The drawings of JeungSanDo’s
Sahng-jeh-nim in the Dojeon
and the bujeok talisman
in Korean
shamanism
by
Dr. Fee-Alexandra HAASE, D. Phil. (Tübingen
Univ.),
Formerly “Visiting Professor” at
the
This article focuses on the paintings
falling within the tradition of the talisman drawings – locally known as bujeok - in Korean shamanism. They were made
by a historical person called Sahng-jeh-nim: he
lived in the late 19th and early 20th centuries in
Until the end of the 19th century
shamanistic processes, such as, ceremonies took place all over
In JeungSanDo,
a Korean spiritual organization founded in the early 20th century,
still in operation, the main spiritual deity, Sahng-jeh-nim is a historical person who
lived from 1871 to 1909. This person is biographically described in the Dojeon, a
book edited in Korean, and other languages, and which collects and edits
various sources of Sahng-jeh-nim’s life. According to this
source, Sahng-jeh-nim
declared his profession as “doctor”, but, in accordance with the descriptions
in the Dojeon, we find many elements which
serve as pieces of historic shamanism. Jeung-san Sahng-jeh-nim was born in
2 1 Shakyamuni Buddha said
that in the time of disaster at the last stage of his dharma, the Lord of Tushita Heaven, Maitreya Buddha,
would come to earth as a human being. He also said that Maitreya
Buddha would save humanity by teaching His dharma in three stages and would
open a new world called the Dragon Flower
2 Maitreya Buddha, who is
the Future Buddha, is the Buddha of Hope, the Savior Buddha.
3 Shakyamuni Buddha said,
“There is a heaven called Tushita Heaven. Maitreya Buddha is the Lord of that heaven. Have faith in
Him and follow His teachings.”
4 The following are verses from the sacred texts of
Buddhism:
5 When the last stage of the Buddha’s dharma comes,
the sun and moon will lose their light and the position of the stars will
change. Terrible diseases will spread one after the other.
6 There is a land where the Great Healing King will
reside among people. He will heal the diseased world.
7 Maitreya Buddha will dwell
at home for only a short period, and then He will leave to meditate and attain
ultimate enlightenment. Not far from
8 He will gather His family and others to teach them
so that they can be enlightened.
9 When the time comes, the climate will become mild
and there will be no difference between the four seasons. People will have no
disease and there will be no greed, anger, foolishness, or harshness. The human
mind will be in harmony, and it will come to pass that all people will be of
one will.
10 People on earth will live well and there will be no
discrimination. Their lives will be very long and free of disease.
11 Sankha, the Dharma King,
will appear and govern according to right dharma. Without weapons being used,
all nations will yield to him.
12 Maitreya Buddha will open
the world of new life, allowing all people to be born as enlightened ones. This
will be the paradise of creative change on earth, the world of Dragon Flower.
(Jeung San Do Dojeon. English Version. (1:1:1-12).
The Dojeon – a
literary compilation of sources of the life of Sahng-je-nim
– is a source for the use of shamanistic rituals in the late Joeseon dynasty of the 19th and early 20th
centuries. Although the title shaman was neither given to Sahng-je-nim
nor has he introduced himself as a shaman, the use of Chinese characters for
fortune telling was, and the burning of paper was one element of his spiritual
methods that we also find in shamanism. Shamans had low social status. Sahng-je-nim was
active in a role which traditionally had been reserved for women in Korean
society. Only a minority of shamans is male. The shaman is a
specialist in mediating between humans
and the spirits (shin). The shaman is
chosen by the spirits and by her patrons to mediate between the two worlds.
Although males may incidentally participate in shamanic rites, Korean shamanism
is predominantly a women's cult. Male participation, when it does occur, is
rare. Male religious roles are associated with Confucianism and public village rituals.
The shaman can be called on to manufacture spiritual talismans (bujeok) out of esoteric figures, diagrams, or
characters; when performing a kut ceremony. Sahng-jeh-nim made
drawings, in which he combined figures with Chinese characters. [2][2]
A few extant documents of Sahng-jeh-nim are
his drawings described in the Dojeon as talisman. Most of them Sahng-jeh-nim destroyed after using them in the ceremonies;
a few are still available. Bujeok is the
Korean term for talisman, which is traditionally posted on a wall in a home to
repel and protect inhabitants against evil spirits. It can also be folded and
placed in clothing close to an individual’s body or burnt to ashes and
consumed. The origin of bujeok dates
back to early times, in which illustrations were drawn as a part of worship,
and as rituals to supernatural powers. Modern designs vary greatly, depending
on the purpose of the bujeok. Bujeoks
range from systematic script to free-formation illustrations. The typical
design usually includes Chinese characters, though others feature Sanskrit,
astronomical signs, or religious symbols. In the Dojeon these ceremonies of
painting and methods of using bujeoks are
described, when they are performed by Sahng-je-nim.
