몽골 영웅서사시에 나타나는 괴물의 형상과 의미 연구

Abstract

The significance of Mangas character in Mongolian epic is what is a characteristic shape in the northern asian myth, which symbolizes the maximized ‘Dogshin(fierce),’ by which the imagination and fantasy(Shidet) in Mongolian myth are maximized to be expressed. In other words, what a shape of in intangible and immaterial spirit aims to express by being embodied through giant, deformity, and magical transformation was what surpassed medieval value system like 'evil' or 'Chu.' The aim was to examine again the shape of Mangas from the mythic perspective, which goes back even to myth in the creation of the world. Here, we discovered the image of Mangas, which was reincarnated as spirit(Suns) on the earth's surface after being expelled unfairly from competition of complex and subtle divinities. In Mongolian epic, Mangas degenerated into existence of harassing human beings, who believes divinity, which drove oneself out. Nevertheless, its original shape will be able to be discovered in 'divinity prior to being expelled.'Re-analysis on Mangas shape based on mythic interpretation is certainly necessary work for reviving Mangas in the modern cultural-content category regarding Mangas character. In Korea's recently culture-prototype content business, a research on Korea's Doggaebi(goblin) prototype and contents, which have been disregarded in the meantime, is being much interested. In this context, it will be able to possess big weight even in the modern cultural contents as the Mangas character in mythic symbol of inducing modern people's interest, rather than shape of 'evil.' The rich fantasy in Mangas shape and the mythic story of being accompanied by this are very useful in the modern culture-content category, and will become the driving force, which will proceed with continuing vitality of the northern myth as 'living' mythic character, which cherishes continuously characteristics in the northern myth. Modern reconstitution in ‘dogshin’ shape, which is symbolized by Mangas shape, is expected to be partially observed in the divinity ‘dogshid’ shape in ‘dogshin,’ which is left now as diverse sculptures. The shape in ‘dogshin’ has been revived in several forms such as statue of the Buddha, altar portrait of Buddha, and tool for ceremony in ‘dogshids’ of Mongolian Buddhism, which had been active in a compromise with indigenous religion. Especially, mask, costume, tool, music and dance in several ‘dogshids,’ which were revived in ‘Tsam’ of mask ceremonial dance in Mongolian Buddhism, will be able to be created a shape of ‘dogshin’ in a modern sense, by being made contents through the more detailed itemization process and by integrating this into mythic shape and story in Mongolian epic poem.