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A kumiho or gumiho () is a creature that appears in the folktales of East Asia and legends of Korea. It is similar to the Chinese jiuweihu, the Japanese kitsune and the Vietnamese hồ ly tinh.
The term 'kumiho' (九尾狐,구미호) literally means 'nine-tailed fox.'.
Kumiho is a term that originally referred to a magical fox appearing in Korean novels of the Joseon dynasty, or was used pejoratively in historical records of the same period to denounce treacherous officials. In modern Korea, the designation kumiho has been broadened to encompass all fox spirits described in traditional Korean sources.
In South Korea, the term gumiho is commonly used to refer to the mythical nine-tailed fox, with ho (狐) being the Sino-Korean reading of the Chinese character for "fox." In contrast, North Korea refers to the creature as gumiyeowoo, using yeowoo, the native Korean word for "fox." While ho is typically reserved for mythological or literary contexts in South Korea, South Koreans also use yeowoo—just like North Koreans do—in everyday language to refer to real, biological foxes. However, even the word yeowoo, which usually denotes a wild fox, carries a subtle nuance of cunning or eeriness, and this term often appears in names referring to Korean fox spirits.
Due to the widespread use of the term Kumiho, modern Koreans often refer to all fox spirits by this name; however, this represents a typical case of conflation. In fact, Korean folklore features a variety of fox spirits, including bul-yeowoo (불여우, “fire fox”), baeg-yeowoo (백여우, “white fox”), maegu (매구, “fox demon”), and hogwi (호귀, “fox ghost”), all of which, like kumiho, have also been employed in a derogatory sense when referring to women. As these various names indicate, the types of foxes appearing in Korean mythology are diverse and are not limited to the nine-tailed fox (kumiho).
They are often portrayed in the form of heretical Buddhist monks or beautiful women and are sometimes depicted as monsters that torment and threaten dragons, which are considered sacred in Korean mythology. In Korean mythology, which is deeply influenced by Buddhism, the dragon is depicted as a divine being that protects the kingdom , whereas its adversary, the fox, is portrayed as a force that disturbs the kingdom or as a harbinger of the kingdom’s downfall. In certain tale, the fox spirit is even described as defeating multiple dragons, emphasizing its anti-divine characteristics. At the same time, such accounts suggest that although the fox was not venerated as a sacred creature like the dragon, it was nevertheless regarded in Korea as possessing transcendent powers comparable to those of dragons.
In Korean folklore and proverbs, the fox is often depicted as a lesser animal compared to the tiger. While the tiger is portrayed as a powerful and straightforward creature, the fox is frequently characterized as cunning and sly. This contrast highlights the fox’s wisdom and craftiness, in contrast to the tiger, which is typically seen as relying solely on strength. That is not to say the Kumiho is weak however. It's physical strength is more highlighted than it's Chinese and Japanese counterparts being able to kill and hunt humans effectively.
By the Joseon period, under the influence of Confucian thought, the religious status of the fox spirit declined even further. Confucian ideology discouraged attributing significance to fictional or supernatural beings, and its hierarchical worldview often placed animals below humans in moral and ontological value. As a result, the fox spirit was increasingly portrayed as a deceptive, malevolent, or tragic being.
Unlike in China and Japan, where fox spirits were at times associated with religious functions or divine status, evidence for a comparable role in Korea is limited, with notable examples appearing only in the mythology of the ancient kingdom of Silla. In Japan, fox spirits were integrated into the state-sanctioned religious framework, and in China, extensive mythological traditions allowed for the widespread dissemination of fox spirit stories. But by contrast, due to the aforementioned religious and social currents in Korea that were unfavorable toward fox spirits, the development of Korean fox spirit narratives inevitably faced considerable constraints. Consequently, premodern Korean fox spirit traditions remained limited in both quantity and quality compared to those found in Japan or China.
