[ 儀軌 ] and Holgi[ 笏記 ]. This is because Kim was existence figure who served as a successor of Jeongjae since late Joseon Dynasty containing modern court music institute, Yiwangjik Aakpu. has the existence of justification for the very reason that Kim is entitled to restore Jeongjae. The restoration of the dance is divided into three parts; first is steps to expand repertoire of Jeongjae and restore dancing, second is steps to restore each processes of court ritual, and last is steps to develop new creative dance drama by using Jeongjae. In the third case, historical documents, paintings and film such as are paalied as a materials of creation. Also, in the restoration process, it was suggested that the beginning of the restoration work was made through historical literature, such Uigwe[ 儀軌 ] and Holgi[ 笏記 ], but eventually completed by creation. There is a limit to the writing or painting of a series of movements with continuous movements. It is only possible to create a gap between the cracks in this discontinuity, and Kim used the dance he had learned through his lifetime as a tool for creativity. Now we need to concentrate more on the creative exploitation of dance with Kim's achievements. First, for the future development of dance, the importance of dance and cultural sharing of dance worlds is paramount. Second, the dance majors should be systematically educated by Jeongjae as well as in elementary, middle and high schools. Lastly, Jeongjae should be used as a free ingredient rather than as part of a rigid court culture. I expect to study in neighboring areas such as dance academia, classical music, aesthetics, and theater in the near future.

This study compared Jeongjaemudo Holgi (musical scripts) with video materials of “Mugo” (group dance from the Goryeo period) and “JangsaengboyeonJimu” (court music from the Joseon period) performed in the 1980s at ‘Traditional Dance Presentation’ of National Gugak Center following Simso Kim Cheon-heung’s restoration of them. By doing so, the study sought to learn how he had restored the court dances. As a result, the study found following characteristics of “Mugo” and “JangsaengboyeonJimu”. First, the greetings were added both in the beginning and the end of the performance. Second, the songs of the dancers were simplified. Third, there was no big change in dance formation. Fourth, there were omissions or additions in the procedure of the dance. When he restored court dance in the 1980s, the restoration was built on what he learned from Music Academy of the Joseon Dynasty and a number of materials including Akji (music book) of Goryeosa, that is lustrated Text on Traditional Music and Holgi. His restoration of the court dances in the 1980s was affected by periodical circumstances and creative experiences during the 1950s. This study concluded that the court dances he restored was the extension of tradition and literature interpretation. This study identified his spirit from his restoration which was completed based on experience and aesthetic attitude. Rather than sticking to the original literature, he showed the essence of the court dances as a new form of art by putting it on stage. He desired to turn the court dance into a contemporary proscenium stage art and to elevate it to the modern art form. As such, his restoration of the court dances in the 1980s was a process which he embraced the change of the period. Thus, Kim Cheon-heung can be considered as an artist who demonstrated artistic capability encompassing tradition.

This thesis examined the inherent meanings of the C-shaped movements in Chunaengjeon the Tang court dance reconstructed by Liu Feng-shueh. In this paper, we examined the cultural and aesthetic features that are contained in the breathing, basic movements, and morphological C-shaped movements portrayed by Li Chao as a feature of Chunaengjeon. First, C-shaped movements in Confucian thought appeared in two different forms: "C" in "Etiquette" and "C" in respiration. For the former, the C-shaped movements of "Etiquette" used the movements of Chunaengjeon in Japan and the form of "Etiquette" in Korea Ilmu for reference, in oder to be based Confucianism. As a result, the C-shaped movements of "Etiquette" showed characteristics of dignity and humbleness embedded in national culture of Tang Dynasty. For the latter, breathing of the C-shaped movement was inherently calm and harmonious by using the Taichichuan breathing method, which was derived from Confucianism and Taoism, that gathered the breaths from the pubic region and then pushed it down constantly. Second, the aesthetic of the C-shaped movements introduced various movement trajectories such as circular or straight lines in the static C-shaped movements in order to reveal the elegance and neat figure of the Tang court dance. The elements of imagination and beauty about the Tang Dynasty court dance were added into by Liu Feng-shueh so that ultimately aesthetic C-shaped movements were made with aesthetic sense. In addition, Liu Feng-shueh made aesthetic C-shaped movements from the Tang dynasty's court dress by learning from the characteristics of the dual structure of Japanese Chunaengjeon. This result suggested intrinsic meaning of the C-shaped movements in Liu Feng-shueh. Last but not the least, we were looking forward that Chunaengjeon could make a contribution to help reconstruction research the traditional dance of China, Korea and Japan.