@article{oai:rekihaku.repo.nii.ac.jp:00002780,
 author = {髙山, 慶子 and Takayama, Keiko},
 journal = {国立歴史民俗博物館研究報告, Bulletin of the National Museum of Japanese History},
 month = {Nov},
 note = {application/pdf, お竹大日如来とは、江戸で下働きをしていた竹という名の女性が、大日如来として出羽国に祀られたものである。幕末の江戸の落語家である入船扇蔵が収集した摺物を貼り合わせた『懐溜諸屑<ふところにたまるもろくず>』には、嘉永二年(一八四九)にお竹大日如来の出開帳が江戸で行われた際に版行された単色墨摺りの一枚摺「於竹大日如来縁記(起)」が貼り込まれている。本稿はこの一枚摺を手がかりに、お竹大日如来の由来や成り立ち、およびお竹大日如来を取り上げた摺物や関連する出版物を検討し、江戸庶民の信仰や文化のありようを摺物に着目して明らかにするものである。
分析の結果、お竹大日如来は由来や成り立ちに厳密な正確さを欠くこと、それでも広く受容される神仏になったことを指摘した。嘉永二年の出開帳に際しては大量の出版物が版行されたが、複数の業者が販売目的で作成した縁起は記述が一定せず、内容の不正確さは助長されたと考えられる。また、お竹大日如来には娯楽としての役割も期待され、錦絵などの一枚摺の版行だけではなく、お竹大日如来に関する創作が著されたり、お竹大日如来を「おためだいなしわるい」と滑稽化したり、大日如来ならぬ大日用菩薩として見世物とされたりした。江戸の人びとはお竹大日如来を信仰としてだけではなく、むしろ信仰以上に娯楽として受容したが、多種多様な出版物の流布は、信仰と娯楽(聖と俗)の混交という現象を、進行・助長させる役割を担ったと考えられる。, Otake Dainichi Nyorai was a woman by the name of Take who worked as a servant in Edo and was enshrined in Dewa Province as the reincarnation of the Dainichi Nyorai Buddha. Futokoroni-Tamaru- Morokuzu (“A Scrapbook of Odds and Ends”) is a collection of surimono (a type of woodblock print) gathered by Senzo- Irifune, a rakugo performer in Edo during the Bakumatsu period. This collection contains an ichimaizuri (single page print) in monochromatic ink called “Otake Dainichi Nyorai Engi,” which was printed when a degaicho (public exhibition of treasures) was held for Otake Dainichi Nyorai in Edo in the second year of the Kaei era (1849). This paper makes use of this ichimaizuri to examine the origins and story of Otake Dainichi Nyorai in addition to examining surimono and related published documents in order to better understand the beliefs and culture of the Edo public through surimono.
Analysis showed that Otake Dainichi Nyorai became widely accepted as a figure in Japanese syncretic Buddhism despite a lack of specific details regarding her origins and story. A great deal of publications were printed at the time of the degaicho in 1849, but the accounts vary due to being produced by multiple merchants for the purpose of boosting sales, thus creating doubt about their veracity. Otake Dainichi Nyorai was also seen as serving a role as entertainment; in addition to the publication of surimono and other ichimaizuri, fictional works were written, she was parodied as “otame dainashi warui” (a parodic mispronunciation of her name), and she was presented as a parodic bodhisattva rather than the reincarnation of Dainichi Nyorai. Not only an object of religious faith, she was rather a source of entertainment beyond faith to the people of Edo. The various publications circulated show that Otake Dainichi Nyorai served to advance and promote a phenomenon wherein faith and entertainment were intertwined.},
 pages = {53--80},
 title = {[論文] お竹大日如来と江戸の庶民信仰 : 『懐溜諸屑』を手がかりに},
 volume = {222},
 year = {2020},
 yomi = {タカヤマ, ケイコ}
}