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Strange Creators of Outer World/Introduction of Previous Works/Hopeless Masquerade/Fragment of Phantasy

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幻想のもと②

Fragment of Phantasy

Fragment of Phantasy 2
東方Projectにちりばめられた、様々な幻想の欠片を覗き見るコラム。2本目は、何作かにわたって登場する複数のネタについて
その根本的な部分からたどっていきます。

文/塩田信之

A column dedicated to examining various legends scattered throughout the Touhou Project. In this second piece, we'll be tracing the various stories that appear over the course of several titles, starting with their fundamentals.

Writer: Nobuyuki Shioda

あらゆるものに〝神性〟は宿る!? Divinity dwells in all things?!
八百万の神をいただく日本人にとっては特に不可思議なことではないのですが、長い年月を経たもんは生物無生物を問わず魂あるいは霊などの類を宿すようになるという考え方があります。例えば樹木や岩、そして山そのものを神あるいは紙を宿した「ご神体」と崇めることは日本に限らず人間が文明を獲得する前から行ってきたと思われます。暖かい光で世界を照らしてくれる太陽、移り変わる季節を運び時に吹きすさび荒れる風、雨を降らし洪水を引き起こすこともある雷などさまざまな自然現象を恐れ神として祀り上げることは世界中で往々にしてありました。 This is not particularly strange to the Japanese, since they're blessed by the Yaoyorozu-no-Kami, but there is a belief that after a long period of time, every organism and inanimate object will come to harbor a soul or spirit. For example, it is believed that worshipping trees, rocks, and mountains as "Go-shintai" inhabited by gods (or "kami") has been practiced not only in Japan, but also before human civilizations were established.

The sun, with its warm light illuminating the world, the winds that sometimes blow wildly as they carry the changing seasons, and the rain and thunder that sometimes cause floods. These natural phenomenon have often been feared and worshipped as deities throughout the world.

もっとも、自然物そのものを神と崇める習慣は文明が発達するに従って衰退していく傾向があります。それは信仰の根源に「畏れ」があったからで、衣服や家屋が発達していけば雨風はしのぎやすくなりますし、治水灌漑が進んでいけば、水害を減らし農作物の育成に利用できるようになります。もちろん人間の手ではコントロールできない自然現象もたくさんあり続けますが、常日ごろから畏れる必要は減っていきますから、神としての存在感も薄れていくわけです。また、かつては山だったり巨木だったりした神々が、人間のような名前を持ち、絵や像などが造られることで人間に似た姿を獲得していきます。さらには「神話」によって人間と同じように生活したり、喜怒哀楽の感情を持つことがわかってくると、それらの神々が元々自然現象由来であったとしても、感情移入ができたり親近感を感じる「神様」に変わっていったのではないかと思います。 However, the custom of worshipping natural elements as gods tends to decline as civilization develops. This was because faith was rooted in "fear". As clothing and houses were developed, rain and wind would become easier to shelter from, and as river control and irrigation progressed, less flooding would occur and the land could be used for agriculture. Of course, there are still many natural phenomena beyond human control, but there is less need to fear them on a daily basis, so their divine significance also diminishes.

In addition, the gods, who were once mountains or giant trees, took on human-like names, while paintings, statues, and other forms of creation gave them human-like appearances. Furthermore, as "myths" began to reveal that these deities lived like humans and had the same emotions as them, they became "gods" that people could relate to and empathize with, even if they were originally derived from natural phenomena.

日本の文明が形になり始めた時は、先進的な技術を持った恐らくは外来の人々が「倭」と呼ばれる国家を作って、「高天原からやってきた神々の子孫」として統治を始めました。最高神アマテラスは太陽を神格化した存在ですが、神話自体ずいぶん後にまとめれらたせいなのか、弟の乱暴狼藉に塞ぎ込んでしまったり、地上に降りて人間たちを支配する子孫を心配する母か祖母のようなイメージで描かれています。氾濫する河川のイメージが怪物のように描かれたとされるヤマタノオロチも、当初娘を生贄に差し出さねばならない恐ろしい存在だったのに、天下った神スサノオに退治されてしまいます。恐らくは自然現象を神格化した存在が多かった日本土着の神々(国津神)は、高天原からやってきた天津神に制圧されたり懐柔されていきます。軍門に下らなかった神々は「まつろわぬもの」として鬼や妖怪の類に貶められていったわけです。自然現象に対する畏敬の念はまったく失われてしまったわけではありませんし、神社には「ご神体」として変わらず大切にされてはいましたが、聖徳太子の時代から日本で流行していった仏教の勢いには勝てませんでした。 When Japanese civilization began to take shape, a group of ancient people—presumably foreigners possessing advanced technology—created a nation called "Wa" (i.e Japan) and began to rule as "descendants of the gods who had come from Takamagahara". The supreme deity Amaterasu is the apotheosis of the sun, but perhaps because her mythology was compiled much later, she is depicted here as a mother/grandmother who is depressed by her brother's violent behavior and anxious about her offspring who'll descend to earth to rule over mankind.

