Les peintures chamaniques coreennes

The korean shamanic paintings

• Auteur / Autrice : MI JO JEONG
• Direction : Ogg Li
• Type : Thèse de doctorat
• Discipline(s) : Études extrême-orientales
• Date : Soutenance en 1991
• Etablissement(s) : Paris 7

Résumé

Cette etude, illustree, est la premiere qui ait ete consacree aux pointures chamaniques coreennes (musindo). Il ne s'agit pas d'un simple catalogue mais d'une etude systematique menee sur place durant plusieurs annees. Apres avoir expose brievement la place du chamanisme dans la societe coreenne actuelle (comment on devient chaman, les differents types de cuite et leurs lieux de deroulement), l'auteur passe en revue les esprits qui sont representes sur les peintures chamaniques et les repartit en cinq grandes categories selon les lieux de leur residence : ciel, montagnes, terre, eau, enfers. Les esprits sont decrits avec leurs attributs specifiques et les differences regionales sont notees avec soin. La hierarchie qui peut se manifester entre les esprits et leur roles respectifs sont egalement decrits. Puis sont etudies la fabrication, l'emploi pendant les cultes, la transmission et la conservation de ces peintures. Enfin, l'auteur presente un certain nombre d'attributs ou d'elements de decor commun a ces peintures, en recherche l'origine et en explique le symbolisme souvent ignore de nos jours. Une abondance bibliographie complete cette etude.

This illustrated research thesis is the first to be done on korean shamanic paintings (musindo). It is in no way a mere listing but a systematic study which necessitated severals years of research in korea. After a short introduction on the role of shamanism in today korean society (how one becomes a shaman, the different ritual ceremonies, the place where they are held), we give a description of the "spirits" which are to be found in the shamanic paintings and we organize them in five large categories according to their "habitat": heaven, mountains, earth, water, hell. The spirits are described according to their specific attributes and the regional differences which may appear are noted with special care. The importance of the hierarchy is also pointed out. In an other chapter, we deal with the use and the place of the paintings in korean shamanism (their origins, how they been elaborated and preserved, the regional differences that exist). We also give information about the paintings genesis as well as about the part they play during the rituals. Finally, we examine a number of attributes or elements constituting the "decor" which are more or less common in these paintings, we look for their origins and we try to explain the symbolism which is often ignored today. A large bibliography is given to complete our work.