In recent years, there has been a surge in interest in the Korean witch investigation, a phenomenon that has grabbed the attention of both locals and foreigners alike. This unique exploration into the supernatural and mystical elements of Korean culture has gained popularity due to its eerie nature and the intrigue surrounding witches. The Korean witch investigation revolves around the exploration of ancient Korean folklore and the existence of witches in Korean society. It delves into the stories of women who allegedly possess supernatural abilities and use them for both good and evil purposes. These witches, known as "mudang" in Korean, are believed to have the power to communicate with spirits and serve as mediums between the human and spiritual realm. One aspect that makes the Korean witch investigation fascinating is the way it intertwines with traditional beliefs and practices.
Varying Unnatural Marks (depending on demonic sire)
Vast Magical Knowledge
Distinctive Scent (depending on demon parent)
Immortality (eternal youth + healing)
Sterility
Physical attractiveness (most; sometimes through spells)
Warlocks are born from demons and Witches, usually from rape or deceit, from demons, disguised as humans or a human s loved one or an object of sexual desire. Warlocks themselves, as a caveat of their demonic ancestry, are likewise unable to be heard by these divinities as they cannot invoke prayer without their mouths literally burning from the effort - causing them to rely only on their innate powers for salvation.
One aspect that makes the Korean witch investigation fascinating is the way it intertwines with traditional beliefs and practices. Shamanism, which is deeply embedded in Korean culture, plays a significant role in the investigation. Mudang, who are considered shamans, perform rituals and ceremonies to call upon spirits and seek guidance.
Witches in History
Located in a dark room within Second Sight: Witchcraft, Ritual, Power are three small prints. They are easy to overlook. Monochromatic and diminutive in size, they are not as attention-grabbing as some of the much bolder images on display. But I would urge viewers to look for these prints, as they are responsible for establishing some of the most important imagery that we still associate with witches and hold the key to understanding Second Sight.
Hans Baldung Grien, The bewitched groom (c.1544), Reproduced courtesy The Metropolitan Museum of Art, New York, Rogers Fund, 1917.
Hans Baldung Grien, The bewitched groom (c.1544), Reproduced courtesy The Metropolitan Museum of Art, New York, Rogers Fund, 1917.
Giovanni Benedetto Castiglione, Circe with companions of Ulysses changed into animals (1650-1651).
Giovanni Benedetto Castiglione, Circe with companions of Ulysses changed into animals (1650-1651).
Albrecht Dürer, Witch riding backwards on a goat (1501-1502), Reproduced courtesy of The Museum of New Zealand Te Papa Tongarewa, Wellington.
Albrecht Dürer, Witch riding backwards on a goat (1501-1502), Reproduced courtesy of The Museum of New Zealand Te Papa Tongarewa, Wellington.
For most people today, witches are the stuff of Halloween or Disney. But only 300 years ago, witchcraft was a crime punishable by death. During the early modern period (1450–1750), 45 000 women and men were executed in Western Europe under legislation specifically against witchcraft. Another 45 000 were tried but not convicted. In the eyes of the law, and in much of society, witches were people who had made a pact with the Devil and who had then used their newfound demonic powers to harm their neighbours. Witches were most often believed to be women, frequently elderly, poor, widowed or childless. They were accused of killing children, making men impotent, ruining crops, causing storms and shipwrecks, attending the sabbath, and working together to cause evil and discord. Of course, most of these accusations were only true in the minds of accusers, but that didn’t stop the vast majority of men and women from believing in witchcraft.
But where did these ideas come from? Although witches were believed to exist in medieval Europe, it wasn’t until the fifteenth century that the idea of witchcraft as a diabolical crime rose to prominence. Key texts were influential in establishing this concept, such as Heinrich Kramer’s notorious Malleus Maleficarum (The Hammer of Witches) of 1486 and a number of lesser known texts from the 1430s. But one of the main ways in which ideas of witchcraft circulated was through visual culture. In Second Sight, we are lucky enough to have three early visual depictions of witchcraft: Albrecht Dürer’s Witch Riding Backwards on a Goat (1501–1502); Hans Baldung Grien’s The Bewitched Groom (1544); and Giovanni Benedetto Castiglione’s Circe with Companions of Ulysses Turned into Animals (1650–1651).
All of these works feature aspects of the now stereotypical witch. For example, Dürer’s witch is depicted as a strong, muscled figure who looks wholly in charge while riding the goat. Her position riding backwards shows the inverse and unnatural role of witches in the world. Similarly, her hair flows in the opposite direction than it should, highlighting that she is outside nature. She is both physically repellent through her masculine body but also strongly sexualised. The distaff (a feminine object used to spin wool or flax) placed prominently between her legs, her long hair and open mouth (all signifying lust), and her suggestive grasping of the goat’s horn all associate her with transgression and sexual desire. Fifteenth- and sixteenth-century treatises on witches associated them with deviant sexuality, with many authors describing the unnatural orgies in which witches were believed to partake. At the sabbath, witches were believed to engage in supposedly unnatural sexual acts with the Devil, with other witches, and even with their own children. This concept of the lustful witch is also visible in Grien’s The Bewitched Groom; although the witch is off to the side, her exposed breast is visible to all. Grien’s work also highlights anxieties about sexuality. Central to the piece is the bewitched groom’s prominent codpiece; this motif is echoed by the horse’s uncovered genitals, revealed through a brief movement of its tail. Although the witch is not central, it is clear that her presence is tied to dangerous sexuality.
Although warlocks do exercise free will and are capable of remorse and compassion, all are driven in some form - be it subtle or overt - to indulge in the more sinister elements of their deul natures; often forming covens of their own which center on shady activities or using their gifts to manipulate others to their advantage. This has made warlocks a truly unpredictable and often untrustworthy faction within the arcane world, with some of the most influential practitioners of black magic being of this race.
They often conduct séances, communicate with the deceased, and provide spiritual healing. The investigation of Korean witches is not just limited to folklore and mythology, but also extends to real-life cases and experiences. In recent times, there have been numerous reports of people encountering individuals who claim to be witches or have witnessed supernatural occurrences related to witches. These encounters have sparked curiosity and prompted individuals to delve further into the investigation, contributing to its growing popularity. Moreover, the Korean witch investigation has become a subject of interest for scholars and researchers. They seek to understand the historical and cultural context behind the belief in witches in Korea and explore the psychological and sociological aspects surrounding the phenomenon. Through rigorous academic study and field research, they aim to provide a nuanced understanding of the Korean witch investigation and its significance in contemporary society. It is important to note that the Korean witch investigation is not without its critics. Skeptics argue that it perpetuates superstition and relies on unfounded claims. However, proponents argue that it is a valuable exploration of cultural heritage and an avenue to preserve traditional beliefs. In conclusion, the Korean witch investigation offers a captivating and intriguing look into the world of witches in Korean society. With its mix of ancient folklore, real-life encounters, and academic scrutiny, it continues to capture the imagination of many, leaving open-ended questions about the existence of witches and the supernatural in Korea..
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