이 연구는 중요무형문화재로 지정된 민속 가운데 특히 예능분야에 속하는 것들을 대상으로 ‘원형’과 전승에 관한 문제를 반성적으로 검토하고 대안을 제시하기 위해 이루어졌으며, 크게 네 장으로 구성된다.첫 번째 장에서는 논란이 되고 있는 원형의 개념 문제를 문화재보호법의 맥락 속에서 검토해 보았다. 검토의 결과 문화재보호법에서 말하는 원형은 ‘지정 당시의 형태’를 말하는 것으로서 문화재로서 갖추어야 할 요건은 역사성, 전통성, 지역을 바탕으로 한 전승성 등임을 파악할 수 있었다. 두 번째 장에서는 앞의 논의를 바탕으로 과연 예능분야에서 지정된 무형문화재가 위의 요건을 갖추고 있는가를 검토하였다. 검토 결과, 상당수의 문화재가 전통을 선별하여 창출되었고, 단일 전통에 바탕을 둔 것조차도 복원 및 지정과정에서 변형되었음을 확인할 수 있었다.세 번째 장에서는 지정 이후의 변화과정을 살펴보았다. 몇 몇 사례를 검토한 결과, 문화재보호법에 명시된 ‘원형 보존의 원칙’은 ‘지키려고 해도 벗어나려고 해도 결국은 지킬 수 없는’ 무리한 요구임을 확인할 수 있었다.네 번째 장에서는 이와 같은 논의를 바탕으로 대안을 제시하였다. 그 내용은 다음과 같다.첫째, 원형 개념을 명확히 해서 혼란을 피해야 한다.둘째, 문화재지정의 제 과정을 합리화, 체계화하고, 여기에 관여하는 전문가집단을 엄격하게 선별, 관리해야 한다.셋째, 지정 이후의 전승에서 원래의 형태를 유지하는 구심적 전승과 시대의 변화에 조응하는 원심적 전승을 함께 인정해야 한다.넷째, 이미 지정된 문화재에 대한 텍스트비판을 수행하여 그릇된 것을 바로잡고, 창조된 텍스트는 그 자체로 가치를 인정해야 한다.

This study consists of 4 chapters, examines reflectively the matters upon ‘original form’ and tradition in relation with some art assets among folk designated as important intangible cultural assets, and prepare an alternative. In chapter 1, I investigated the concept of original form in the context of the preservation law of cultural asset. As a result of it, The original form in the preservation law of cultural asset, means the original form of cultural asset when it was designated at the first time and could be designated as a cultural asset when it gets its historical depth, tradition, convention and so forth. In chapter 2, I examined how cultural assets in folk art satisfy really the above mentioned conditions. As a result of it, I verified that a considerable number of cultural assets were recreated through the selection of traditional form, and were transformed in the process of restoring or designating them although they were based on tradition originally. In chapter 3, I looked into the process that they have been changed after their designation. I ascertained that some cultural assets, if any case, cannot observe the cardinal principle of preservation of original form described clearly in the preservation law of cultural asset In chapter 4, I presented some alternatives on the base of the above discuss. they are as follows. a. we have to clarify the concept of original form to avoid confusion. b. we have to systemize and rationalize all the process of designating cultural assets, and to select and superintend the expert group related here. c. we have to admit both centripetal tradition which gives its emphasis on the original form and centrifugal tradition which complies with the changes of the times. d. we have to practice the text criticism of the designated cultural assets, to correct a wrong and to accept the created cultural asset as its cultural value itself.

This study consists of 4 chapters, examines reflectively the matters upon ‘original form’ and tradition in relation with some art assets among folk designated as important intangible cultural assets, and prepare an alternative. In chapter 1, I investigated the concept of original form in the context of the preservation law of cultural asset. As a result of it, The original form in the preservation law of cultural asset, means the original form of cultural asset when it was designated at the first time and could be designated as a cultural asset when it gets its historical depth, tradition, convention and so forth. In chapter 2, I examined how cultural assets in folk art satisfy really the above mentioned conditions. As a result of it, I verified that a considerable number of cultural assets were recreated through the selection of traditional form, and were transformed in the process of restoring or designating them although they were based on tradition originally. In chapter 3, I looked into the process that they have been changed after their designation. I ascertained that some cultural assets, if any case, cannot observe the cardinal principle of preservation of original form described clearly in the preservation law of cultural asset In chapter 4, I presented some alternatives on the base of the above discuss. they are as follows. a. we have to clarify the concept of original form to avoid confusion. b. we have to systemize and rationalize all the process of designating cultural assets, and to select and superintend the expert group related here. c. we have to admit both centripetal tradition which gives its emphasis on the original form and centrifugal tradition which complies with the changes of the times. d. we have to practice the text criticism of the designated cultural assets, to correct a wrong and to accept the created cultural asset as its cultural value itself.

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preservation law of cultural asset, important intangible cultural assets, original form, tradition, designation of cultural assets, created original form, text criticism