어머니 신화를 통해 본 寶蓮燈 이야기

Abstract

The story of the love between the goddess of Mount Hua and a scholar in the Tang Dynasty novel Guangyiji was transformed into the story of Chenxiang’s Rescue of Mother in Mount Hua when it was performed in Southern Song Dynasty operas and Yuan Dynasty plays. The story of the Sanniang who broke the rules, fell in love with the scholar, and had a child, being imprisoned in Mount Hua, and Chenxiang growing up to rescue her mother was widely loved by the common people. Afterwards, during the Qing Dynasty, it was performed as baojuan, tanci, and guci. As the imagination of Lotus Lantern was added to the story of Splitting the Mountain to Save Mother, the story of Lotus Lantern expanded the scope of the narrative. The story of the Lotus Lantern has continued to receive much attention since the modern era, and has been produced into various contents such as movies, animations, and dramas produced by Huangmeixi. In the story of Splitting the Mountain to Save Mother, Sanniang was treated as sinners and passive mothers who could not speak for themselves. However, as the Lotus Lantern story was covered by the mass media, the image of the goddess changed in various ways. In particular, in the animation ＜Lotus Lantern＞ released in the 1990s, Sanniang was depicted as dignified women who were warriors but also had their own voices. In a modern society that has changed even more since the 21st century, passive mothers have become more active towards the world. In ＜New Gods: Yang Jian＞, Yang Chan is depicted not as a mother who breaks rules and commits a sin, but as a woman who struggles to maintain world peace. Yang Chan leaves Chenxiang not for personal desire but to fulfill a public duty. The story of the Lotus Lantern has changed with the times and portrayed a new mother goddess. Through analysis of this, we can examine the spirit of the times and the changes in the perception of mothers.