호남무속물질문화의 양상과 지역 내 비교 연구

Abstract

The aim of the research is systematically categorizing facets of Shamanic materials in Honam Province so that we manifest the symbolic implications. Then, we go further to illustrate the features of Honam Shamanism in studying of transformation of the materials. With this reflection, this work explores aspects and roles of materials in Shaman rituals. Then, it analyzes some differences between provinces. The subject of the research is materials in Seseobmoo who is the hereditary shaman in Honam Province. In addition, as a comparative study, it examines Gangshinbosal (possessed shaman) whose number has increased recently. The scope of the research in reference to the aspects of materials puts emphasis on Shindang, shaman’s instrument and costume. A sacred temple in Shamanism has two types, Shindang and Gukchung. Since Seseobmoo does not have a Shindang in Honam shamanism, many tend to lay research of Shindang aside. By contrast,Gangshinmoo in the area of inherited shaman culture has had Shindang from the past, and some studies show some examples that Gangsinmoo has succeeded to it in the family. The structure of Shindang takes two kinds in Shinwi and Mooshindo and some combine two models together. People prefer to a Mooshindo type referred to Manshindo or Manshinjeon in which all gods turn up. It seems that the structure of Shindang has an interest in changing from Shinwi to Mooshin types. Shaman’s instrument divides into two groups: that which shaman possesses, and that which Shaman made just before ritual. In Honam Province, the latter category is much more prevalent. Seseobmoo essentially possesses Jeongju and Sinkal (a sacred knife). In some cases, Seseobmoo uses Bara instead of Jungju. Beobsa usually Jing,JangKu, kkwaenggwari and so on. Gangsinbosal and Gangsinbobsa add to Shinjangkal, shinjangdae, Bangwul and like with Seseobmmo’s instruments. The materials made before ritual performance are Shingn, Jijeon, kneok, kneokdangsek and others: after ritual Shaman incinerates all. Jijeon is a representative Shamanic material in Honam Province. It is made in different shapes, but in an easy way considering of its convenience. In some districts, Jijeon replaces Shinkal. It indicates that its role and implications are different in diverse areas. Shamanism in Chenbook uses Jijeon with Ketyeon. It less often uses them than Chennam. Shamanic costume primarily consists of white Jangsham and Goggal, but in the east side of Southern and partly Northern Jeolla districts, the custom attached stripes of many colors over sleeves are passed down. Hence, it presumes that there are two types transmitted. Chennam Shaman wears it only in JeseokGeori. By contrast,Chenbook Shaman uses in several Geori: it shows some differences of its role. I examine the contents of materials used in ritual mostly the structure of Gutchung the place where Gut performed, the table setting for the offering alter and its composites such as food and Yeodan. In addition, I analyze materials, which Shaman is holding during ritual and decorates Gutchung and Shindang, and the usage and function of costume Shaman is wearing during its performance. HonamGut uses temporarily Joegajip, the outdoor or Gutdang. According to the size of space, the subject of performance makes a moving line in ritual and changes the table setting on the offering altar. In a spacious room, the line of the performance has the initial, middle, and final stages; otherwise, opening with middle and final stages. HonamGut has a Cutchung character whose central is set up by the offering alter around which Shaman performs a rite. It also has three types: Beongpoong,Shinwi and Mushindo. It appears when the first takes place in Joegajip and outdoor;the second Joegajip, the outside or Gutdang; the final Gutdang. Shinwi is the central figure in Chenbook. It sometimes adds to Selwiselgyeng drawn by Beobsa. The east side of Chenam also largely uses Shinwi. Unlikely Chenbook, Shinwi in the area is colorfully decorated with many different color papers. Arrangements of the offering alters represent the status of gods. For example, the alter inside is for gods in Shamanism and ancestors and outdoor for messengers of death. The offering alter in Honam Province does not indicate any unusual aspect from the alter for ancestors. The alter for messengers of death illuminates a bright figure of the messengers as it has three offerings, shoes and money for the journey. Afterward ritual, some offerings are spread around the place where Shaman performed for evil spirits, and family who requests the ritual take the rest of sacrificial food and drink. Ordinary clothes are an essential wearing for ritual, only in a particular Geori like JeseokGeori Shaman puts on Jangsam. It also presents a character of Honam Seosebmoo. Kangshinmoo in Honam Province accepts Shaman costume in the Northern part of central areas, but Gangshinmoo wears the costume in accordance with a given situation regardless whether of gods’ ranking. It also reflects a facet of Honam Shamanism which does not distinguish the level of gods. Shinkal and Jijeon among shamanic materials have some deviations in using even in Honam Province; hence roles and implications are different. For instance, Jijeon is used in place Shinkal in some parts. Afterward ritual, Shaman (people) incinerates materials made by paper and fabric. It is an intrinsic nature of Honam Shamanism that daily living tools have additional symbolical meanings during ritual. I analyze that it is a distinctive feature of Seseobmoo in the area that such tools return to their original use afterward ritual.