@article{oai:rekihaku.repo.nii.ac.jp:00001259,
 author = {東野, 治之 and Tono, Haruyuki},
 journal = {国立歴史民俗博物館研究報告, Bulletin of the National Museum of Japanese History},
 month = {Feb},
 note = {application/pdf, 大嘗会の際に設けられる標の山は、日本の作り物の起源に関わるものとされ、主として民俗学の分野からその意義が注目されてきた。しかしその歴史や実態については、いまだ未解明の点も多い。本稿では、まず平安初期の標の山が中国風の装飾を凝らした大規模なものであったことを確認した上で、『万葉集』に見られる八世紀半ばの歌群から、新嘗会の標の山が、同様な中国風の作り物であったことを指摘する。大嘗会は本来新嘗会と同一の祭りであり、七世紀末に分離されて独自の意味をもつようになったとされるが、そうした経緯からすれば、この種の作り物が、当初から中国的な色彩の濃いものであったことも容易に推定できる。そのことを傍証するのが、和銅元年（七〇八）の大嘗会の状況であって、それを伝えた『続日本紀』の天平八年（七三六）の記事は、作り物の橘が金銀珠玉の装飾とともに用いられていたことを示している。従って、大嘗会の標の山は、大嘗会の成立に近い時点で中国的な性格を持っていたわけで、その特色はおそらく大嘗会の成立時点にまで遡るであろう。このように見ると、標の山は神の依り代として設けられたもので、本来簡素な和風のものであったが、次第に装飾が増え中国化したとする通説には大きな疑問が生じる。そこで改めて標の山の性格を考えると、その起源は、すでに江戸時代以前から一部で言われてきたように、儀式進行上の必要から設けられた標識にあり、それが独自の発展を遂げたものと解すべきである。
なお、大嘗会の標の山について、その形態をうかがわせる史料は限られているが、元慶六年（八八二）の相撲節会に用意された標の山に関しては、菅原道真が作った文から詳細が判明し、大きさや装飾が大嘗会のものと類似していたことがわかる。この文についての従来の読みには不十分な点があるので、改めて訓読を掲げ参考とした。, The hyo-no-yama (shime-no-yama) erected when the Daijo-e Festival takes place is believed to be related to the origins of tsukuri-mono (models, fabricated things) in Japan and attention has been paid to it its significance mainly in the field of folklore studies. However, there are many facts about its history that remain unknown. This paper confirms that in the early Heian Period hyo-no-yama were large-scale copies of Chinese style decorations and I also suggest that the hyo-no-yama of the Shinjo-e that is mentioned in a collection of poems from the mid 8th century that appear in the Man'yoshu (Anthology of Poems) were the same kind of tsukuri-mono made in the Chinese style. The Daijo-e Festival was originally the same festival as the Shinjo-e and it is thought that they diverged and came to have their own meanings around the end of the 7th century. Viewed from the perspective of these circumstances one may easily conjecture that from the beginning this kind of tsukuri-mono was imbued with a strong Chinese flavor. This is corroborated by the circumstances of the Daijo-e that took place in 708 AD which are mentioned in a 736 entry in the Shoku Nihongi (Chronicles of Japan) that shows that fabricated mandarin oranges were used together with decorations of gold and silver jewels. Consequently, given that the hyo-no-yama of the Daijo-e Festival possessed a Chinese character at a point near the establishment of the Daijo-e, this characteristic is most likely to date back to the time when the Daijo-e Festival was established. This calls into question the accepted theory that holds that since hyo-no-yama were erected as a medium or symbol for the spirit of kami (yori-shiro) they were originally a simple Japanese style object that took on a Chinese flavor as they gradually became more and more decorative. Considering the character of the hyono-yama in this new light we may conclude that as has been articulated in some quarters even prior to the Edo Era, they were signs that were erected owing to the necessities of the progression of rituals, which developed independently.
Although materials that provide a description of the form of the hyo-no-yama in the Daijo-e Festivals are limited, there is a clear description of the hyo-no-yama prepared for the Sumai-no-Sechie held in 882 in the writings of Sugawara-no-Michizane, from which we learn that in terms of size and decoration they resembled those used in Daijo-e Festivals. Because previous readings of this text contain a number of insufficiencies, reference was made to it in this instance by providing a Japanese reading of the text., 一部非公開情報あり},
 pages = {21--32},
 title = {大嘗会の作り物 : 標の山の起源と性格},
 volume = {114},
 year = {2004},
 yomi = {トウノ, ハルユキ}
}