1. Author Affiliation: University of California Santa Barbara.
2. Religions 2022, 13(7), 582.
關鍵詞
Gagaku; Japanese performing arts; Kagura; ritual and performance; Kuroda Toshio; Raitawara no gi (Song of Ratnapāla)
摘要
Contrary to the widespread assumption in the study of Japanese religions that Kagura is historically the main genre of performing arts at Shintō festivals, something dating back to the beginning of Japanese history, in this article I focus instead on Gagaku (and its Bugaku dance repertory) as a central component of rituals, ceremonies, and festivals not only at the imperial court but also and especially at many temples and shrines across the country. While Gagaku and Bugaku were deeply rooted in the Kansai area, with guilds of hereditary professional musicians affiliated with, respectively, the imperial court in Kyoto, Kasuga-Kōfukuji in Nara, and Shitennōji in Osaka, and with the most lavish performances being held at temples and shrines in the region, those art forms had already spread to the provinces by the end of the Heian period. This article investigates some of the connections between religious ideas, rituals, and musical performances in relation to Kuroda Toshio’s concept of the exo-esoteric system (kenmitsu taisei) and the creative use of Buddhist canonical sources that such connections originated.
目次
Abstract 1 Keywords 1 1. Introduction 1 2. Before Kagura 2 3. Performing Arts and the Exo-Esoteric System (kenmitsu taisei) 4 4. Gagaku and Buddhism 6 5. Gagaku and Bugaku at Religious Ceremonies 8 6. A Typical Bugaku hōyō: Shōryō-e at Shitennōji (Osaka) 15 7. Canon, Ritual, and Musical Performance 17 8. Conclusions 19 Abbreviations 20 Notes 21 References 22 Primary Sources 22 Notes 22 Secondary Sources 22
