대전앉은굿 무녀 송선자의 계보와 설경 (Intangible cultural heritage element 2, the Daejon Anjeun shamanist Song Seon Ja and Seol Kyung)

서지정보

· 발행기관 : 충남대학교 인문과학연구소
· 수록지 정보 : 인문학연구 / 37권 / 1호 / 63 ~ 88페이지
· 저자명 : 박종익

초록

This thesis examines Song Seon Ja, an intangible cultural heritage element 2 of Daejon Anjeun shamanism’s Seol Kyung division, and her introduction and legacy within shamanism. Song, like many other shamanists, experienced her spiritual illness within her thirties. Song experienced a continuation of bad fortune, often referred to as the reiteration phenomenon, which was common to those experiencing spiritual illness and refusing to accept god.
Song received the acceptance of god shamanism from Hwang Ha Chung and eventually studies under him as a disciple. She looked up to Hwang and even moved to the Hwang a male shaman where she learned texts, sutra chanting, diagnosis techniques, and method of producing the Seol Kyung.
Song’s Daejon Anjeun shamanism has a lineage that started from Lee Bup Sa, which then was passed on to Min Young Tae, and eventually to Hwang Ha Chung. Lee, Min, and Hwang were all from Daejon City Yusung-gu Kajung-dong. They all lived in different periods, but as people from the same village and having all entered shamanism affected each other significantly.
Hwang’s Pal-mun-geum-swe-jin(八門禁鎖陣) and Pal-jin-do(八陣圖) were wholly passed down to Song. The composition of Seol Kyung is in itself one unit of military force and expresses a war camp. It can be seen that the symbols of the outer vanguards and spearhead vanguard are expressed within the Pal-mun-geum-swe-jin. This Seol Kyung was installed, alongside makers with spiritual names on the platforms on which shamanist performance was conducted, in order to extract the evil spirits.

영어초록

This thesis examines Song Seon Ja, an intangible cultural heritage element 2 of Daejon Anjeun shamanism’s Seol Kyung division, and her introduction and legacy within shamanism. Song, like many other shamanists, experienced her spiritual illness within her thirties. Song experienced a continuation of bad fortune, often referred to as the reiteration phenomenon, which was common to those experiencing spiritual illness and refusing to accept god.
Song received the acceptance of god shamanism from Hwang Ha Chung and eventually studies under him as a disciple. She looked up to Hwang and even moved to the Hwang a male shaman where she learned texts, sutra chanting, diagnosis techniques, and method of producing the Seol Kyung.
Song’s Daejon Anjeun shamanism has a lineage that started from Lee Bup Sa, which then was passed on to Min Young Tae, and eventually to Hwang Ha Chung. Lee, Min, and Hwang were all from Daejon City Yusung-gu Kajung-dong. They all lived in different periods, but as people from the same village and having all entered shamanism affected each other significantly.
Hwang’s Pal-mun-geum-swe-jin(八門禁鎖陣) and Pal-jin-do(八陣圖) were wholly passed down to Song. The composition of Seol Kyung is in itself one unit of military force and expresses a war camp. It can be seen that the symbols of the outer vanguards and spearhead vanguard are expressed within the Pal-mun-geum-swe-jin. This Seol Kyung was installed, alongside makers with spiritual names on the platforms on which shamanist performance was conducted, in order to extract the evil spirits.

참고자료

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