著者

鎌田 紗弓

出版者

独立行政法人国立文化財機構 東京文化財研究所

雑誌

無形文化遺産研究報告 = Research and Reports on Intangible Cultural Heritage

巻号頁・発行日

no.16, pp.41-85, 2022-03-31

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Hayashi-kata (music performers), who are in charge of musical staging of Japanese performing arts Kabuki, are indispensable to the performance itself; yet they have not been the primary focus of documentation. As a basis for clarifying the actual state of ensembles that were often lumped together as 'the hayashi performers', this paper extracts and analyses name lists from historical sources in the early Meiji-era (1868-1896). From Kabuki playbills (banzuke) and music direction memoranda (hayashi-tsukechō), I have been able to find a total of 1,958 names from 81 different performances in the period under study. In particular, when examining narimono players (percussionists and flutists), new aspects have been found in their theatrical appearances and co-performances in the early Meiji-era, which would have played an important role in the formation of current Kabuki tradition. It can be pointed out that these points reflect the changing power relations of the theatres in Tokyo. There is still much work to be done, including more detailed consideration of ensemble groups including singing and shamisen, as well as the relationship between the music performers and the actors who employed them.

著者

鈴木 昂太

出版者

東京文化財研究所

雑誌

無形文化遺産研究報告 = Research and Reports on Intangible Cultural Heritage

巻号頁・発行日

no.15, pp.118-100, 2021-03-31

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Kagura, song and dance performed in prayer to the deities and buddhas, has been transmitted in Japan in various forms. Previous research has pointed out that the function of Jodo (Pure Land) kagura is to hold a memorial service to a departed soul. Iwata Masaru employed the term "Jodo kagura" to focalize the relationship between kagura and memorial service. Following Iwata's research, scholars with a variety of viewpoints have used this term to hold discussions of various types. The purpose of the present paper is to confirm how Jodo kagura has been discussed by researchers, what the term "Jodo kagura" indicates and to follow the trend of research. Results of analysis show that the term "Jodo kagura" has been used in two ways: as a proper noun to refer to a memorial service of a given region and as a common noun to refer to artistic rites related with the spirit of the dead and Jodo. It must be noted that Jodo kagura is a special terminology that consists of two aspects, reality and concept. Additionally, the meaning of Jodo kagura differs from one researcher to another and it is applied widely to different rites in context and characteristics. In future study, it will become necessary to clarify how the user of the term "Jodo kagura" defines it, each in his point of view, and for what purpose he uses it.

著者

飯島 満 石村 智

出版者

東京文化財研究所

雑誌

無形文化遺産研究報告 = Research and Reports on Intangible Cultural Heritage

巻号頁・発行日

no.14, pp.191-195, 2020-03-31

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Tokyo National Research Institute for Cultural Properties has regularly been making recordings of performances of kodan (with focus on long repertory) since 2002. Following is a list of actual performances recorded from March 2002 to February 2020. The project is scheduled to be continued in the future. Performances are recorded both audio-visually and stored at the Institute. Since the recordings are made for purposes of research and transmission, they are not for the time being intended to be made public. However, it is possible to access these recordings for the purposes mentioned above.

著者

久保田 裕道

出版者

東京文化財研究所

雑誌

無形文化遺産研究報告 = Research and Reports on Intangible Cultural Heritage

巻号頁・発行日

no.15, pp.13-24, 2021-03-31

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The present paper discusses the influence Covid-19 has had on the intangible folk cultural properties of Japan with focus on case studies from 2020. First, it is noted that many folk events are held in the hope of appeasing infectious diseases. For example, the lion dance in Hakone, Kanagawa Prefecture, was started as an event to ward off contagious diseases that occurred frequently from the last half of the 19th century to the first half of the 20th century. Social relevance of this type of folk events should be shared by many people. Next, impact such as cancellation and postponement of folk events and measures like video delivery that were taken in 2020 are discussed in the section on the condition of intangible folk cultural properties in the midst of Covid-19. In this situation, much criticism has been voiced even about folk events that were held in order to pray for the end of infection. Such a trend connects to a questioning and negation of values associated with these folk events. Finally, the problems related with intangible folk properties in the midst of Covid-19 are discussed. Intangible folk properties are one of the categories of intangible cultural heritage unique to Japan. It is different from traditional performing arts performed by professionals in that it is cultural properties of the “people.” It is rooted in the faith, society, entertainment and other aspects of a given region. But the influence of Covid-19, by negating their values, brings about a great risk to the regional society.

