무당굿에 나타난 고혼 위무의 보편성과 특징 －수륙재․감로탱․여제와의 비교를 중심으로－

Abstract

The pacification of the lonely spirit or revengeful spirit is an old tradition of shamanism. There are related rituals that are transmitted in various manners nationwide. On the other hand, the pacification of lonely spirits is not only a shamanistic act but also the subject of Suryukjae. In addition, in nectar ritual paintings, there is a form of lonely spirits, and it was the main subject of Yeoje which was the national ancestral rites in the Joseon Dynasty. In consideration of such circumstances, the similarity in the form of lonely spirits in mudang gut, Suryukjae, nectar ritual painting, and Yeoje has been reviewed and their characteristics will be been examined through the method of formalizing lonely spirits in mudang gut. From this, it is expected that the universality and the characteristics of pacifying lonely spirits in mudang gut will be understood. Mudang gut, Suryukjae, nectar ritual painting, and Yeoje are different religious traditions which share a lot in common. From this, the tradition of soothing lonely spirits are not from a specific religion or faith, but it is a universality of the Eastern religious traditions. However, the social function each performs is different so the categories and the types of lonely spirits they objectify differ. In the case of Yeoje, the category of lonely spirits is restricted relatively. Mudang gut, Suryukjae, and nectar religious painting have a lot in common. Of particular, they share ‘everyday life․occupation’ of lonely spirits, which is not included in Yeoje. The fact that kings and civil and military officials appear in Suryukjae and nectar religious painting is related to the Joseon Dynasty and it is the result of reflecting the faith of Suryukjae which aspires the egalitarianism that accepts high and low and the rich and poor alike. According to the religious tradition, there is a difference in the formalization of lonely spirits and the soothing. In Suryukjae, it is summoned as lonely spirits of egalitarianism, and in nectar religious painting, it is pictorially depicted, while in Yeoje, it is called upon as the aid object of the ruler. In mudang gut, there are calling style and reenacting style, of which the latter is of particular interest. In mudang gut, lonely spirits appear as the main character of each episode. In the drama reenacted by a shaman, the spirits talk about their misfortune and they undergo the process of objectification. The ‘self-uttering’ is similar to the contemporary art therapy, which calls for interest. As such, in mudang gut, the position of lonely spirits are histrionically reenacted and formalized in multi-dimension. It is the characteristic of pacifying lonely spirits in mudang gut.