著者

山本 佳奈

出版者

広島大学大学院教育学研究科

雑誌

広島大学大学院教育学研究科紀要 第二部 文化教育開発関連領域 (ISSN:13465554)

巻号頁・発行日

no.57, pp.87-96, 2008

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In three match ceremony like the "Sumai" (相撲) and "Noriyumi" (賭弓) and "Kurabeuma" (競馬), done in the court of the Heian era, "Bugaku" (舞楽) -winner's dance- (勝負楽) was played by Konoehu (近衛府) according to victory. I considered "Bugaku" -winner's dance- in the ceremony books in this study. The "Bugaku" -winner's dance- of the left in the "Sumai" ceremony has been assumed to played "Ryouou"(「陵王」) until the end of ninth century, "Batou" (「抜頭」) after that so far. However, "Bugaku" -winner's dance- wasn't "Ryouou", but "Batou" at the "Sumai" ceremony from the bigining. "Bugaku" -winner's dance- of the right was "Nasori". There were two kinds of "Bugaku" -winner's dance-. One was played by the winner of "Hote"(最手). Another was played by the winner side in the total score. The left played "Ryouou", the right played "Nasori" in the "Noriyumi" and "Kurabeuma" according to total score. There was a great difference in the method of the "Bugaku" -winner's dance- at these three match ceremony between the ninth century and tenth century. This change is related to a big problem like the conversion of ceremony, and the ideal way of the state.