著者

菊池 理予 林 圭史 渡瀬 綾乃

出版者

東京文化財研究所

雑誌

無形文化遺産研究報告 = Research and Reports on Intangible Cultural Heritage

巻号頁・発行日

no.14, pp.79-99, 2020-03-31

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Tororo-aoi(黄蜀葵:Abelmoschus manihot)is a plant similar to okura that produces a yellow flower. Viscous liquid extracted from its root is called “neri” and has been used in the production of handmade Japanese paper. In April 2019, it was reported that the manufacture of tororo-aoi will be terminated. This report brought about fear among persons concerned that it will no longer be possible to obtain tororo-aoi. In the present study, then, the present condition of the manufacture of tororo-aoi and its system in Omitama-shi, Ibaraki Prefecture were explored and the reasons for the decrease in its manufacture was debated. In addition, by searching into the question of how much handmade paper has been protected as a cultural property of Japan ever since the enactment of the Law for the Protection of Cultural Properties, the necessity for the protection of the technique of manufacture of its raw materials is considered. As a result, the following has been made clear. First, tororo-aoi is clearly noted as one of the designated conditions for the manufacture of handmade Japanese paper, which is an important intangible cultural property. Second, Mr. Uekubo Ryoji, a manufacturer of misu paper who is selected as a holder of the technique for the manufacture of handmade Japanese paper for mounting, and Mr. Ebuchi Eikan, a manufacturer of paper for restoration, both manufacture handmade paper using tororo-aoi. Stable procurement of raw materials is necessary for the continuance of the technique. In the system of distribution of tororo-aoi in the 1950s there was a group of people called “neriya” who dealt with the buying of seeds and acted as “go-betweens” who were entrusted by the neriya. These go-betweens encouraged and guided the manufacture of tororo-aoi and were engaged even in the transport and testing of the materials. The existence of neriya was effective in the maintenance of the quality of tororo-aoi. But such a system no longer exists, and today a farmer sends the product to Japan Agricultural Cooperatives (JA) which in turn sends it to groups or individuals engaged in the manufacture of handmade paper. Tororo-aoi rots easily so that by the time it reaches the paper manufacturer, there is bound to be loss due to damage. For stable procurement, some measures should be taken in the system of transport so that damage will not occur. Furthermore, there are some processes in the cultivation of tororo-aoi that cannot depend on machinery and must be done by hand. Even though it costs manpower, the manufacture of tororo-aoi alone does not bring so much income as to make it a livelihood. It has also become clear that since tororo-aoi cannot be cultivated on the same land successively, a farm needs to have a large piece of land to produce tororo-aoi consecutively. In the present circumstances, other products require less work and can bring in as much profit. In other words, the continuance of the manufacture of tororo-aoi currently depends much on the intention of the persons manufacturing. It is thought that a new system of support is necessary for the stable manufacture of tororo-aoi. Persons concerned currently sincerely wish the local governing bodies and people associated with JA to have a correct understanding of the importance of tororo-aoi and the significance of the fact that it is being manufactured in Omitami-shi today. Active discussion toward protection is necessary in the future.

著者

飯島 満

雑誌

無形文化遺産研究報告 = Research and Reports on Intangible Cultural Heritage

巻号頁・発行日

no.9, pp.175-191, 2015-03-31

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Filmon endless sound-belt, a type of records which can be used to record for a long time, was developed in Japan in the latter half of the 1930s. They were sold only for about three years and those remaining today are extremely limited in number. In fact, they have been practically forgotten even in Japan. The National Research Institute for Cultural Properties, Tokyo has been conducting jointsurvey of Filmon endless sound-belts with Waseda University's The Tsubouchi Memorial Theatre Museum, and a part of the results of that survey was made public in Research and Reports on Intangible Cultural Heritage No. 5 (March, 2011). Further survey has led to corrections and additions of information, and these are provided in this report.

