著者
玉村 恭
出版者
美学会
雑誌
美学 (ISSN:05200962)
巻号頁・発行日
vol.56, no.1, pp.69-81, 2005-06-30 (Released:2017-05-22)

Mu(nothingness, non-being) is one of the most important topics of Zeami's theory of Noh. It means a kind of excellence whose characters are; it has no tangible charm that makes deep impression; it cannot be performed intentionally; and it is attained only by a prominent actor after lifelong learning. It has been supposed that the Buddhist thought, especially Zen, had a great impact upon Zeami's raw. Yet how Zeami's own way of thinking and its metamorphosis influenced the generation of the idea of mu is still to be investigated. When Zeami contrived the new style of acting, senu-hima (no-acting), he might have found a clue to thinking out mu. However, that style lacks the important element of raw; it does not transcend the dualistic relationship between raw and yu(being). In this regard, Zeami's musical theory is worth consideration. According to Zeami, a prominent actor can sing a sound which cannot be determined whether it belongs to umon(artfulness) or to mumon(non-artfulness). This non-dualistic character of Zeami's musical theory can be seen as a origin of his idea of raw.
著者
玉村 恭
出版者
美学会
雑誌
美学 (ISSN:05200962)
巻号頁・発行日
vol.58, no.2, pp.15-28, 2007-09-30 (Released:2017-05-22)

Kamo no Chomei is well known as a Japanese medieval recluse. This paper is aimed at reading his essays "Hojoki" and "Hosshinshu", and tries to rethink the relation between his reclusive life and poetry. The concept of reclusion for him was not necessarily related to how far he was removed from the capital nor what he did in his hermitage. Rather, the question was his state of mind, the extent to which his mind was detached from the usual worldly context and interest (kyokai or kyogai) such as social, political, and economical, of which people's circumstances consist and by which their daily cognitions are led. On the other hand, according to his notion of transience (mujo), nothing is certain other than the fact that people sense and feel various things and move their hearts variously. Thus, what was crucial in his reclusive life was how he could deal with his mind and heart. In those respects, poetry was for him one of the most important elements on which to base his reclusive life, because poetry, it has been admitted, does not have any worldly purpose nor interest at all; it is barely to express how people's hearts are moved.