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This study has noticed that the shape of the ｢Mulanshi(木蘭詩)｣ of the Bei-Wei(北魏) was remarkably reproduced in the Yuan(元) Dynasty as a religious figure, object of objection, and worship, and it was considered necessary to consider it from a socio-cultural perspective. The noticed texts are the two inscriptions of the Yuan(元) Dynasty, ｢Hanxiaoyuejiangjunji(漢孝烈將軍記)｣(至順3(1332)) written by Da-shian(達世安) and ｢Xiaoliejiangjuncixiangbianzhengji(孝烈將軍祠像辨正記)｣(元統2(1334)) written by Hou-youzhao(侯有造).
In each of the inscriptions, Mulan was worshiped as a ‘goddess’ like Nuwa that is said to have made human or revered as a sacred image of ‘virtuous woman’. This study is worth because the form of ‘female divinity’ and ‘a chaste lady’ of the two inscriptions are an important mechanism that can simultaneously reflect the religious viewpoint and the gender view of the Yuan(元) Dynasty.
This study refers to the existing Mongolian documents such as 『Secret history of the Mongolian(蒙古秘史)』, 『Jangar』, 『Geser』, the Mongolian heroic Epics, and related works on Mongolian folklore and tradition, discusses the form from the viewpoint of ‘religious culture’, ‘gender notion’ and ‘cultural phenomenon’.
First, the ‘goddess’ Mulan shows that the beliefs and shamanistic traditions of the Mongolian tribe are changing to conform to the national system of the Yuan(元) Empire. This is an interesting change that illustrates the process by which the characteristics of races are absorbed into the imperial system.
Second, ‘a chaste lady’ can be understood as a dualistic gender phenomenon in which the different value system of nomadic and Confucianism, which are represented by martialism and fidelity.
Third, the formation of the ‘Mulan culture’ can be regarded as the early stage of the cultural contents cultivated by the characteristics of place and genre, such as shrines and inscriptions.
The examination of the process from two Mongolian Yuan(元) Dynasty inscriptions to the value of the ‘goddess’, the ‘a chaste lady’, and the ‘cultural products’, the work that can see how the literature and culture affects society’s group, values and policy to be. Literature can be confirmed through the various images of two inscriptions that it is the organic existence of the times and breathing and creates new value through open ending and changes.
In each of the inscriptions, Mulan was worshiped as a ‘goddess’ like Nuwa that is said to have made human or revered as a sacred image of ‘virtuous woman’. This study is worth because the form of ‘female divinity’ and ‘a chaste lady’ of the two inscriptions are an important mechanism that can simultaneously reflect the religious viewpoint and the gender view of the Yuan(元) Dynasty.
This study refers to the existing Mongolian documents such as 『Secret history of the Mongolian(蒙古秘史)』, 『Jangar』, 『Geser』, the Mongolian heroic Epics, and related works on Mongolian folklore and tradition, discusses the form from the viewpoint of ‘religious culture’, ‘gender notion’ and ‘cultural phenomenon’.
First, the ‘goddess’ Mulan shows that the beliefs and shamanistic traditions of the Mongolian tribe are changing to conform to the national system of the Yuan(元) Empire. This is an interesting change that illustrates the process by which the characteristics of races are absorbed into the imperial system.
Second, ‘a chaste lady’ can be understood as a dualistic gender phenomenon in which the different value system of nomadic and Confucianism, which are represented by martialism and fidelity.
Third, the formation of the ‘Mulan culture’ can be regarded as the early stage of the cultural contents cultivated by the characteristics of place and genre, such as shrines and inscriptions.
The examination of the process from two Mongolian Yuan(元) Dynasty inscriptions to the value of the ‘goddess’, the ‘a chaste lady’, and the ‘cultural products’, the work that can see how the literature and culture affects society’s group, values and policy to be. Literature can be confirmed through the various images of two inscriptions that it is the organic existence of the times and breathing and creates new value through open ending and changes.
목차
1. 시작하는 말
2. 몽골의 샤머니즘적 전통과 元代 신앙
3. 몽골 여성의 특징과 元代의 여성관
4. 木蘭 碑文의 장르적 상징성과 문화적 함의
5. 끝맺는 말
〈參考文獻〉
〈Abstract〉
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UCI(KEPA) : I410-ECN-0101-2019-910-000210057