著者

飯島 満 永井 美和子 中山 俊介

雑誌

無形文化遺産研究報告 = Research and Reports on Intangible Cultural Heritage

巻号頁・発行日

no.5, pp.53-76, 2011-03-31

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Filmon endless sound-belt is a medium capable of recording for a long time. It was developed in Japan in the latter half of the 1930s. While the recording time of a 10-inch record, which was generally the most popular type of record at the time, is about 3 minutes, it was possible to record for over 30 minutes on a Filmon endless sound-belt. Today, Filmon endless sound-belt is half forgotten for several reasons. First, it was manufactured only for a short period, from 1938 to 1940; second, a special player was necessary; and third, open-reel tapes and LP records appeared after World War II. The National Research Institute for Cultural Properties, Tokyo has been conducting jointinvestigation of the Filmon endless sound-belt with The Tsubouchi Memorial Theatre Museum Waseda University since the fiscal year 2009. In this intermediate report, focus is placed on what types of contents were recorded on sound-belts and how many of each were manufactured as well as how many of them can be confirmed to exist today.

著者

高桑 いづみ

雑誌

無形文化遺産研究報告 = Research and Reports on Intangible Cultural Heritage

巻号頁・発行日

no.1, pp.206-197, 2007-03-31

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Large tsuzumi bodies coated with black urushi appear in paintings of the Insei era to the Kamakura period. In fact, tsuzumi bodies simply coated with black urushi have been transmitted at Isonokami Shrine in Nara prefecture, Kandani Shrine in Kagawa prefecture and Araki Shrine in Gifu prefecture. The design of these tsuzumi bodies is similar as are their size. The author considers these tsuzumi bodies as those that appear in a period of transition from the colorful gagaku tsuzumi that come in different sizes to the nohgaku tsuzumi coated with black urushi and decorated with makie. This theory has been presented previously, but several more similar tsuzumi bodies have been found. The more examples there are, the more certain that such tsuzumi bodies of the period of transition were used widely. One example is found at Henmyo-in Temple in Okayama prefecture. There is a carved inscription on the surface of the tsuzumi body that shows that the tsuzumi was donated in 1296. It has already been reported that since Araki Shrine was in the domain of Ono, a gagaku musician, in the Kamakura period, it is quite possible that the tsuzumi body found there was used during that period. Thus, the appearance of the tsuzumi body at Henmyo-in Temple further confirms the theory that this type of tsuzumi body was used during the Kamakura period. Tsuzumi bodies of similar shape also exist at Ibiraki Shrine in Shiga prefecture and in a private collection in Tokyo. Lines are incised on the bowl-shaped parts of the tsuzumi body of the period of transition. A nohgaku player in Kyoto and Nunakuma Shrine in Hiroshima prefecture respectively own tsuzumi bodies decorated with incised lines and makie. Since a report has already been made about the tsuzumi body at Nunakuma Shrine, a comment will be made here about the one in the private collection. Although tsuzumi body of the period of transition is slightly larger than that of today's larger nohgaku tsuzumi, this one is a bit smaller. Unlike tsuzumi body of the period of transition that was hand carved, the inner side of its bowl-shaped part was formed on a turning wheel. Moreover, although the mouth of the bowl-shaped part of the tsuzumi body of the period of transition is widely open, that of this tsuzumi body is a little closed. In addition, not only the shape of the bowl-shaped part but also that of the node in the middle of the waist is quite similar to that of today's larger nohgaku tsuzumi. The author heard the sound of this tsuzumi on stage, and it was also very similar to that of today's tsuzumi. According to TAGUCHI Yoshiaki, an urushi artist, the decoration on this tsuzumi body is in hiramakie and is thought to have been applied in the Momoyama period. However, since makie powder has been found in the incised lines, it is certain that this tsuzumi body was made before the Momoyama period. "Rai-un Makie Kodo" (tsuzumi body with a design of lightning and clouds) in the collection of Miho Museum is an example from the early Muromachi period. There are no inscribed lines, but the bowl-shaped part is open. In other words, the shape of the bowl-shaped part is that of the tsuzumi body of the period of transition. This means that in the Muromachi period there were two kinds of tsuzumi: bodies those with inscribed lines, even though other features are the same as those found on today's tsuzumi body, and those with no incised lines but with open bowlshaped part. The path from tsuzumi body of the period of transition to that of the larger nohgaku tsuzumi appears to be more complex than one would imagine.