Yamata-no-Orochi, who is said to have been depicted as a monster in the image of a flooding river, was also initially a terrifying being who required daughters as a sacrifice, only to be vanquished by the god Susanoo after he had descended from the heavens. Perhaps because many of the native Japanese deities (Kunitsukami) were divinities of natural phenomena, the Amatsukami hailing from Takamagahara had either suppressed or pacified them. The gods who did not fall under military command were regarded as "disobedients" and reduced to being demons or youkai. Although the reverence for natural phenomena was not entirely lost, and shrines were still valued as Go-shintai, they could not compete with the momentum of Buddhism, which had been prevalent in Japan since the reign of Prince Shoutoku.

妖怪・付喪神としての復権 Reinstatement as a youkai/tsukumogami
古い道具などに霊や命が宿る妖怪が「付喪神」として知られるようになるのは、室町時代に作られた『付喪神絵巻』と通称される絵巻物からと考えられています。その後『百鬼夜行絵巻』(室町末期以降)に妖怪たちの一団に含めて描かれ、妖怪の種類としてもバリエーションが増していったようです。かつての自然現象を神として崇めたものとは大きく異なり、人間に悪さをしても脅かしたりイタズラをする程度の、滑稽でどこかかわいらしいヨーロッパの妖精伝説に近い印象になりました。人間に飼われた猫が長い年月を生きると、猫又などの妖怪に変化するという考え方とも共通する部分があります。 It is thought that youkai, spirits, or beings dwelling in old tools and other objects (which would be known as "tsukumogami") had originated from a picture scroll commonly known as the "Tsukumogami Emaki", which was made during the Muromachi period. Later, they were included among a group of youkai in the "Hyakki-Yagyo Emaki" (from the late Muromachi period onward), and it seems that they became more varied as a type of youkai. In sharp contrast to the ancient worship of natural phenomena as deities, the impression here is more like the funny and somewhat endearing legends of European fairies, who only threaten or play tricks on humans who misbehave. There are similarities to the idea that a cat domesticated by humans can turn into a youkai like the nekomata after living for a long time.
ともあれ、『百鬼夜行絵巻』以降、付喪神は妖怪画のいちジャンルとして好んで描かれるようになりますが、現代に伝わる付喪神のイメージの多くは江戸中期の浮世絵師である鳥山石燕によるものです。『画図百鬼夜行』(1776年)や『今昔画図続百鬼』(1779年)、『今昔百鬼拾遺』(1784年)と妖怪画の版本を出して人気を博し、シリーズ的に最後の刊行となった『百鬼徒然袋』(1784年)がその名の通り器物などに関連した妖怪が多く含まれています。 Anyway, since the Hyakki Yagyo Emaki, tsukumogami have become a popular genre of youkai painting, and most of the images of tsukumogami handed down today are attributed to Toriyama Sekien, an ukiyo-e artist of the mid-Edo period. He published a series of youkai paintings in print in "Gazu Hyakki Yakko" (1776), "Konjaku Gazu Zoku Hyakki" (1779), and "Konjaku Hyakki Shūi​" (1784). The last book in the series, "Hyakki Tsurezure Bukuro" (1784), contains many youkai associated with vessels and other objects, as the name suggests.
多々良小傘や堀川雷鼓、九十九弁々・八橋と付喪神由来のキャラクターが多い東方シリーズですが、今回特に注目したい「秦こころ」は聖徳太子ともゆかりの深い付喪神です。そのルーツと考えられる妖怪画も、『百器徒然袋』に「面霊気」の名前で収録されています。そこには、聖徳太子のころに秦河勝がたくさん面を作り、それらがまるで生きているようだったのは河勝の巧みさのせいだろうといったことが書かれているのですが、最後に「夢に思った」と締めています。桟にかけられた神楽や能に使われる「翁面」と、床に並んだ鬼か達磨風の面が描かれた絵も、特に妖怪としての性が描かれているわけではありません。鳥山石燕にしてみれば、「秦河勝の作った面は霊性を感じるほど素晴らしい」と言いたかっただけかもしれません。なお「面霊気」図には太鼓も描かれていますから、堀川雷鼓に繋がるかもしれませんし、『百器徒然袋』には他にも九十九弁々に繋がる「琵琶牧々」と八橋に繋がる「琴古主」、多々羅小傘とはちょっとイメージが遠いけれど、「骨傘」という妖怪も登場します。 The Touhou series has many tsukumogami-based characters, such as Kogasa Tatara, Raiko Horikawa, and Benben and Yatsuhashi Tsukumo, but the one we'll be focusing on this time is Hata no Kokoro, a tsukumogami who is also closely associated with Prince Shoutoku. The youkai painting believed to be her basis is also included in the "Gazu Hyakki Tsurezure Bukuro" under the name "Menreiki". It says that Hata no Kawakatsu made many masks when Prince Shoutoku was around, and that they seemed to be alive because of Kawakatsu's skillful craftsmanship, but it concludes with the words, "It was a dream".

