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The Stranger painted on the Cheonchuk and Shindan Department of Konjaku-Monogatarishu -The meaning of the figures setting symmetrical with the shaman-

KIM Soomi 1

1고려대학교

Accredited

ABSTRACT

In this paper, I would like to examine the composition of the figures of the shaman and the stranger in Konjaku-Monogatarishu.(Please mention the proper name of the specific work that you are examining over here.-memo from English editor) This will be done through a comparison with and a review of the source literature of the story of a stranger and its symmetrical relation to the figure of the shaman in Konjaku-Monogatarishu. In the case of Buddhist narratives, Vol.4-12, and Vol.7-16, the Stranger was a symbol of Buddhism and was represented by a symmetrical structure of a shaman (ritual religion)/stranger (Buddhism). In contrast, in secular folktales, Vol.10–33, the Stranger was a person who eradicated the ritual custom and was represented as a shaman who established a new royal law, creating a composition of the following opposition: the shaman (the ritual custom)/the stranger (the royal law). In this way, Konjaku-Monogatarishu provided an image of the stranger that was different from the source literature, establishing the stranger as an entity that breaks down ritual religions and customs and expands and builds the Buddhist and royal world. Further attention was paid to the final narrative, which depicts the construction of a royal law supported by a shamanistic woman, assuming that the shaman should be expelled. This contradiction in the text was the result of avoiding statement of the transformation of the national system by strangers, and it reveals one aspect of the multi-faceted world of Konjaku-Monogatarishu.

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