In this study the aesthetic images of dance movements were reviewed aesthetically, examining demonstrative illustrations in Kukhakyeakrok, Hakgungbigo and Seongmunakji. Dance illustrations were crosschecked, examining the development process and types of Munmyoilmubo through the records of Ming and Qing dynasty. Munmyoilmubo describes with illustrations the motions of one dancer or two dancers holding dancing instruments, movement lyrics according to ceremonial procedure, music scores recorded with symbols and predicate of dances. Demonstrative illustrations which describe dancing motions were added in Qing dynasty. Munmyoilmubo was developed or transformed by the change of dynasties. New demonstrative illustration was manufactured because Qing dynasty introduced new systems. Traditional dance motions were recorded, and the changed ones or completely new ones were added in the new demonstrative illustrations. Dance explaining illustrations were recorded in Seongmunakji, Seongmunyeaktong, Gukhakyeakrok and Hakgungbigo in Qing dynasty, which define the dancing method of Ilmu as 9 types of motions, Gujiyong, in the ceremonial procedure of Eupyangjintoe. Gugiyong does not simply define only the appearance. The 9 types of motions show kinds of the beauty of form to develop internal feeling to aesthetical image. Each motion of Gujiyong indicates Guyong which is required to a man of virtue when cultivating moral character and rising in the world. If the dance motions of Gujiyong were examined, based on the meaning of Guyong, the right mind and expression of dancers, and the aesthetic image thereof are reflected in the dance motions. The attitude Guyong suggests is to practice Confucius teaching which is to train oneself with courtesy and to realize perfect virtue with faithfulness. Accordingly, the aesthetic images of 96 motions are to formulate a man of virtue’s mind and attitude.

Munmyoilmu(文廟佾舞), Kukhakyeakrok(國學禮樂錄), Hakgungbigo(學宮備考), Seongmunakji(聖門樂誌), aesthetic imag(審美形象)