The "Old Man" masks hung on the planks, which are used in Kagura and Noh plays, and the paintings of either oni or daruma-like masks lined up on the floor do not depict the youkai in any particular gender. For Toriyama Sekien, he might have just wanted to say, "The masks created by Hata no Kawakatsu were so wonderful that I felt a sense of spirituality". In addition, since taiko drums are also depicted in the "Menreiki" drawing, there may be connections to Raiko Horikawa, and in the Hyakki Tsurezure Bukuro, there is also a "Biwabokuboku", which is associated to Benben Tsukumo, the "Koto-furunushi" associated with Yatsuhashi, and a "Karakasa" youkai, although it seems rather disconnected from Kogasa Tatara.

謎多き秦河勝 The many mysteries of Hata no Kawakatsu
秦河勝の面については河勝の子孫とされる、南北朝から室町時代に活躍した猿楽師・世阿弥の『風姿花伝』に記されています。そこでは、聖徳太子が秦河勝に「神楽の真似をせよ」と言って自ら作った「六十六番の面」を与えたとあって、面を作ったのは聖徳太子だとされています。どちらが正しいのか気になるところですが、『日本書紀』には少年時代の聖徳太子が霊木から四天王像を作って髪飾りにしたとか、絵や造形の才能があったことが記されていますから、『風姿花伝』の方が正しいように思えます。また『日本書紀』には聖徳太子と秦河勝のやり取りが記されていますが、そこには聖徳太子のありがたい仏像をいただいて広隆寺を建てたとだけ書かれています。河勝は聖徳太子の右腕ともされた人物で、日本古代ミステリー好きなら耳にしたことがある「秦氏」の一員です。秦氏といえば、秦の始皇帝の子孫ともいわれる渡来氏族で、養蚕と機織を司っていたことでも知られており、『日本書紀』にも蚕との繋がりを示唆する記述があります。 Hata no Kawakatsu's masks are described in "Fuushikaden" (風姿花伝) by Zeami, a sarugaku master of the Nanbokucho and Muromachi periods said to have been a descendant of Kawakatsu. There, it is said that Prince Shoutoku gave Hata no Kawakatsu the "sixty-six masks" that he had made himself and told him to imitate kagura, suggesting that it was Prince Shoutoku who originally created those masks. I'm curious as to which is correct, but since the Nihon Shoki mentions that the young Prince Shoutoku crafted figures of the Four Heavenly Kings out of sacred trees and used them as as hair ornaments, and that he had a talent for drawing and modeling, it seems that Fuushikaden is more correct.

