??ʯÓÑ ???ǧÊÀøP? ?? ?? ?? (The Life and Art Activities of Cheonsebong)

?? ???(1893-1967)? ?????? ?? ???? ??? ??? ??? ??? ??? ??? ? ???? ? ??? ??? ???? ?? ??? ?????? ?? ?? ??? ???? ?????? ??? ?? ???? ????????? ??? ??? ??? ????? ??? ?? ???? ????? ??? ???? ??? ?????? ?? ??? ???? ?? ?? ?? ???? ??? ?? ??? ?? ???? ?? ??? ??? ????? ??? ??? ? ???. ?? ?? ??? ?? ???? ??? ??? ????£¬????? ??? ????? ???????? ?? ????? ??? ?? ??? ???? ???? ?? ??? ???? ?????? ?? ???? ??? ?? ?? ??? ??? ?? ???? ??? ??? ??? ???? ?? ??? ??? ??? ? ?? ? ??? ?? ??? ??Àô•x ??? ???? ?? ?? ??? ?? ??? ?? ?????? ??? ??? ??? ???? ?? ??? ??? ??? ?????? ???? ?? ???? ????? ? ???? ? ? ???? ???? ?? ???? ???? ??? ??? ??? ???? ?? ??? ? ???? ????? ??? ?? ??? ???? ??? ???? ???????? ?????? ???? ?? ?? ???? ???? ??? ???? ??? ??^ ?????? ?? ??? ? ???? ???? ????? ??????? ??? ? ?????? ???£¬???? ??? ?????? ??? ??? ??? ??? ?? ??? ????? ????? ??????£¬??? ?? ???? ???????? ??? ??? ? ?? ?????? ???? ??? ???? ???? ???? ??? ??? ?? ??? ???? ?? ?????.

The Life and Art Activities of Cheonsebong Oh, Se-Gil (Dong-Eui Institute Technology) Suk Woo Chun-sebong(1893-1967) played a leading role in the establishment of its past and present status as an early performer of Goseong Ogwangdae.
This study aims to shed light on the world of his consciousness by looking at the course of his life and ultimately how it influenced the tradition and establishment of Korean traditional dance and Goseong Ogwangdae.
A brief summary of the discussion so far is as follows.
It is the sense of family pride that dominates the ritual world of Chun-sebong. However, his pride in the family was not fully expressed in the times and regions where he lived. This led him to have a critical percepÊËon of reality, and on the other hand, he was willing to overcome it.
His artistic activities reflect this world of consciousness. He offered his house as a practice space for the Goseong Ogwangdae to show that his family was superior in the area.
It also means a cultural counterplace for Park-family, who dominated the Ise-society in Goseong. At the same time, he tried to overcome the sense of defeat that comes from reality by showing off the cultural power of the Cheon-family.
Meanwhile, Cheon-sebong's dance influenced the formation of Hwang-mubong's Sanjo-dance. We can't find out the direct relationship between the two. While Hwang-mubong stayed in the Goseong, he learned the Kwonburn dance of Cheon-sebong and Goseong Ogwangdae to organize traditional Korean dances and create his own Sanjo-dance from it.
Cheon-sebong played a crucial role in the reenactment of Goseong Ogwangdae along with Kim-changhoo and Hong-seongrak. He earlier compiled the manuscript of Goseong Ogwangdae, which became a script of Goseong Ogwangdae. He also played a leading role in organizing the dance and the music of Goseong Ogwangdae, and was deeply involved in the production of masks and clothes.