著者

吉田 ゆか子 ヨシダ ユカコ Yoshida Yukako

出版者

国立民族学博物館

雑誌

国立民族学博物館研究報告 = Bulletin of the National Museum of Ethnology (ISSN:0385180X)

巻号頁・発行日

vol.41, no.1, pp.1-36, 2016

---

バリ島南部のパヨガン・アグン寺院に伝わる天女の舞トペン・レゴンは,ご神体の天女の面をかぶって少女が舞うもので,その歴史や神聖性のために特別な価値を置かれてきた。この演目が1980 年代に芸術祭に招待された際,寺院側は神聖な仮面の神聖さが損なわれる事を恐れ,レプリカを作成してこちらで代用した。本研究が注目するのは,このレプリカのその後である。 レプリカや模造品も,生み出されたあと,人々との関係のなかに入ってゆく。現在このレプリカは,特定の寺院祭儀礼でも用いられる。この仮面を,「代用品の仮面」と考える者も,オリジナルの「子ども」と位置づける者も,オリジナルと混同する者もいる。曖昧かつ両義的に意味づけられるこのレプリカの仮面は,天女の舞の上演に特別な魅力を付与してもいる。本論では,このレプリカの仮面が,オリジナルの仮面とは別のやり方で,天女という神格の一部を「創っている」ということも論じる。Topeng legong is a ritual dance in which masks representing celestialsare worn by little girls. This highly sacred dance has received special attentionbecause of its sacred nature, history, authenticity, and beauty.Currently, there are two sets of masks used in topeng legong. One setconsists of centuries-old masks believed to possess magical powers for protection;the other set comprises replicas. The replica masks were made whentopeng legong dancers were invited to perform in an art festival in 1988.Ketewel locals were afraid that their sacred masks might be "defiled" ifbrought to a secular context or place, so they decided to create replicas assubstitutes.At first glance, people seem to differentiate sufficiently between secularperformances and religious rites by using non-sacred masks. However, theactual situation is more complicated. Some regard the replicas as "children"of the original ones, and show respect for them. Some cannot distinguishthe replicas from the originals. The meaning and role of the replicas are thusambiguous and inconsistent.In this study, I argue that because of that ambiguous status, the replicamasks have generated unique and interesting effects on the development oftopeng legong and its original masks.