The Nihon Shoki records an exchange between Prince Shoutoku and Hata no Kawakatsu, in which it is only stated that he built the Koryu Temple after receiving a Buddha statue, for which Prince Shoutoku was very grateful. Hata no Kawakatsu was also considered Prince Shoutoku's right-hand man, and is a member of the Hata clan, which you may have heard of if you like ancient Japanese mysteries. The Hata clan, a migratory clan said to be descended from Qin Shi Huang, is known to have been in charge of sericulture and weaving, and there are descriptions in the Nihon Shoki that suggest a connection with silkworms.

聖徳太子の死後は太子の息子「山背皇子」を支持し続けましたが、蘇我入鹿によって皇子が自殺に追い込まれてしまい、河勝は播磨の地に逃げたとされています。この辺りは『日本書紀』に記録はないので『風姿花伝』が伝える内容となりますが、河勝は「うつほ舟」に乗って辿り着いたことになっていて、祟りをもたらしたため死後「大荒大明神」と呼んで祀られたといいます。「うつほ舟」といえば、「うつろ舟」とも呼ばれる赤子や女性、あるいは神が乗って流れ着いたという伝承が日本各地に残っていて、「実はUFOだったのではないか」などといわれたりもする謎の物体です。日本神話で出雲の地に流れ着いたスクナヒコナや、『旧約聖書』で産まれたばかりのモーセがパピルスのカゴに乗せて流されたことなど、神話・伝説のモチーフと共通したものとも言われています。実は河勝にも、氾濫した川の上流から流れてきた壺を割って出てきた赤子だったという伝説があります。 After Shoutoku's death, Kawakatsu continued to support the prince's son, Prince Yamashiro, but when the prince was forced to commit suicide because of Soga no Iruka, Kawakatsu is said to have fled to Harima. There is no record of this region in the Nihon Shoki, so this information is from Fuushikaden. Kawakatsu is said to have arrived there on a "Hollow Ship" and was enshrined after his death under the name of "Great Rage Daimyoujin" because of the curses he placed upon the area.

The Hollow Ship, also known as Utsuro-bune/Utsuho-bune, is a mysterious object that is said to have drifted ashore in various parts of Japan, carrying a baby, a woman, or a god, and it is sometimes said to have actually been a UFO. Such motifs are said to be common among myths and legends, such as with Sukuna-Hikona, who was washed ashore in Izumo in Japanese mythology, or the newborn Moses being carried away in a papyrus basket in the Old Testament. In fact, there is a legend about Kawakatsu as well where, when he was an infant, he emerged from a vase that had been cracked open from the upper reaches of a flooded river.

『風姿花伝』が伝える「能」の歴史 The history of Noh as told in Fuushikaden
秦河勝の伝説については、現在よくいわれるようになった「聖徳太子は実はいなかった」が本当だった場合どうなるのかと心配になってしまいますが、『風姿花伝』には「能」がどのように始まったのかについても驚くべき歴史を伝えています。 As for the legend of Hata no Kawakatsu, one might worry about what would happen if the now popular belief that "Prince Shoutoku never really existed" was true, but Fuushikaden also tells a remarkable history of how "Noh" began.
その始まりは、アマテラスが「岩戸隠れ」をして世界が闇に包まれた時に、芸能の女神アメノウズメが踊って外に導き出したことにより世界に光が戻った神話だといいます。『古事記』や『日本書紀』の記述によれば、乳房や下腹部を露わにしたエロティックな踊りを想像してしまうところですが、それを見た神々が大笑いをしたためにアマテラスも気になって外に出てきたわけですから、ユーモラスな踊りだったと考えられます。アメノウズメは「おたふく」や「おかめ」の面のルーツともされますし、当時の基準で「美女」であると同時にコメディエンヌでもあったと考えられます。アメノウズメはその後天孫降臨に同行し、現地の案内役となったサルタヒコと結婚します。子孫が巫女として祭祀を執り行う氏族「猿女君」の祖神となり、巫女舞を含む神楽を聖徳太子の命で行うことになった河勝が始めたのが、後に猿楽、そして「能」と呼ばれるようになる芸能だった、というわけです。 The origin of this myth is said to be that when Amaterasu "hid away in Iwato" and the world was enveloped in darkness, the goddess of the performing arts, Ame-no-Uzume, lured her out through a dance, thus restoring light to the world. According to the descriptions in the Kojiki and Nihon Shoki, one would imagine an erotic dance where her breasts and lower abdomen were exposed, but since the gods laughed so hard at the sight that even Amaterasu became curious and came outside, it is thought to have been a humorous dance.