However, this assessment is relative; when considered in absolute terms, Korea possesses a substantial corpus of fox spirit legends, and foxes hold a notable place as supernatural beings within the country’s folklore tradition. Since most surviving Korean fox spirit traditions depict the fox as a demonic being, the general perception of the Korean fox spirit is that it is an evil or devilish entity. Many early foreign studies consequently misunderstood the Korean fox spirit as possessing exclusively demonic traits, and even perceptions within Korea have not substantially diverged from this view. Yet, upon closer examination of traditional myths, a minority of Korean folktales present the fox in a neutral or sacred light, in which it aids or rewards humans.
The motif of the Kumiho desiring to become human, while not entirely absent in premodern periods, was relatively rare, though it appeared during the Joseon dynasty in tales such as The Fox Sister. In modern Korean mythology, however, this theme is more prominent, with repeated reinterpretations of fox-spirit narratives reinforcing the image of the Kumiho striving for humanity. Scholars suggest that the emergence of this motif may be attributed to multiple factors, including cultural reactions against the Joseon-era disdain for fox tales, feminist aspirations to liberate Korean women, who had long been marginalized and disparaged through the derogatory connotations associated with the term kumiho , and broader influences from Chinese, Japanese, and Korean folklore—such as The Man and the White Snake, Yuki-Onna, and Ungnyeo—which collectively contributed to the development of the modern interpretation.
As the kumiho has frequently appeared in South Korean media, it has come to be represented in diverse ways, including more sympathetic portrayals. These positive reinterpretations extend not only to the kumiho itself but also to the fox as an animal, sparking renewed public interest in indigenous fox-spirit folklore. This growing interest has led to the rediscovery of older fox-spirit tales, which, when incorporated into newly created kumiho media, sustain a cyclical process of modern reinterpretation and the revival of ancient folklore.
In September 2022, a South Korean distilled soju(Distilled Liquor) brand named Saero was released, featuring the kumiho as its brand symbol. The use of the kumiho as the emblem of a commonly consumed distilled soju suggests that Kumiho has become significantly more familiar and approachable to the general South Korean public.
In contrast, the portrayal of the fox in North Korean media remains largely uniform and negative. During the Cold War, both North and South Korea frequently employed animal metaphors in their mutual propaganda, with each side comparing the other to foxes or jackals. North Korea, however, has continued to reproduce such imagery well into the 21st century. In North Korean dramas, films, and other media, the fox typically symbolizes capitalism, imperialism, selfishness, or divisive behavior. Beyond these limited functions, foxes rarely appear, as state propaganda has already attached a negative connotation to the animal. Assigning alternative meanings would potentially undermine propaganda objectives; therefore, the image of the fox in North Korea remains consistently negative.
Furthermore, When North Korea undertook state-sponsored projects to compile Korean folktales, a rigid class-based and socialist framework was applied, leading to the exclusion of fantastical or frightening stories. This selective approach limited the transmission of traditional fox spirit narratives. Unlike in South Korea, where the kumiho continues to evolve through modern reinterpretations, in North Korea the figure neither develops multifaceted qualities nor benefits from the rediscovery of older traditions, which also restricts the possibility of modern adaptations. As a result, kumiho is depicted almost exclusively as a demonic entity. In the 2021 animated film The Devil's Conqueror (Eoksoe Defeats Devil, 악마를 이긴 억쇠), for example, the devil character is identified with the kumiho.
Fox spirits depicted as active in ancient Korean kingdoms are usually described as having white fur, the ability to transform into humans, and possessing cunning magical powers. However, historical records from ancient Korean history do not specifically describe these fox spirits as having nine tails. The nine-tailed fox spirit does not appear in Korean historical records until the Goryeo period and later.
In ancient Korean mythology, foxes are typically depicted as malevolent spirits with white fur. But also, there is a singular account describing a sacred fox spirit with black fur.
The King of Goguryeo, while hunting, came across a Baeg-yeowoo and ordered a shaman to interpret what omen this white fox might represent. The shaman explained that foxes were traditionally considered ominous creatures, and since this one was white, it was even more sinister. He suggested that the heavenly gods were showing a bad omen through this white fox spirit and that the king needed to reflect on his actions. Enraged by these words, the king had the shaman executed on the spot.