According to the Dojeon at a Buddhist temple Gim Hyung-yul chanced upon meeting the one who he would later
revere as Maitreya Buddha. Several years would pass
before these two meet again under very different circumstances. In JeungSanDo’s Dojeon the Maitreya
statue of Geum-sahn Temple is considered the
place where Jeung-san Sahng-jeh-nim
stayed before becoming the historical person Gahng, who called himself Sahng-jeh-nim (2:20:5):
5 He continued, “I first came down to the canopy tower
in the nation of great law in the West and from there traveled the world.
6 I then came
to this Eastern land and stayed at the Maitreya
statue of
7 Later, I was
born into the Gahng family in
8 Without
substance (體), there can be no
function (用). The west is
associated with metal. That is why I have chosen the Gim
family’s house as My residence.”
In section 10, it is said:
9 One day, Sahng-jeh-nim
sent a message to Hyung-yul, telling him to go to
10 When Hyung-yul
reached the bridge in front of the temple, he saw the statue of Maitreya Buddha shining like gold and walking toward him.
11 Hyung-yul fell flat
on the ground, trembling.
One of his followers, Gyung-hahk
realized that Sahng-jeh-nim was the embodiment of Maitreya: Gyung-hahk
thought it strange that Sahng-jeh-nim had used the
word father when talking to Yohng-ju. He contemplated
it for a while and remembered that, following the custom of presenting a child
at a temple, he had presented his child in front of the Maitreya
statue of
하루는 약방 후원에 푸른 대나무
10여 그루를 친히 심으신 뒤에
깨끗한 종이에 약국의 비품물목(物目)을 줄지어 적으시고 글을 써 주시니 이러하니라.
世界有而此山出하니 紀運金天藏物華라
세계유이차산출 기운금천장물화
應須祖宗太昊伏인데 何事道人多佛歌오
응수조종태호복 하사도인다불가
세계가 생겨나고 이 산이 나왔으니
후천 (가을)문명을 여는 운수가
(이 산에)
갊아있느니라
마땅히 선천문명의 조종(祖宗)은 태호복희씨인데
웬일로 도 닦는 자들이 허다히 부처 타령들이냐!
상제님께서 이 글을 박공우 김광찬에게 주시며 말씀하시기를
“금산사 미륵전 앞에 대장전(大藏殿)이 있어 불편하니 너희 두 사람은 그 절에 가서 대장전 석가불상을 향하여 다른 데로 옮겨지기를 생각하고 이 종이를 태우라.” 하시니라.
두 사람이 금산사에 가서 명하신 대로 행하니라.
이로부터 몇 년 뒤에 금산사를 중수(重修)할 때에 석가 불전을 마당 서편으로 옮겨 세우니 이에 미륵전 앞이 넓어지니라.
In the JeungSanDo Dojeon,
we find descriptions of the use of talismans. When a wandering fortuneteller came,
Sahng-jeh-nim drew a talisman called ´Empty Soul´
(2:104:4). When teaching the disciples, Sahng-jeh-nim
used talismans representing the Twelve
Earthly Branches of the Korean calender
(3:199:4). In his ‘work of renewal’, a term Sahng-jeh-nim
used to describe the magic work he did, he wrote words or drew talismans
(4:30:3). Sahng-jeh-nim said: “A talisman is a medium
for spirits.” (4:50:4). For a period he wrote words and drew talismans on
twenty-three pieces of paper every day, then burned them. Contemporary persons
didn’t understand the meaning of this work. (4:50:6) Even his disciples could
not understand the meaning of the talismans. When they tried to record his
writings, he stopped them. (5:332:1) Sahng-jeh-nim
summoned dozens of disciples and placed a classic Chinese book with the title The Great Learning, several mantras as
texts to be recited in meditation, and a book of talismans in front of a woman
called Su-bu-nim, who assisted him in his works.
(10:7:3) In the JeungSanDo Dojeon
we find many text passages where the painting activity of Sahng-je-nim
is described. In chapter 3 we read how Sahng-jeh-nim
painted and which material he used:
Before setting out on horseback, He would cut out a
piece of white paper, paint one side black and the other red, and attach it to
a pole that He carried. (3:13:2)
상제님께서 백지를 잘라 한쪽은 검게 한쪽은 붉게 칠해 막대기에 매달고 나가시면 (3:13:2)
[3][3]
Red is the most
important colour in shamanism. The colour red was incorporated into the bujeok
for specific reasons. As symbol of blood and as the essence of life the colour red was traditionally believed to have powers to
subdue evil. Cinnabar was the preferable material of choice for the red ink. Sahng-jeh-nim used
different colours, but red was very important:
Using cinnabar paint, He colored each letter red. (5:188:7)
글자 획에 경면주사(鏡面朱砂)를 바르신 뒤에 (5:188:7)[4][4]
In chapter 5, we read
about the techniques used for painting:
With
the blood-covered finger, He painted over the word shee
on each of the twelve thousand papers. By the time He finished, all the lamb’s
blood had been used. (5:130:2)
벽에 돌려 붙인 1만 2&#