Ame-no-Uzume is also considered the root of the Otafuku/Okame mask, and was considered both a "beautiful woman" and a comedienne by the standards of the time. Ame-no-Uzume then accompanied the descent of Amaterasu's grandchildren and married Sarutahiko, who served as the local guide. Kawakatsu became the ancestor of the Sarumenokimi clan, a clan whose descendants performed rituals as shrine maidens, and was ordered by Prince Shoutoku to perform a kagura that included shrine maiden dances.

実際のところ「能」がいかに誕生したのかはまだ解明されていないのですが、『風姿花伝』の主張は意外と的を射ているという見方もあります。 Although the actual story of how Noh came into being is still unknown, some believe that the claims made in Fuushikaden are surprisingly on the mark.
ルーツを辿っていけば、神楽以前にも中国や韓国で古くから行われていた仮面芸能があって、その影響から始まり独自の発展を遂げたものと考えられます。その「独自の発展」が、神話を伝える神楽にあったという考え方です。神楽といえば厳かな雰囲気を想起しやすいものですが、民間に伝わり現代でも楽しむことのできる神楽には即興要素や観覧者との掛け合いなども含めてコミカルな部分が数多く見られます。一般大衆に親しまれていく上で重要な要素であることは間違いありませんし、農作業とともに行われた「田楽」とも影響しあう形で「猿楽」へと発展していった歴史も想像しやすいものです。 If we trace the roots, it is thought that there were masked performances practiced in China and Korea long before kagura, and that the influence of these masked arts contributed to the development of kagura in its own unique way. The idea is that this "unique development" was found in kagura, which tells myths. While kagura is often associated with a solemn atmosphere, there are many comical aspects of kagura—including improvisational elements and dialogues with the spectators—that have been passed down through the ages and can still be enjoyed today. There is no doubt that these elements were important in making kagura familiar to the general public, and one can easily imagine the history of its development into "sarugaku" under the influence of "dengaku", which was performed in conjunction with agricultural work.
神楽にもさまざまなスタイルがあって、特に明治期に国家神道が推し進められた時期に改変されたり、戦時中に途絶えた後に復活したものなど、聖徳太子が秦河勝に真似をしろと指示した「神楽」がどういったものか確実にはわかりませんが、本来何日もかけて奉納される「六十六番」構成の神楽が長すぎることから再編されていき、シリアスな「能」と滑稽な「狂言」を交互に演じる「能楽」のスタイルが確立されていったものと思われます。聖徳太子が作ったとされる「六十六番の面」が、フルサイズの神楽で使われていた面であり、それを受け取った河勝もしくはその子孫たちが「猿楽」としてまとめ上げていった歴史は、本当にあってもおかしくありません。猿楽から能楽への発展が、秦氏の子孫である観阿弥・世阿弥の功績であることは間違いないところなのですから。 There are various styles of kagura, some of which were modified during the promotion of state Shintoism (especially in the Meiji period), and others that were revived after being discontinued during the war. However, it is thought that the original sixty-six kagura performances, which were originally dedicated over several days, became so long that they were reorganized. As a result, the Nohgaku format, which alternated serious "Noh" and comical "Kyogen" performances, was established.

If the "sixty-six masks" said to have been made by Prince Shoutoku were the same masks used in full-size kagura, and that there is a history of Kawakatsu and/or his descendants receiving the masks and compiling them to form "sarugaku", then it wouldn't be that surprising. The development from Sarugaku to Noh is undoubtedly the work of Kanami​ and Zeami, both of whom are descendants of the Hata clan.

塩田信之
主にゲームやアニメ関係の文章を執筆しているフリーライター。最近の仕事では『真・女神転生 DEEP STRANGE JOURNEY』限定版付属の25周年記念教典『メガテンマニアクス』の編集執筆、公式サイトの神話コラム「神話世界への旅」など。
Nobuyuki Shioda
A freelance writer who mainly writes essays based around games and anime. His most recent work includes writing and editing the 25th anniversary commemoration scripture, "Megaten Maniacs", which came published with the limited edition version of "Shin Megami Tensei: Deep Strange Journey", alongside the mythical column, "Journey to the Mythical World", on the game's official website.