This study investigated usages of qièmò(砌末) in expression of shénsì(神似). As the Chinese traditional art, the core of Chinese drama aesthetics is shénsì. In Chinese drama, shénsì is embodied with qièmò. Qièmò is a common term designating various tools and simple stage settings used for performance of Chinese play. Hence it has a great importance to Chinese stage performance and drama. However, there has not been any well-documented study on the functions and applications of qièmò. This study aimed to demonstrate importance of qièmò and show how well qièmò embodied aesthetic consciousness of shénsì. Qièmò embodies well characteristics of shénsì because qièmò has a suppositive function in performing Chinese dramas. In addition, Chinese drama pursues unrealistic stage settings harmonized with realistic ones. This pursuit is shénsì which is the core of Chinese aesthetics. There are many examples in Chinese drama books that aesthetic consciousness of shénsì is well materialized with qièmò. In other words, Chinese drama has pursued shénsì so that qièmò comes to have a suppositive function and Chinese drama pursued unrealistic stage settings. Hence, it is concluded that qièmò and shénsì have a complementary relationship. As shown in ≪Táohuāshān≫ (≪桃花扇≫), qièmòs such as a fan, clothes emboss internal natures and morality rather than external figure of the heroine, Hyang-Gun. This is an embodiment of shénsì using a qièmò. And also in Táohuāshān, qièmòs represent emotional struggle and debate between the clean group and its opponent, the muddy group. For instance, Hyang-Gun threw her cloths that she was wearing and Hyang-Gun can insist her will strongly and actively to opposing power groups. In conclusion, this study demonstrated that the qièmò stresses mental nature rather than external figure of characters and has well embodied the shénsì, i.e. the core of Chinese aesthetics.
Ⅱ. 무대공연 측면
Ⅲ. 극본문학 측면