Visual Nationalism and Communal Rituals:Park Saengkwang’s Art and Korean Shamanism

This paper analyzes Park Saengkwang(1904-1985)’s artwork,created in the 1980s and influenced by Musok,Korean Shamanism.It explores Musok’s thematic significance in the development of his distinctive style and the inspiration behind his stylistic changes.Park’s ink paintings are done in bold and intense colors and create an intriguing,mysterious mood,inviting the viewers to the primordial visual experience and exposing its viewers to Korean Shamanism,which has endured the perception that fluctuated between positive and negative throughout Korean history.The practice became a fitting cultural emblem associated with the national identity during the 1970s and 1980s,and thus became a way for Park to explicitly articulate his cultural roots,creating a visual connotation of“Korean.”His art,portraying gut,Korean shamanistic communal rituals,could be conceived as a pictorial rendering of the idea of kibok,praying for good fortune,and served as a pujŏk,talisman paper,that possesses magical healing and protecting power.By striving to overcome the stylistic conflicts between Korean and Japanese,or traditional and Western,Park’s art accomplished the visual rhetoric of national aesthetic sensitivity that built on the communal thoughts and cultural experience of shamanism in the modern history of Korea.

Shamanism and Social Change among the Chukchee

The Chukchee in northeastern Siberia have a longstanding historical tradition of shamanism w hich was closely integrated into their traditional society and way of life . In accordance with their different modes of subsistence, the Chuckchee are divided into two basic groups, the maritim e Chukchee and the reindeer-breeding Chukchee.

Shamanism Influence in Inuit Art-Dorset Period

Native Inuit developed a complex system of shamanic-oriented thinking. They filled the frozen immensities of the Arctic with a number of omnipresent ghosts and spirits. In its shamanic-religious dimension, the Dorset art （circa 1000 B.C. to circa 1000 A.D.）, stemming from a culture moulded by shamanic practices and burial rites, kept memory of the Times of Origins, shaped a very rich symbolic universe, suggested, and outsourced the secret correspondences between the micro and macro cosmos. The present paper investigates the thigh correspondence and relationship between the Inuit-Dorset shamanic view of the world and their miniaturized art.

Myths About Rock Art

Rather than addressing the myths or cosmologies supposedly expressed in rock art, this paper explores some of the myths that have been and are still being created about rock art. We know from the study of the last rock art-producing peoples in the world that outsiders of their cultures cannot interpret their rock art correctly, or even understand their cosmologies adequately. This is not surprising, in view of the neuroscientific understanding of the underlying differences. In a sound hermeneutical system, the normative nature of interpretation must be recognized and accounted for. The record shows that little hermeneutical restraint has been exercised in rock art research, and that the discipline＇s credibility demands the expulsion of the extensive myths that have been created by it. Some of the most prominent of these falsities are presented to illustrate the point.

Ritual Treatment of Shamans in Northeast China

Shaman originates from the Tungusic-Ian language.In northeast China,the Shamanism traditions have gradually merged,and formed a compound belief form of polytheism and immortality.When a Shaman enters a special state,he has special abilities beyond ordinary people,such as divination,healing,and disaster relief.The most important thing is that as a messenger of communication between man and God,the Shaman expresses his wishes to God.Man communicates the will of God.The Shaman relies on the drum dance and sings the divine music,through the Shaman ritual to convey the request of people and the will of God.This article summarizes the Shaman's ritual therapy methods(music therapy and dance therapy)and psychological mechanism research,and provides a reference for ritual therapy.

Writing as Shamanic Consciousness in DainaChaviano＇s Fables of an Extraterrestrial Grandmother

Chaviano＇s Fables of an Extraterrestrial Grandmother is a pioneering Cuban science fiction novel with four interconnected plots that manifest their separate worlds--the Havana of Ana, the protagonist writer, the Neolithic Celtic world of Merlin and Stonehenge, Faidir, the planet of Ijj e and the winged psyches with three eyes, and Rybel, the world of Ana＇s character Arlena, the ＂jumen＂ on the run in an alien planet after being wrecked in a space ship---through Ana＇s writing. Ana uses mental exercises and automatic writing to temporarily regress to a pre-rational state of consciousness where these parallel universes interpenetrate and cross in the locus of her subconscious. Writing for her is a form of possession that withdraws her fi＇om her immediate reality into a visionary state resembling that of a shaman. She is a writer being invented and written by her own characters. Her stories are not fictions, but already existing realities, and she is a channel by which they are able to manifest their existence through her writing. This science fiction vision of worlds within worlds suggests another origin of science fiction in the ancient literary genre of Menippean satire, a type of fiction that appeals to highly cosmopolitan, alienated readers who seek to renew contact with the sources of consciousness from which technological and social change have alienated them.

妈祖女巫身份的英译研究

妈祖始于女巫,终于女神。她的女巫身份英译为“shamaness”,并不是很恰当。原因有二:首先,作为宗教的巫和萨满并不等同c其次,在中国的史籍中,本来是以“巫”来解释“shaman”的。而且,用“wu”“wu shaman”或“wu-shaman”的译法,要比“shaman”合适,因为“wu”“wu shaman”或“wu-shaman”是具有中国特色的术语,能更加准确无误地传播中华文化。

The Hero’s Theme of Campbell and the Making of Shaman Among the Three Small Minority Groups in China

After briefly introducing the making of the three small Altaic language speaking minorities in North China,the Daur,the Evenk,and the Oroqen,who are well known for their shamanic practices both in the past and at present,I compare their shaman-making processes with in mind the Hero’s theme developed by Joseph Campbell in his The Hero With a Thousand Faces.I argue that there is a family resemblance between the Campbell’s processual model of departure-initiation-the ultimate boon and that of transformation into a shaman-knowledge acquisition-problem solving among the three small minorities in North China.While the core of Campbell’s theory centers on the spiritual journey of hero’s self-discovery and receiving supernatural aid,it parallels with the psychedelic path that a shaman must go through at a rite held for the occasion.The hero comes to ego consciousness and sets out on his spiritual journey.This is the basis of Campbell’s theory and is the psychological experience that a shaman has to undergo as well.The psychic unity of the human kind is a common tie that binds the scholarship of the West and the East.

The Shamanic Yi People in Liangshan

’It was what many Chinese called Lolo land,not knowing that Lolo is a pejorative to theancient Yi people who inhabit Burma Tibetan ethnic pool that lies on China’s western reaches.These people,tall,dark,distinctively un Chinese with their own shamanic religion,their deep belief in magic and spirits.…when they poked out a meagre living,herdingsheep,culitvating a patch of corn or millet on the mountainside.’

首尔的关帝庙和关帝信仰

本文的目的在于查明目前首尔地区关帝庙祭祀的形式、仪式的面貌及其性质。在首尔地区的关帝庙有东庙、南庙、中区芳山洞圣帝庙和中区奖忠洞关圣庙等。在现代社会中,这些关帝庙依然保持了作为宗教信仰场所的功能。东庙被称为巫堂(shaman)的圣地,起到巫堂的信仰场所功能。圣帝庙是芳山市场的商人为祈愿商铺的繁荣作祭祀的场所。南庙和关圣庙是个人为祈愿家庭的平安和求福做祭祀的场所。因此,现在韩国关帝信仰是过去作为武神祭拜的性质变弱,而主要作为财神和巫神来祭拜,并成为祈求个人愿望的对象。