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The purpose of this study was to identify the use of the sandae nori masks owned by the National Palace Museum of Korea and their relationship to other sandae nori masks by examining various masks of the sandae norie It showed facts different from what we previously believed,which can now be the standard for newly discovered masks. The masks of the museum have great significance as material evidence of the written and oral tradition of royal court events involving the sandae nori. The Seoul National University Museum houses a collection of 47 sandae nori masks, which were classified into two types: 24 gourd masks of the Yangju byeolsandae nori and 23 wooden masks of the Toegyewon sandae nori. However they turned out to be divided into four types. The 23 wooden masks are subdivided into two types: 21 sandae nori wooden masks and 2Toegyewon sandae nori masks. Each of the 21 was made from a single tree trunk, while the 2 masks, respectively named the wanbotal and meokjungtal, were made by carving the trunk of a tree into the shape of a gourd and attaching pine bark to create protruding facial features, like the nose. By comparing the 23 wooden masks with the 15 masks published in 《The History of Joseon Theatre》, written in no3 by Kim Jae cheol, the following information was revealed. Only two masks, the wanbotal and meokjungtal, bear the phrases “景福宮造營 當時 /T屨臺都監使用 /T陽州郡 退溪院里” meaning “produced by the temporary office for the Yangju Toegyewon sandae nori during the construction of Gyeongbok Palace”. They also do not appear ihe conbook 《The History of Joseon Theatre》. Even if masks were selectively choose to be included in conbook, it was very unlikely that the author did not note the two masks thea list of masks published in conbook, due to conimportant phrases the masks bore. In other words, it is most likely that they were not stored at Gyeongseong Imperial University when Kim wrote conbook. The 24 gourd masks are classified into two types; thly 22 were produced for the Yangju byeolsandae nori, which was performed at Gyeongbok Palace during the n2n Joseon ExImpition. The other two are the maltugital and yeodeureumtal (or omjungtal) respectively. This clearly ExIms that the Seoul National University Museum has four types of sandae nori masks: the 22 Yangju byeolsandae nori gourd masks acquired from Gyeongseong Imperial University, 2 masks respectively named the maltugital and yeodeureumtal (or omjungtal), 21 sandae nori wooden masks and 2 Toegyewon sandae nori masks. The 15 masks published in 《The History of Joseon Theatre》 are also divided into two types: 12 that are part of the 21 sandae nori wooden masks;and 3 masks, the wanbotal, somaetal and waejangnyeotal, which belong to the same type as the maltugital and yeodeureumtal (or omjungtal), but are now considered lost. Consequently, it can be said that there are four types of sandae nori masks related to Gyeongseong Imperial University and the Seoul National University Museum. The National Palace Museum of Korea houses two masks of the sandae nori, which are the miyal halmital and meokjungtal. By comparing them with the collection of the Seoul National University Museum, it was found that they are similar in shape to the sandae nori wooden masks and they were produced the same way as the Toegyewon sandae nori masks. However, they do not take stylized forms like the masks of the Toegyewon sandae nori or the 1929 Yangju byeolsandae nori. They were also more exquisitely crafted. This shows that they were most likely used by the professional troupe performing the Aeogae sandae nori. The troupe based in Aeogae,located near Gyeongbok palace, performed the sandae nori at royal court events. It is also regarded as the first sandae nori troupe, with the Aeogae sandae nori as the predecessor to the current byeolsandae nori. It still remains to be understood how the two masks came to be stored in the royal palace. It is a well-known fact that splendid performances were held during the reconstruction of Gyeongbok Palace. They were thought to be state-sponsored events for King Gojong's visit to the site of the reconstruction. His visit, however, encouraged thousands of people to volunteer in the reconstruction of the palace, and although performances were officially prohibited by the king, they occurred anyways. In effect, the performances were carried out with the acquiescence of offices responsible for the reconstruction and with financial and administrative support from local officials and nobles. Despite a warning from the king, the performances continued for a month. This reveals that the relative offices, including the temporary office for the reconstruction,did not aggressively enforce the ban on holding performances. This was because the performances were considered a side competition for the workers from various villages and prefectures to improve their work efficiency. The reconstruction of the palace involved masked dancing performances and these masks were added to the royal collection. In other words, the sandae nori masks of the National Palace Museum of Korea are material evidence of these performances related to the reconstruction of Gyeongbok Palace. They also show that entertainment cultures of the time had a close connection to the government and royalty.
