{"created":"2023-05-15T14:45:52.687809+00:00","id":739,"links":{},"metadata":{"_buckets":{"deposit":"e5cfa679-eaa4-4d9d-bb10-306768e4f715"},"_deposit":{"created_by":3,"id":"739","owners":[3],"pid":{"revision_id":0,"type":"depid","value":"739"},"status":"published"},"_oai":{"id":"oai:rekihaku.repo.nii.ac.jp:00000739","sets":["21:94"]},"author_link":["2175","2176"],"control_number":"739","item_10002_biblio_info_7":{"attribute_name":"書誌情報","attribute_value_mlt":[{"bibliographicIssueDates":{"bibliographicIssueDate":"1995-01-20","bibliographicIssueDateType":"Issued"},"bibliographicPageEnd":"216","bibliographicPageStart":"199","bibliographicVolumeNumber":"62","bibliographic_titles":[{"bibliographic_title":"国立歴史民俗博物館研究報告","bibliographic_titleLang":"ja"},{"bibliographic_title":"Bulletin of the National Museum of Japanese History","bibliographic_titleLang":"en"}]}]},"item_10002_description_19":{"attribute_name":"フォーマット","attribute_value_mlt":[{"subitem_description":"application/pdf","subitem_description_type":"Other"}]},"item_10002_description_5":{"attribute_name":"抄録","attribute_value_mlt":[{"subitem_description":"王の舞は平安末期から鎌倉期にかけて，おもに中央の大社寺でおこなわれていた祭礼で田楽・獅子舞等にさきだって演じられていた。現在でも16ケ所で伝承されている若狭地方をはじめ，ひろい地域に分布している。王の舞は一般に赤い鼻高面と鳥甲をかぶり裲襠装束を着用して，前段は鉾を持ち後段は素手で四方を鎮めるように舞う。舞楽にみられる剣印を含み，太鼓や笛などで囃すというものである。本稿は王の舞にまつわる各論の第一歩を踏み出すべく，「もどき」をともなう王の舞をとりあげてみたい。\n「もどき」をともなう王の舞が少数ながら存在している。そもそも王の舞は１人で演じるものであったから，きわめて特異な存在形態であると考えられる。しかも，こうした事例は「もどき」をともなう王の舞が赤と青の対比を構成していた可能性を感じさせる。すなわち，青を強調する存在が赤を強調する存在に対して，「もどき」を演じていたらしいのである。\n一方，王の舞が変化したものと思われる事例も，多く赤と青の対比を構成していた。各地に伝播した王の舞が青を強調する存在を派生させて，赤と青の対比を構成する一対の存在に転化していったのだろうか。青を強調する存在は必ずしも「もどき」をしのばせる所作や扮装をともなっていないが，やはり派生した存在である。広義の「もどき」に含めてしまっていいのかもしれない。\nかくも特異な存在形態は舞楽における番舞をしのばせる。とりわけ散手・貴徳は王の舞の源流であったかと思わせるぐらいよく似ている。舞楽にみられる赤と緑色（青）の対比が後世の王の舞にも波及していた、その可能性はきわめて大きいはずである。いずれにしても，青い王の舞が赤い王の舞に対する広義の「もどき」であったことは，観客の演劇的想像力を触発するべく導き出された演出の形式であった。そう考えておきたい。","subitem_description_type":"Abstract"},{"subitem_description":"“Oh-no-Mai (King's Dance)” was held before the events such as a “Dengaku (a specific type of performance including acrobatics)” and also the “Shishimai (lion dance)” at festivals held in the main big temples and shrines from the end of the Heian to the Kamakura period. At present, it has spread widely in Japan, but especially to the Wakasa district where it is transmitted down the generation in 16 places. Generally, in the “Oh-no-Mai”, a performer wears a red mask with a high nose, “Torikabuto (headpiece shaped like a bird)” and “Ryōto-Shōzoku (long overgarment)” and dances with a halberd at the former part of the performance and with bare hands as if he were calming the spirits at the four corners at the latter part. It includes the symbolic signs of the sword seen in the “Bugaku (Traditional music and dance of the Japanese imperial court)” and of the drums and flutes which accompany the dance. In this paper, I would like to discuss the “Oh-no-Mai” with a “Modoki (jester)”, in order to advance our reasoning on this subject.\nA few specimens of the “Oh-no-Mai” with a “Modoki” exist. However, this style is very peculiar because the “Oh-no-Mai” was originally performed by only one dancer. Moreover we can realize, from a consideration of these examples, that the “Oh-no-Mai” with a “Modoki” might have made use of the contrast between red and blue. It suggests that a performer who emphasized blue seemed to played a role of “Modoki” against one who emphasized red.\nOn the other hand, some examples which were transferred from those in the “Oh-no-Mai” also made a contrast between red and blue. The “Oh-no-Mai” which spread to various places developed in a way which created a character who emphasized blue and might have changed into the dance of couples who used the contrast between red and blue. In such a case, although the performer who emphasized blue does not always perform in a way or wear a mask or costume which reminds us of a “Modoki”, it could be included in “Modoki” in a broad sense.