「岩戸神楽之起源」 / 立命館ARC

Kagura

Kagura is a style of dance that takes place during a festival to entertain the gods. The origin of this dance can be traced back through Japanese mythology. Two styles are commonly known: Mikagura, which was exclusively performed in the Imperial Palace, and Satokagura, which was performed for the public.

Kagura (divine entertainment) is a dance that takes place during a festival to entertain the gods.

It is a Shinto ritual originally called Kamukura (divine seat). The gods were invited to sit on Kamukura as people danced with torimono (divine items) such as a stalk of sakaki-tree branch. The origin of this dance came from Ame no Uzume no Mikoto (the goddess of dawn, mirth, and revelry) performing a dance on oke (a bucket) near Amano Iwato (The Heavenly Rock Cave), purposely tearing her clothes off to lure Amaterasu Ohmikami (the goddess of the sun and the universe) out of the cave. As it made other deities laugh, this later became a ritual dance to entertain the gods. Kagura was performed in the Imperial Palace. At the same time, it was widely known and loved among the public. While Kagura has developed into many styles, two are commonly known: Mikagura, which was exclusively performed in the Imperial Palace, and Satokagura, which was performed for the public.

In the fourth year of the Choho period (year 1002), Mikagura was performed for Emperor Ichijo at Naishi-dokoro. This became an annual event and is now called Kashiko-dokoro Mikagura. Satokagura has a different style in each region. There are two very famous Satokagura: Takachiho Yokagura, which is performed from mid-November through the beginning of February, and Izumo Kagura, which tells the story of the Izumo Shinwa (Izumo mythology).

Related People, Things and Events

A woman who plays the role of a Shinto priestess in a Shinto ritual is called a miko (shrine maiden), and the satokagura dances performed by miko are called mikokagura or mikomai.
The origin of kagura is said to be the dance of Amenouzume no Mikoto, which was performed in the legend of Iwato-gakure recorded in Kojiki (“The Record of Ancient Matters”) and Nihon Shoki (“Chronicles of Japan”).
At Ise Shrine, kagura can be performed in the kagura halls of the Inner and Outer Shrines.

Books

安倍季尚編,羽塚啓明校訂,日本古典全集刊行会
楽家録は、江戸時代初期に成立した全50巻に及ぶ雅楽全般についての集成的書物。雅楽の百科事典とも呼ばれる。1巻は神楽、2巻は神楽曲説、3巻は神楽歌字である。
広島県神職会賀茂郡支会編,広島県神職会賀茂郡支会
岩戸神楽の始まりに関する神話の解説を収録。
写
御神楽に歌う神楽歌の一種「神楽前張」を収録。
勝山忠三編,神職合議所
宮中祭祀の歴史と解説。現在の宮中祭祀においても、神楽の奉奏をともなう祭典が行われている。

Related Works

紹美栄祐作,By Jōmi Eisuke (1829–1900),シカゴ・コロンブス世界博覧会事務局寄贈,Gift of Japan Delegate Office for World's Columbian Exposition, Chicago,東京国立博物館,Tokyo National Museum
A dancing figure beside a fire is rendered by engraving and in inlay with metals of various colors, such as gold, silver, and copper.
伝源信義筆,東京国立博物館,Tokyo National Museum
神楽歌(かぐらうた)の写本として現存最古のもの。原表紙に「神楽歌信義自筆」と外題(げだい)が書かれ、笛の名手源信義(醍醐天皇曾孫)筆とされる。その確証はないが、書風から、信義とほぼ同時代の10世紀の書写と推定される。裏面には「毛詩並毛詩正義」の残巻で唐時代の写本。
春信, -
錦絵、美人画で人気を博した鈴木春信による、子どもたちの神楽。着物や小物に当時の風俗を見てとれる。
広貞, -
歌舞伎役者中村翫雀と中村玉七が、獅子舞の原型といわれる大神楽を舞う様子を描いた浮世絵。
年昌
月岡芳年門下の浮世絵師、枝年昌による天岩戸伝説の浮世絵。
芳年
月岡芳年が描いた天岩戸伝説の浮世絵。月岡芳年は、多彩な画題をのこした浮世絵師。幕末から明治にかけて活躍し、「最後の浮世絵師」と呼ばれることもある。