著者

福原 敏男

出版者

国立歴史民俗博物館

雑誌

国立歴史民俗博物館研究報告 (ISSN:02867400)

巻号頁・発行日

no.57, pp.p1-23, 1994-03

被引用文献数

1

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筆者はこれまでに、祭礼芸能である一つもの・細男について考察し、これを平安末期に成立した田楽・王の舞・獅子舞・十列・巫女神楽・競馬・流鏑馬・神楽・舞楽・神子渡等からなる一連の芸能として位置づけた。京都・奈良の古社の祭礼において、「日使」と称する役が、上記の諸芸能とともに、祭礼に参加する事例がある。従来の日使に関する先行研究は、春日若宮祭礼に限られ、ここに神聖性が指摘された。日使は黒袍表袴に長い裾をひいた姿で、奉幣を主な役割とし、芸能的所作がないからであった。本稿では、春日祭・春日若宮祭礼、東大寺八幡宮転害会、大山崎離宮八幡宮の日使神事、山城宇治田原三社祭に参加する日使を対象にした。史料と絵画に基づく検討の結果、日使の成立を楽人の風流に求めた。日使が伝播した地における宗教性は、その所役を荷った人々の階層の問題である。Up until now the writer has studied Saino-o, one of the ritual arts, and has ranked it as one of the series of arts that came into existence in the later Heian Period and was comprised of Dengaku, Ō-no-mai, Shishimai, Totsura, Miko-Kagura, Kurade-uma, Yabusame, Kagura, Bugaku, Mikowatashi, etc. In the festivals of the ancient shrines of Kyōto and Nara, there are instances where a character named 'Hinotukai' participates in the festival together with those named above.Preceding research into the Hinotsukai has been confined to the Kasuga Wakamiya Festival, in which its sanctity has been pointed out. This is because the Hinotsukai, dressed in a formal black overgown (Ho) and long trailing hakama, played a major part in the offering, and showed no artistic behaviour. This paper deals with the Hinotsukai participating in the Kasuga Festival, the Kasuga Wakamiya Festival, the Tōdaiji Hachimangu Tegaie, the divine services of the Ōyamazaki Rikyū Hachimangu, and the Yamashiro-Uji-Tahara Triple Shrine Festival. The results of a study based on historical materials and folklore show that what the Hinotsukai in each case share in common is that a line can be drawn between this and the other artistic, elegant dancing; and that while it has become more refined, the religious element can be strongly felt.