지원사업
학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
커뮤니티
연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
초록· 키워드
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The study aims to try to understand paintings of Korean Shaman gods used in Musok, Korean shamanism in Korean folk religion. The study figures out the Korean archetype consciousness and aesthetic consciousness through the paintings of Korean shaman gods. Musok, Korean shamanism would be a unique religion from the ancient to the present. The primary origin of Musok has generally studied to the extent of ancient Siberian shamanism. Although its origin cannot be throughly understood, Korean Musok can be basic Korean traditional cultures from the ancient to the present.
The paintings of shaman gods are various icons of gods which their pupil, Moodang would worship. Generally speaking, Moodang worships the paintings of shaman gods over the altar of religious ceremony. Because it has the idea of studying gods, the paintings of shaman gods has a special meaning against other religions, the truth is that it emits “aura” like Walter Benjamin’s. It also has its long history from the past, so exemplary consciousness and typical aesthetic consciousness are expressed through it. They are dispersed among Northern Korea, Seoul, Kyunggido, Jejudo, but they are famous in Seoul and Hwanghaedo. Other icons of Shaman gods are designed in the paper models or the naming boards of various gods.
The study of Shaman god paintings is perspective with Iconology of Erwin Panofsky with the gestalt psychology of Rudolph Arnheim and H. Sedlmyr’s viewpoints. The study tried to extract harmonism as a Korean Archtype consciousness through Korean Shamanism. The essence of harmonism consciousness through Korean Shamanism. The essence of harmonism can be the harmony of the past, the present, and future; the heaven, the earth, and the human. Gut as procedure of Shaman rites can be the consciousness of the paintings could be extracted as well.
The paintings are not designed by the personal intention of an artist like contemporary paintings, but rendered by the harmony of God and humans, shining its “aura” in the process. In conclusion the Korean aesthetic consciousness must be the wonders of nature harmonism by studying paintings of some Koreans Shaman gods. Such contents can be the archetype of Koreans from the ancient to the present.
The paintings of shaman gods are various icons of gods which their pupil, Moodang would worship. Generally speaking, Moodang worships the paintings of shaman gods over the altar of religious ceremony. Because it has the idea of studying gods, the paintings of shaman gods has a special meaning against other religions, the truth is that it emits “aura” like Walter Benjamin’s. It also has its long history from the past, so exemplary consciousness and typical aesthetic consciousness are expressed through it. They are dispersed among Northern Korea, Seoul, Kyunggido, Jejudo, but they are famous in Seoul and Hwanghaedo. Other icons of Shaman gods are designed in the paper models or the naming boards of various gods.
The study of Shaman god paintings is perspective with Iconology of Erwin Panofsky with the gestalt psychology of Rudolph Arnheim and H. Sedlmyr’s viewpoints. The study tried to extract harmonism as a Korean Archtype consciousness through Korean Shamanism. The essence of harmonism consciousness through Korean Shamanism. The essence of harmonism can be the harmony of the past, the present, and future; the heaven, the earth, and the human. Gut as procedure of Shaman rites can be the consciousness of the paintings could be extracted as well.
The paintings are not designed by the personal intention of an artist like contemporary paintings, but rendered by the harmony of God and humans, shining its “aura” in the process. In conclusion the Korean aesthetic consciousness must be the wonders of nature harmonism by studying paintings of some Koreans Shaman gods. Such contents can be the archetype of Koreans from the ancient to the present.
목차
Ⅰ. 서론
Ⅱ. 무속의 세계관과 무신도
Ⅲ. 무신도의 접근과 해석
Ⅳ. 굿 현장에서의 접근과 해석
Ⅴ. 도상해석학으로서의 중심사상과 미의식
Ⅵ. 결론
〈참고문헌〉
〈Abstract〉
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UCI(KEPA) : I410-ECN-0101-2013-601-001434991