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研究発表 住吉明神と白楽天 ―中世における翁の形象化をめぐって―
https://doi.org/10.24619/00002669
https://doi.org/10.24619/000026699b58161b-5193-45e0-bf58-6fe78830fd1c
| 名前 / ファイル | ライセンス | アクション |
|---|---|---|
研究発表 住吉明神と白楽天 ―中世における翁の形象化をめぐって― (6.6 MB)
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| Item type | 会議発表論文 / Conference Paper(1) | |||||
|---|---|---|---|---|---|---|
| 公開日 | 2016-10-07 | |||||
| タイトル | ||||||
| タイトル | 研究発表 住吉明神と白楽天 ―中世における翁の形象化をめぐって― | |||||
| タイトル | ||||||
| タイトル | Sumiyoshi Myoujin and Bo Ju-yi\nRegarding the creation of the medieval image of the Okina | |||||
| 言語 | en | |||||
| 言語 | ||||||
| 言語 | jpn | |||||
| 資源タイプ | ||||||
| 資源タイプ識別子 | http://purl.org/coar/resource_type/c_5794 | |||||
| 資源タイプ | conference paper | |||||
| ID登録 | ||||||
| ID登録 | 10.24619/00002669 | |||||
| ID登録タイプ | JaLC | |||||
| 著者 |
金, 賢旭
× 金, 賢旭× KIM, Hyeon Wook |
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| 抄録 | ||||||
| 内容記述タイプ | Abstract | |||||
| 内容記述 | Much about the origins of Okina Sarugaku, which can be said to be the roots of Noh and other Japanese performing arts, remains a mystery, and the issues of the origins and creation of the Okina deity itself have yet to be fully brought to light. The problem of the beginnings of Okina Sarugaku must be examined through that of the Okina deity in Japan, and in doing so the Sumiyoshi Myojin is often regarded as offering the best documented case of the development of the Okina figure from ancient to medieval times. As for the appearance of the Sumiyoshi Myojin, a deity of national importance, as an old man, it can be assumed that the memory of the ancient god of the sea lanes, Shiotsutsu-no-oji, had remained, but beyond this deep ties to the image of Hitomaro such as can be seen in the Rokjou family’s portrait of him (Hitomaro Eigu) must also be examined. In addition, the Chinese image of Bo Ju-yi as well as the world depicted in Bo Ju-yi’s works may also show to have offered a direct influence. According to Bo Ju-yi’s poetic collection, Ju-yi held the “Shangchi-hui (Shoushi-kai)” and made a screen with this meeting depicted on it. Later a screen showing seven old men at the Shangchi-hui was brought to Japan, which brought about a boom in Shoushi-kai meetings and the creation of screen paintings of the event in the Heian period. This influence by Bo Ju-yi in combination with the attraction during the Insei period to the mystical could be said to have been what brought about the wide-spread appearance of Okina figures in medieval times. The Sumiyoshi Myojin of ancient times was depicted as a deity who appeared as a “beautiful person (uruhashiki hito, according to the Sumiyoshi Taisha Jindaiki and other sources)”, but later in a variety of forms, such as a gray haired old man (Akazome Eimon-shu, etc.), an apparently destitute old man near the sea (Ise Monogatari Chiken-shou, etc.), or even as a child in red clothing (Gyokuden-shu, etc .). This presentation, by examining the many and varied legends of the Sumiyoshi Myojin through Bo Ju-yi and Kakinomoto no Hitomaro, and finally passing through the gateway of mystical philosophies, will look at the process by which the old man of ancient times evolved into the medieval Okina deity . |
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| 書誌情報 |
国際日本文学研究集会会議録 en : PROCEEDINGS OF INTERNATIONAL CONFERENCE ON JAPANESE LITERATURE 号 26, p. 195-203, 発行日 2003-03-01 |
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| 出版者 | ||||||
| 出版者 | 国文学研究資料館 | |||||
| ISSN | ||||||
| 収録物識別子タイプ | ISSN | |||||
| 収録物識別子 | 0387-7280 | |||||
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| 内容記述タイプ | Other | |||||
| 内容記述 | ||||||
