神事芸能の細男(せいのう)について

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細男（人間が演ずる芸能と傀儡戯）は日本芸能史上の謎の一つである。従来は九州の八幡宮放生会の視点より理解され、九州より近畿に伝播したという暗黙の理解があった。それに対して本稿では、人間の芸細男は奈良・京都の大寺社における芸能構成の一つとして成立した、とみる。東大寺では九世紀末、京の御霊会では一一世紀にみられ、一二世紀には白面覆と鼓の細男が確認できる。春日若宮祭礼でも平安期より祭礼に登場している。宇佐八幡宮放生会には、近畿より人間芸細男が伝播し、元寇撃退の神威発揚を象徴する儀礼として神話的に意味付けらた。これは八幡縁起や縁起絵の変貌と軌を一にするものであった。柞原八幡や阿蘇の細男は宇佐より伝播した。大鳥社・諏訪社・杵築社へは、一宮・国衙型祭祀の一環として伝播した。一方、鎌倉期には石清水八幡宮を中心に傀儡戯の細男が確認できる。それは大山崎神人が勤める日使頭祭において演じられ、二体の傀儡（武内と高良神）の打ち合わせである。鎌倉期の宇佐放生会にも傀儡戯が存在したが、これは細男とは認識されていない。宇佐の傀儡や細男は百太夫を祀った。柞原八幡の細男は傀儡戯ではないが、ここにも傀儡の痕跡があり、善神王や武内が傀儡の神であった。細男と傀儡とは不可分の関係であり、人間芸の細男舞は傀儡神を和ませる意味をもっていたといえる。宇佐の放生会頓宮における夷社や柞原八幡の浜殿における善神王や武内大神は、放生会に立つ市・市神としての夷・夷を斎く傀儡の関係を象徴している。

Sei-no-o, a dance performed by human being and marionette, is one of the riddles in the history of Japanese performing art. Conventionally, Sei-no-o has been understood from the viewpoint of Hōjōe (ceremony in which captured animals and fish are released to mountains, fields, ponds, rivers, etc. on the basis of Buddhist thought) at the Hachiman Shrine in Kyūshū, and there was an implicit understanding that it was transmitted from Kyūshū to the Kinki District. In contrast to this understanding, the author considers that Sei-no-o performed by human beings came into being as one of the artistic elements at large temples and shrines in Nara and Kyōto. Sei-no-o dates back to the end of the 9th century at the Tōdai-ji Temple, and to the 11th century at the Goryōe (ceremony to placate revengeful spirits) in Kyōto. The existence in the 12th century of Sei-no-o with a white mask and a drum has been proven. At the Wakamiya Festival of the Kasuga Shrine, Sei-no-o appeared at festivals from the Heian period on. In the Middle Ages, Sei-no-o was also seen at the Hōryū-ji Temple.The Sei-no-o performed by human beings was transmitted from the Kinki District to the Hōjōe of the Usa Hachiman Shrine, where it was given a mythological significance as a ceremony symbolizing the enhancement of divine prestige after the repulsion of the Mongol invasions. It followed the same pattern as the transformation of the Hachiman Engi (History of the Hachiman Shrine) and its illustrated history. Sei-no-o was also transmitted from Usa to Yusuhara Hachiman and Aso. It was transmitted to Ōtori, Suwa and Kitsuki Shrines as a part of the religious rites of the first-local-shrine and local-government type.On the other hand, the existence of Sei-no-o performed by a marionette in the Kamakura period centering around the Iwashimizu Hachiman Shrine can be proven. It was performed by two marionettes (Takeuchi and Korashin) at the Hinotō Festival served by Oyamazaki Jinin (subordinates at the shrine of Oyamazaki). Marionette performances also existed at the Hōjōe of Usa in the Kamakura period, but these are not recognized as Sei-no-o. The marionette performances and Sei-no-o of Usa were dedicated to Hyakudayū (guardian deity of marionette players). The Sei-no-o of Yusuhara Hachiman Shrine is not a marionette performance, either ; however, traces of marionette performance do remain, and Zenjinō and Takeuchi were the gods of marionette players. Sei-no-o and marionettes were inseparably related to each other, and it can be said that the Sei-no-o dance by human beings had the meaning of placating the gods of marionettes. The gods Zenjinō and Takeuchi Okami (the great god of Takeuchi) at the Ebisu Shrine in the Tongu (temporary shrine) of the Hōjōe of the Usa Hachiman Shrine, and at the Hamadono of the Yusuhara Hachiman Shrine, symbolize the relationship between the market established at the Hōjōe, Ebisu as the god of commerce, and the marionettes that serve Ebisu.

source:https://www.rekihaku.ac.jp/outline/publication/ronbun/ronbun2/index.html#no50

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