著者

服部 比呂美

雑誌

無形文化遺産研究報告 = Research and Reports on Intangible Cultural Heritage

巻号頁・発行日

no.2, pp.264-230, 2008-03-31

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This paper considers the establishment of folk techniques in cities by discussing the details of decorations and offerings accompanying hina dolls during hinamatsuri (doll's festival) in Shonai district. In the castle town of Tsuruoka and the mercantile city of Sakata during the modern period, daimyo lords, shipping agents, wealthy merchants and wealthy farmers bought the most luxurious hina dolls from Kyoto and Edo. Today, these dolls are exhibited to the public and are accompanied by hinagashi, or colorful hina sweets, and oshie-hinagashi, or padded cloth pictures, imitating hinagashi. As the doll's festival approaches, one can find at shops in the Shonai district which sell Japanese sweets, assortments of various kinds of sweets such as aruhei (candy), rakugan (sugar cake) and nerikiri (sweet bean cake), which are valued for their outstanding decorativeness. A study of hinagashi in various parts of Japan as recorded in documents of the modern period shows that there was a difference in the kinds of sweets used as hinagashi. For example, although yomogimochi (mugwort-flavored rice cake) and hishimochi (diamond-shaped rice cake in three layers of red, white and green) were used throughout the country, hinagashi like rakugan made to look like birds or fish were found only in the Kinki and eastern Shikoku districts. In a document recording the annual events of the warrior class in Tsuruoka, it is written that "hiina no kashi" (literally, sweets for hina dolls) were bought from a sweets shop in the castle town. It may be said, then, that such custom of hinagashi has been continued until today. It is the techniques of the Japanese sweets makers, especially those who were able to respond to the demands of the upper class warriors and wealthy merchants, that were responsible in continuing this tradition. Generally, decorations and offerings used in annual events of the farming districts were made at home while those used in the cities were made at neighboring farming districts. However, in cities having sophisticated culture and ample economic power, a variety of decorations and offerings for annual events were developed by specialists. Furthermore, in castle towns where the differences in family status and economic power created social order of the district, hinamatsuri held at home to which people were invited was the occasion to display the family's status and economic power. It is also believed that hinamatsuri became a place for Japanese sweets makers to compete in their skills. The people who made oshie-hinagashi, on the other hand, were thought to be women who learned sewing as part of their school education after the Meiji period. They showed their sewing skills by making decorations and offerings. Moreover, it is believed that they played a role in spreading decorations and offerings for hina dolls to areas surrounding the city of Tsuruoka. In the Shonai district many kinds of decorations and offerings other than hinagashi and oshie-hinagashi have been decorated and offered at hinamatsuri. These include such things as kasafuku, or strings of lucky objects hung from parasols, and gotenmari, or hand-embroidered balls. It may be said that this tradition is a concrete example of how decorations and offerings take root in close relation with the life of the people and that in it one can see a glimpse of the common people's desire to rise in the world.