When the Baekje Kingdom and the Goguryeo Kingdom were nearing their fall to the Silla Kingdom, foxes and other animals were reported to have entered the royal palaces of each kingdom. In the spring of the year before the fall of Baekje, a group of foxes entered the Baekje royal palace, and among them,Baeg-yeowoo (a white fox) was seen sitting on the desk of the highest official.
In one rare case, the Heuk-yeoyoo(black fox) is depicted as a sacred being that assists humans. This fox spirit appears in the legend of the eminent Silla monk Won-Gwang (圓光, 555–638), where it serves as a guide and helper.
This heuk-yeowoo(black fox) is a typical example of a mountain god in Korean mythology. Korean mythology also holds the belief that when an animal attains enlightenment and reaches the realm of the divine, it becomes a mountain spirit.
The Geotaji tale is set in the reign of Queen Jinseong of Silla and is believed to have influenced the later Jakjegeon narrative. The Jakjegeon story is considered an expanded version of the original Geotaji tale, incorporating additional foundation myth elements.
These tales correspond to the motif found in European mythology in which hero slays a dragon (or serpent) to save a kingdom and, as a reward, marries a princess. In this comparison, Geotaji and Jakjegŏn parallels the European dragon-slayer (such as Perseus), the Dragon King corresponds to a royal figure, the dragon princess to a European princess, and the monstrous fox to the dragon(or serpent).Furthermore, the theme in which a hero connected with a dragon overcomes a monstrous fox and subsequently becomes a founding ancestor shows similarities to the foundation myth of Vietnam.
Bihyeongnyang, a legendary figure in Silla, was renowned for his ability to command and control divine beings. One of his subordinates, Gildal, became disillusioned with the hard labor and, feeling overwhelmed, transformed into a fox to escape. However, Bihyeongnyang discovered Gildal's transformation and struck him down, leading to his death.
Na Gongwon managed to subdue the spirit, but Liu-Cheng had already ascended to the level of a Heavenly Fox(天狐), a celestial rank of fox spirits who serve the gods in heaven. Because of this divine status, he could not be killed.
As a last resort, Na Gongwon chose to exile Liu-Cheng to the ancient Korean kingdom of Silla. There, Liu Cheng was eventually worshipped as a deity. (2025). 9780231133388, Columbia University Press. ISBN 9780231133388
The rank of Heavenly Fox (天狐), which Liu-Cheng had attained, is regarded in Chinese folklore as the highest level a fox spirit can reach—often described as having golden fur and nine tails. Liu Cheng also claimed to be a miraculous Buddhist monk, a characteristic that closely resembles those of other fox spirits found in native Silla folklore.
In historical sources from the Goryeo period, fox spirits with nine tails make a full appearance. The poem Nomoopyeon (老巫篇, “On Old Shamans”) by the poet Yi Kyubo criticizes corrupt shamans who seduce the people with lewd songs and bizarre words, suggesting that they must be either thousand-year-old rats or nine-tailed foxes. This reflects the negative perception of illicit religions and fox spirits during the Goryeo era.
Yi Kyubo frequently composed poems that portrayed foxes in a negative light. Ironically, however, this critical stance toward foxes made him the first known figure to record the term kumiho(nine-tailed fox) in Korean literature.
Some argue that since Shin Don’s deeds were recorded by revolutionary forces who eventually overthrew Goryeo to establish Joseon, many of the negative reputations attached to him are unfair. Ultimately, Shin Don’s rise from a lowly background to become the king’s close aide, the fact that his history was written by the forces of the dynastic revolution, and most notably that he was defamed as a cunning fox spirit—a form of slander usually reserved for female figures—ironically made him the Korean historical figure most resembling Daji, the notorious woman in Chinese history, despite being a man.
As a fox spirit, Shin Don is referred to as Nohojung(老狐精), meaning "old fox spirit."In the records that regard Shin Don as an old fox spirit, it is said that he was considered an old fox spirit because he ate black chickens and white horses and was afraid of yellow dogs.
A well-known folk tale about Gang Gam-chan tells that he was born to a human father and a fox mother. This story, linked to his birthplace in Yangyang, Gangwon Province, was recorded on October 2, 1981, by Kim Seon-pung, Kim Gi-seol, and Kim Gi-hyeon from 72-year-old Kim Hyo-shin in Osaek 1-ri, Seomyeon, Yangyang.
