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영어

Bangsangshi, the topic of this research, is a figure that originated in China, but put down roots in the Korean Peninsula with the introduction of Narye. Until now Narye has been researched in Korea with focus on rituals, but it can be said that no research has been done whatsoever on Bangsangshi in Narye. For this reason, this study investigated Bangsangshi, and tried to gain a systematic understanding of Bangsangshi. As Narye has a very long history and the activity area of Bangsangshi it very broad, however, this study did not deal with all aspects of Bangsangshi. Instead, only Bangsangshi in Court Narye was investigated. The results of this investigation is shown in

. According to , in the early days of Narye, China's Bangsangshi used to be Gwangbu (狂夫) in a low position, but had an absolute position and a magical function. With the passage of time,Bangsangshi also went through change, and was driven out of the position of the most important leader and thrown into a subordinate position. In addition, the magical function of Bangsangshi deteriorated, and instead the musical function grew stronger. It can also be seen in the changes of the person in charge of Bangsangshi. Gwangbu (狂夫) or Junghwangmun (中黃門) used to be in charge of Bangsangshi, but later Gongin (工人),who mostly plays music, took charge of Bangsangshi. It reveals that the function of Bangsangshi was shifted to the musical function, and the fact that Bangsangshi is in charge of dance and music can also prove it. Unlike China's Bangsangshi that underwent many changes over time, the Bangsangshi of the Korean Peninsula can be said to retain its original form relatively well. It can be confirmed by many aspects, e.g. the person in charge of Bangsangshi, its roles and functions in the Goryeo and Joseon Dynasty, and the fact that everything except the total number is almost the same.