著者

近藤 静乃

雑誌

無形文化遺産研究報告 = Research and Reports on Intangible Cultural Heritage

巻号頁・発行日

no.3, pp.21-36, 2009-03-31

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This paper is a report on Buddhist rituals which the author attended in 2008. Until now she has been studying the relationship between shomyo (Buddhist chants) and gagaku in medieval Buddhist rituals and in particular tsukemono, a method of accompaniment in which gagaku instruments are used to accompany shomyo. She has analyzed the way in which tsukemono has been performed based on a study of traditional scores. In reality, majority of shomyo is not accompanied by tsukemono, which requires a high level of musical skills of both shomyo and gagaku. In fact, tsukemono is used only in very few Buddhist rituals. So the author selected Buddhist rituals conducted today in which tsukemono or tsukegaku (independent music which is performed with shomyo by an ensemble of gagaku) that retains aspects of medieval days is played. The Buddhist rituals she studied are: (1) Oeshiki March 22 Horyuji temple (Nara) (2) Gyoki-daie April 21_22 Chion-in temple (Kyoto) (3) Manbu-oneri May 1 Dainenbutsuji temple (Osaka) (4) Osenbo-ko May 30 Sanzen-in temple (Kyoto) (5) Hoon-ko November 28 Higashi-honganji temple (Kyoto) The following three points were noted in each of the Buddhist ritual studied.1. The program of each Buddhist ritual was made into a table, noting what the author considered to be the structural features: introduction, development and conclusion.2. The role of tsukemono and tsukegaku was confirmed and their functions in the progress of Buddhist rituals were studied.3. Musical characteristics of the method of performing tsukemono and tsukegaku were studied. As a result, it was found that music accompanied by tsukemono is used in the introductory and concluding portions of Buddhist rituals, that it is characterized by a simple melody and that it does not obstruct the melody of shomyo. On the other hand it was found that by adding tsukegaku to voices of priests in the middle of Buddhist rituals, depth is given to the sound and a trance-like atmosphere is created. Of the five Buddhist rituals studied, tsukemono in its true sense was found in wasan (shomyo sung in Japanese syllables of 7+5) of Oeshiki and kada (verses written in Chinese style with 4 lines of 7 or 5 Chinese characters per line) of Osenbo-ko and Hoon-ko. The others were either tsukegaku or music similar to it (performed with a single note as in tsukemono but with an independent melody of shomyo).

著者

高桑 いづみ

雑誌

無形文化遺産研究報告 = Research and Reports on Intangible Cultural Heritage

巻号頁・発行日

no.10, pp.76-90, 2016-03-31

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The theme of the 10th Open Lecture of the Department of Intangible Cultural Heritage was the relationship between the accent of the lyrics and the melody of traditional Japanese songs. In the lecture, the present author reproduced the melody of a noh chant in the Momoyama era and requested a noh player to sing the old melody in order to verify to what extent the melody of the chant reflects the accent of the Muromachi era. There are many music scores of "Matsukaze" dating to the Momoyama era that remain today. In Jinkaisho , a writing of the Momoyama era that was used as reference in making the reproduction, the melody of a noh chant is expressed by means of scale terminology used in gagaku in addition to the usual goma (sesame)-shaped marks placed on the side of the lyrics. A study of this example indicated that the direction of the goma and the transition in the scale correspond, that when the goma mark falls to the right the melody also falls. So, in order to reproduce "Matsukaze," the marks found in music scores of noh chants were studied. As a result, it was found that in comparatively many cases the melody follows the accent to a great extent. It was also found that in the case of homonyms, the melody is changed according to the accent so that it is possible to distinguish the meaning. For example, the word for "night" and that for "to approach" both have the same sound "yoru," but their accents differ. This difference in meaning was expressed by following the difference in accent. Such distinction, however, is not made today. The progression of notes in noh chant of the Momoyama era is also different from that of today. According to HIROSE Masaji, the supplementary mark イ attached to the goma mark indicates intermediary notes on a scale which were chanted then but are not today. But that theory, too, has been proven not correct in the process of reproducing "Matsukaze." The progression of notes in the reproduced melody became more detailed than that of noh chant today which do not necessarily follow the accent of spoken Japanese. However, the author thinks that by being released from the restrictions of the accent of a given time, noh has become a more universally accepted genre of performing arts.