著者

赤澤 真理

出版者

国文学研究資料館

雑誌

国文学研究資料館紀要 文学研究篇 = The Bulletin of The National Institure of Japanese Literature ,Japanese Literature (ISSN:18802230)

巻号頁・発行日

no.44, pp.275-320, 2018-03-15

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本稿は、「境界をめぐる文学」の共同研究のなかで、建築空間の境界に着目する。平安時代から江戸時代における上層住宅に存在した境界において、女性の領域を外部に示した打出の装束をとりあげる。打出は、二つの領域を分割させ「覗かせる」作為のある境界とされている。本稿では、宮内庁書陵部蔵『女房装束打出押出事』に導かれながら打出の用法を整理した。打出の用法と領域は、①妻戸に設置する(使者のための明示など)、②儀礼の空間を装飾する、③女性の座を示す機能がある。従来絵巻等では、外部の簀子や庭に向かって装飾された打出が表現されることが多いが、内部空間に出されている事例を確認できる。打出の意匠は、制約のなかでも多種多様な選択がある。特に『兵範記』仁平二年(一一五二)三月七日条 鳥羽天皇五十算賀における女院の女房達の打出は、四色に限定しながらも、一人ひとりがすこしずつ色彩が異なるなどの院政期の趣向がみられる。女房装束の打出は、室町後期以降、王朝主題の絵画にも示されなくなるが、本史料から、江戸末期の学者に関心が復活したことを窺うことができる。現実に江戸後期に復原されなかったのは、あくまでも私的な装束と考えられたことが予見され、今後の課題としたい。This article, written as part of the NIJL collaborative research project entitled "Borders," takes a close look at the establishment of borders in architectural space. In high-class mansions from the Heian down through to the Edo period, the precincts of women’s living quarters were clearly indicated by the presence of trailing sleeves or hems (of female gowns) made to protrude from under hanging blinds-a custom known as uchiide, literally, (clothing that is made to) stick out. These protruding bits of ladies’ garments served at once to separate the women’s quarters from the outside, as well as to allow those without to effectively get a little peek at what lay behind the otherwise concealing blinds. This article, by making reference to a work entitled Nyōgo sōshoku uchiide oshiide no koto, stored in the Kunaoichō Library, seeks to clarify the precise manner in which the custom of uchiide, protruding garments, was employed. There were three distinct locations or occasions in which uchiide were used: first, at the entrance of a mansion, as a means, among other purposes, of clearly indicating the identity of a messenger that happened to be present; second, as a means of decorating a space designated for worship; third, as a means of indicating the presence of women during rituals and Buddhist services. Illustrated scrolls often depict uchiide garments decorating outer lattices and the edges of gardens. It is possible, furthermore, with the aid of written documents, to confirm examples of uchiide being used indoors, as well. Designs of uchiide were numerous, even when restricted by various other conventions. An entry in the Heian-period diary Heihanki for the date 3.7.1152 (Ninpyō 2), we read how the uchiide of those ladies-in-waiting attending Emperor Toba’s fiftieth birthday celebration, while strictly limited to only four colors, yet displayed great variety in terms of individual combinations. Ladies-in-waiting active during the period of cloistered emperors, while inheriting the clothing traditions of their eleventh-century predecessors, did bring about certain innovations, such as the use of shade gradations within a single-colored garment. The uchiide of ladies-in-waiting cease to appear in those illustrations depicting court life produced during and after the latter half of the Muromachi period. Nyōgo sōshoku uchiide oshiide no koto reveals, howeverm, that some scholars as late as the Edo period were interested in the subject. That the practice of uchiide was never reinstituted during the Edo period might have been due to a notion that such practices were personal and not a matter of public concern. To be sure, more research must be done in this area.

著者

小池 淳一

出版者

国文学研究資料館

雑誌

国文学研究資料館紀要 文学研究篇 = The Bulletin of The National Institure of Japanese Literature ,Japanese Literature (ISSN:18802230)

巻号頁・発行日

no.44, pp.259-273, 2018-03-15

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本稿は日本の民俗文化におけるニワトリをめぐる伝承を素材にその特徴を考察するものである。ここではニワトリをめぐる呪術や祭祀、伝説を取り上げ、民俗的な世界観のなかでのニワトリについて考え、その位相を確認していく。それによって文芸世界におけるニワトリを考究する前提、もしくは基盤を構築する。まず、呪術としては水死体を発見するためにニワトリを用いる方法が近世期以降、日本各地で見いだせることに注目した。生と死、水中と陸上といった互いに異なる世界の境界でニワトリが用いられたのである。続いてニワトリが関わる祭祀として、禁忌とされたり、形そのものが神聖なものとされる場合があることを指摘した。さらにその神格としても移動や境界にまつわるとされることを述べた。最後に伝説においても土中に埋められた黄金がニワトリのかたちであったり、年の替わり目にニワトリが鳴いて黄金の存在を示すといった例が多く見いだせることを確認した。総じて、ニワトリをめぐる伝承の多くは移動や変化に関わり、またその存在は特定の時空でくり返し、想起されるものであった。まさにニワトリは境界をめぐる伝承を集約する鳥なのであった。こうした生活世界における伝承を改めて意識することで、かつてのニワトリに対する感覚を思い起こし、境界という時空が持つ可能性と潜在的な力を再認識することができよう。This article is an examination of salient features found in traditional Japanese folk customs associated with the domestic fowl (niwatori). More specifically, I look at a handful of magical incantations, religious rites, and legends surrounding the domestic fowl as a means of grasping the role of this bird within the Japanese folk imagination, which understanding will, it is hoped, serve to enrich our appreciation of this same bird’s role in literature and the arts.First, I point out the ritualistic practice, found all throughout Japan since the early modern period, of using a domestic fowl is order to ascertain the whereabouts of a corpse of one who died by drowning. In such instances, the domestic fowl serves as an intermediary between two different worlds:between life and death, and between the world under water and that upon the land. Next, I foreground the various ways in which the domestic fowl was viewed during certain religious rituals: sometimes it was considered as a taboo object, while at other times its very form was seen as sacred. I then note how the domestic fowl, thus elevated to sacred status, was venerated during certain times of communal movement, as well as at certain liminal sites. Finally, I confirm a number of instances in which the domestic fowl is linked to gold: Gold buried under the earth was reported at times to resemble the shape of this bird. Also, the bird was believed to sing out at the start of a new year, thereby signaling the presence of gold nearby.In conclusion, the domestic fowl was associated in the folk imagination with an array of set occasions—specific times and venues-which were, in turn, often related to significant movements or transformations. As such, the domestic fowl took upon itself a number of traditions reminiscent of one form or another of liminality. By reconsidering these lived traditions, we are able to catch a glimpse of how Japanese people perceived this familiar bird, as well as gain added insight into the various possibilities and latent power of liminal spaces and events.