The Appearance of Japhui(雜戱) Artistes and their Patrons in Gaegyeong under the Yuan Dynasty’s Interference Period

Japhui(雜戱), which was very high dangerous but popular in the Yuan Dynasty, didn’t flowed into Goryeo until the military reign period. By the Yuan Dynasty’s interference period, the Silk Road of land and sea routes was integrated and the broad west area was secured. Therefore, the nomadic elements became conspicuous. In that time, Japhui required a high degree of skill. It provided a variety of colorful attractions, and obtained a marketability in keeping with the then market economy atmosphere. It became in great demand, spreading to government officials’ private residences and the festive events of seasonal customs. Its performance was in need of a open yard and a stage for play. To install the stages like Sandae(山臺) and Hwasandae(火山臺) required great expense. And also, the performance on a small scale, like a puppet show, was popular. So Japhui had a dual demand. Musical practicians gradually got out of the government control and flowed into the private sector before and after the military reign period. And the new professional artistes, accomplished in Japhui, emerged in the interference period. They were the musical practicians who came to visit from the west area to Goryeo as a result of the appearance of Jaeseung(齋僧) in temples and the growing trade with the Yuan. In that time, the existence of Janyeoan(恣女案) and Yuyeojeok(遊女籍) was a measure securing Ginyeo(妓女) on national level to meet the increased demand of music. With the appearance of such professional artistes then, musical practicians converged on the area of government officials’ residence, the largest consumption area of Japhui. Among some of the rich class, there emerged those who furnished with performance facility and helped performers to obtain employment. And also, the patron stratum of performance, at the very least, existed in small numbers.