The folk tale that Gang Gam-chan is the son of a fox is a well-known oral tradition that has been collected in other regions of Korea around the same period.According to one storyteller of the folk tale, Gang Gam-chan, being born of a fox, was said to have had the ability to capture tigers.
The legendary figure of General Kang Gam-chan in Korean folklore is widely known as a monster-slayer who defeats various types of supernatural creatures. In these stories, Kang Gam-chan is portrayed as the son of a fox spirit, and he often confronts and defeats other fox spirits, such as Baeg-yeowoo or Kumiho. This dual perception of the fox spirit reflects the complex view of the fox sprit in Korean culture: while the fox spirit is seen as the divine origin of the hero’s extraordinary nature, it is simultaneously regarded as a malevolent entity that must be eradicated.
In the 19th century, the Joseon-era Silhak scholar Yi Gyugyeong wrote in Hoseon Byeonjeungseol (Discourse on the Disputation of Fox Spirits) that “in popular belief, the nine-tailed fox is regarded as a cunning and deceitful being, but according to historical records from China, it was originally considered an auspicious creature.” This remark reflects the widespread popularity of fox spirit narratives among the Joseon commoners at the time.
In the opening of the novel Jeon Uchi-jeon, two fox spirits make their appearance. The first fox spirit, having transformed into a woman, approaches Woo-chi but is ultimately deceived; Woo-chi manages to steal her fox marble. The second fox spirit is a golden kumiho(or Baeg-yeowoo)—also takes the form of a woman to approach Woo-chi. This kumiho engages in a trickster’s battle of deception and cunning with Woo-chi, but ultimately loses one of her heavenly books (cheonseo) to him before going somewhere.
The introduction to the first fox spirit’s story adheres closely to a typical plot found in Korean oral folktales, in which a hero (or notable figure) steals a fox marble from a fox spirit. In this narrative, a female fox spirit attempts to kiss a male human to absorb his vital energy, but the man feigns reciprocating the kiss and seizes the fox marble from the fox’s mouth, swallowing it to acquire divine knowledge. The fox marble motif recorded in the literary tale Jeon Uchi-jeon is also embodied in Korean oral folktales.
In this second fox spirit’s story, both Woo-chi and the kumiho are tricksters, and the story unfolds as they deceive each other. Woo-chi attempts to expose the kumiho and steal her secrets, while the kumiho counters with illusions and tricks to deceive and mislead him. Both characters embody the trickster archetype, with their conflict blurring the lines between predator and prey. The outcome is ambiguous; Woo-chi gains only partial knowledge, and the kumiho survives, with both bearing the consequences of their deceptive struggle.
This novel exemplifies a typical Joseon-era narrative that actively incorporates traditional Chinese folklore. This is clearly demonstrated by its reference to the legendary s of Youchao ancient China, indicating the adoption of widely recognized historical Chinese backgrounds. Furthermore, the nine-tailed fox that appears in the story is portrayed as a religious yet heretical figure who has mastered Buddhist and Taoist scriptures—a characterization that aligns with common traits found in traditional fox spirit legends.
During the reign of King Jeongjo, Park Sang (pen name: Neoljae), a leading figure of the Sarim faction, likened the opposing Hungu faction to ominous creatures representing the four directions. In a scathing verse, he cursed them, saying:
This story is a folktale from the Joseon(Japanese colonial) period in Korea and shares notable similarities with fox spirit legends recorded in the Samguk Yusa. The fox spirit holds the status of the Mountain Goddess, reminiscent of Heuk-yeoyoo (the black fox) who aided the monk Won-Gwang. This monstrous fox is depicted as a formidable being capable of simultaneously defeating three dragons and resisting the power of the Dragon King and his kingdom. This portrayal evokes the image of the monstrous fox from the Geotaji and Jakjegeon legends.
This suggests that fox spirits were traditionally viewed not only as supernatural mountain gods but also as powerful adversaries of dragons within the local mythological framework.
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