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The legend of a monk who has lost his vows has been transmitted across the three countries of Northeast Asia: Mongolia, China, and Korea. In both Korean and Chinese mask drama traditions, theatrical representations of apostate monks are commonly found, such as the Nojang dance in Korean mask drama and Daeduhwasang in Chinese performance traditions. In Mongolia, similar narratives appear in traditional dramatized folk songs known as “legendary antiphonal folk songs.” Among these works Banlii, Buyankhishig da Lama, and Nobleman Sumya the story of a love triangle involving a frivolous woman, an apostate monk, and a wealthy gentleman closely resembles the characters and themes found in the Korean mask drama Nojang-gwajang and the Chinese mask dance Daeduhwasang.

In the Korean Nojang dance, the narrative unfolds as follows: Nojang appears, encounters and seduces a young woman, dances with her, and even buys her shoes. Subsequently, Chyebari enters, drives Nojang away, and takes the young woman. The Nojang dance has been preserved by professional troupes as one of the established repertoires of Korean mask dance. Through its humorous and satirical expressions, the Nojang dance criticizes corrupt and apostate monks.

In China, during the Ming and Qing dynasties, a theatrical form known as Daeduhwasang was performed in both private and court settings. The narrative of Daeduhwasang centers on Ryuqu’s fascination with the monk figure Daeduhwasang, and through satirical performance, it criticizes monks who have deviated from religious discipline and moral principles.

Based on a comparative examination of source materials from the three countries, it appears that the Korean Nojang-gwajang and the Chinese mask dance Daeduhwasang predate the Mongolian Nobleman Sumya. This suggests that such narrative content may have been transmitted to Mongolia, where it was subsequently adapted and developed into new works.

Further research is needed to more clearly establish Mongolia’s position within the traditional cultural history of East Asia. Such studies would not only deepen our understanding of historical cultural exchange but also provide a valuable model for contemporary cultural interaction and the creation of new cultural forms.

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한국 영상 콘텐츠의 몽골어 자막 번역 연구 = A study on Mongolian subtitle translation of Korean video content : focusing on the film Parasite : 영화 ‘기생충’을 중심으로 오윤게렐 p. 39-64
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