![]() Unlike the historicized accounts of the literary myths, shamans's songs feature elements such as the primordial history of the world, the ascent of human individuals to divinity, and divine retribution upon impious mortals. They began to be published only in 1930, centuries after the first attestation of the literary myths. By contrast, the shamanic narratives are oral literature that is "living mythology," sacred religious truth to the participants of the gut. The state-foundation myths are preserved only in writing, deprived of their original ritual context, and have existed in written form for centuries. While also mythological in content, these narratives are very different in function and content from the literary myths. The oral mythology primarily consists of the shamanic narratives ( 서사무가/徐事巫歌, seosa muga), which are sung by Korean shamans during gut, religious ceremonies in which shamans invoke the gods. The second corpus is the modern oral mythology ( 구비신화/口碑神話, gubi sinhwa), which is "incomparably" richer than the literary tradition in both sheer quantity of material and the diversity of themes and content. The two narratives found in all and all but one region respectively are the Jeseok bon-puri, featuring a girl who in most versions is impregnated by a supernaturally potent Buddhist priest-who was probably originally a sky god-and gives birth to triplets who themselves become gods and the Princess Bari, about a princess who is abandoned by her father for being a girl and who later resurrects her dead parents with the flower of life. The mythological tradition of southern Jeju Island is especially divergent. The shamanic mythology is divided into five regional traditions, with each region having original narratives, as well as distinctive versions of pan-Korean narratives. ![]() ![]() It has frequently been at odds with the official ideologies of Korean society, and its mythology is often characterized as subversive of traditional norms such as patriarchy. As oral literature, the shamanic narrative is regularly revised with each performance, although a certain degree of consistency is required new narratives have appeared since the 1960s. They are recited in ritual contexts both to please the gods and to entertain the human worshippers. The narratives of Korean shamanism, the country's indigenous religion, feature a diverse array of both gods and humans. Other literary myths include the origin myths of family lineages, recorded in genealogies. State-foundation myths are further divided into northern, such as that of the kingdom of Goguryeo and its founder Jumong, where the founder is the son of a celestial male figure and an earthly female figure, and southern, such as that of the kingdom of Silla and its founder Hyeokgeose, where the founder begins as an object descended from the heavens, and himself marries an earthly woman. One state's foundation myth, that of Dan'gun, has come to be seen as the founding myth of the whole Korean nation. The historicized state-foundation myths that represent the bulk of the literary mythology are preserved in Classical Chinese-language works such as Samguk sagi and Samguk yusa. There are two types: the written, literary mythology in traditional histories, mostly about the founding monarchs of various historical kingdoms, and the much larger and more diverse oral mythology, mostly narratives sung by shamans or priestesses (mansin) in rituals invoking the gods and which are still considered sacred today. Korean mythology ( Korean: 한국 신화 Hanja: 韓國神話 Han'guk sinhwa) is the group of myths told by historical and modern Koreans.
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