\nSuch persisting style reminds us of “Tsugaimai (pair dance)” in “Bugaku”. In particular, “Sanju (Sanju-Hajinraku: a type of “Bugaku” with heroic dance)” and “Kitoku (a type of “Bugaku” with a mask and halberd)” so closely resemble the “Oh-no-Mai” that as we feel as if they were the original styles of “Oh-no-Mai”. The possibility that the contrast of red and green (blue) in “Bugaku” was an influence on the “Oh-no-Mai” of later periods must be very high. In any case, I would like to conclude that the blue “Oh-no-Mai” was “Modoki” in a broad sense in contrast with the red “Oh-no-Mai” and was a style of production introduced to stimulate the theatrical imagination of audience.","subitem_description_type":"Abstract"}]},"item_10002_heading_23":{"attribute_name":"見出し","attribute_value_mlt":[{"subitem_heading_banner_headline":"共同研究「日本人の色彩感覚に関する史的研究」","subitem_heading_language":"ja"},{"subitem_heading_banner_headline":"Joint Study: Historical Study on the Sense of Color of Japanese","subitem_heading_language":"en"}]},"item_10002_identifier_registration":{"attribute_name":"ID登録","attribute_value_mlt":[{"subitem_identifier_reg_text":"10.15024/00000722","subitem_identifier_reg_type":"JaLC"}]},"item_10002_publisher_8":{"attribute_name":"出版者","attribute_value_mlt":[{"subitem_publisher":"国立歴史民俗博物館","subitem_publisher_language":"ja"}]},"item_10002_relation_17":{"attribute_name":"関連サイト","attribute_value_mlt":[{"subitem_relation_name":[{"subitem_relation_name_text":"第62集 収録論文 タイトルリスト"}],"subitem_relation_type_id":{"subitem_relation_type_id_text":"https://www.rekihaku.ac.jp/outline/publication/ronbun/ronbun3/index.html#no62","subitem_relation_type_select":"URI"}}]},"item_10002_source_id_11":{"attribute_name":"書誌レコードID","attribute_value_mlt":[{"subitem_source_identifier":"AN00377607","subitem_source_identifier_type":"NCID"}]},"item_10002_source_id_9":{"attribute_name":"ISSN","attribute_value_mlt":[{"subitem_source_identifier":"0286-7400","subitem_source_identifier_type":"PISSN"}]},"item_10002_version_type_20":{"attribute_name":"著者版フラグ","attribute_value_mlt":[{"subitem_version_resource":"http://purl.org/coar/version/c_970fb48d4fbd8a85","subitem_version_type":"VoR"}]},"item_creator":{"attribute_name":"著者","attribute_type":"creator","attribute_value_mlt":[{"creatorNames":[{"creatorName":"橋本, 裕之","creatorNameLang":"ja"},{"creatorName":"ハシモト, ヒロユキ","creatorNameLang":"ja-Kana"}],"nameIdentifiers":[{}]},{"creatorNames":[{"creatorName":"Hashimoto, Hiroyuki","creatorNameLang":"en"}],"nameIdentifiers":[{}]}]},"item_files":{"attribute_name":"ファイル情報","attribute_type":"file","attribute_value_mlt":[{"accessrole":"open_date","date":[{"dateType":"Available","dateValue":"2016-04-01"}],"displaytype":"detail","filename":"kenkyuhokoku_062_08.pdf","filesize":[{"value":"1.1 MB"}],"format":"application/pdf","licensetype":"license_note","mimetype":"application/pdf","url":{"label":"kenkyuhokoku_062_08.pdf","url":"https://rekihaku.repo.nii.ac.jp/record/739/files/kenkyuhokoku_062_08.pdf"},"version_id":"91a4c3b4-f0b4-4727-b853-d5be61feb44a"}]},"item_language":{"attribute_name":"言語","attribute_value_mlt":[{"subitem_language":"jpn"}]},"item_resource_type":{"attribute_name":"資源タイプ","attribute_value_mlt":[{"resourcetype":"departmental bulletin paper","resourceuri":"http://purl.org/coar/resource_type/c_6501"}]},"item_title":"赤と青 : 「もどき」をともなう王の舞（Ⅲ. 文化論的アプローチ）","item_titles":{"attribute_name":"タイトル","attribute_value_mlt":[{"subitem_title":"赤と青 : 「もどき」をともなう王の舞（Ⅲ. 文化論的アプローチ）","subitem_title_language":"ja"},{"subitem_title":"Red and Blue : “Oh-no-Mai (King's Dance)” with a “Modoki (jester)”（III. Cultural Approach）","subitem_title_language":"en"}]},"item_type_id":"10002","owner":"3","path":["94"],"pubdate":{"attribute_name":"PubDate","attribute_value":"2016-04-01"},"publish_date":"2016-04-01","publish_status":"0","recid":"739","relation_version_is_last":true,"title":["赤と青 : 「もどき」をともなう王の舞（Ⅲ. 文化論的アプローチ）"],"weko_creator_id":"3","weko_shared_id":-1},"updated":"2023-08-16T05:46:27.470439+00:00"}