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Strange Creators of Outer World/Introduction of Previous Works/Undefined Fantastic Object/Fragment of Phantasy

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幻想のもと②

Fragment of Phantasy

Fragment of Phantasy 2
コラム2本目は、白蓮や飛倉にまつわる「あの絵巻物」の話題。
日本の国宝にも指定されているが、果たしてその内容とは……?
In the second column, we'll be going over "that picture scroll" pertaining to Byakuren and the Flying Storehouse.
It's been designated as a national treasure of Japan, but what is it, really...?
信貴山縁起 Shigisan-Engi​
『信貴山縁起』という日本の絵巻物が「東方星蓮船」のモチーフになっていることは、熱心なファンならご存知の方も多いと思います。でも、それがどんな作品なのか詳しく知っているという方まではそう多くないはずです。「星蓮船」の特集の合間によろしければお付き合いください。 Many avid fans would know that the motif for Undefined Fantastic Object is a Japanese picture scroll known as "Shigisan Engi". But not many people know what kind of work it is until they learn more about it. We hope you will join us in between reports on UFO.
まずは絵巻物の基礎知識から Let's start with the fundamental knowledge of picture scrolls
日本に限った話ではないのですが、古文書などに長い紙を筒状にまとめたものがあります。長い手紙などもそのように書かれていたのですが、書かれている内容を読むときには巻いてある紙を伸ばす必要があります。長いものだと何メートルにもなるので広い場所でなければ全体を伸ばすことができませんが、少しずつ伸ばし、反対側を巻き取りながら読めば狭い場所でも読むことができます。要は、そんな巻物に絵が描いてあるものが「絵巻物」です。日本では古くから絵画表現のひとつとして、連続的な物語を表現する手段として用いられてきました。 This isn't unique to Japan, but there are long pieces of paper in ancient documents (among other things) that are assembled into a cylindrical shape. Long letters and the like were also written this way, but the rolled-up paper had to be unfurled in order to read what was written. The longest of these can reach meters in length and require a large space for it to be fully unfurled, but you can still read them in small areas by gradually rolling them out while rolling up the other side as you read. In short, the kinds of scrolls that have illustrations on them are known as "Emakimono", or "picture scrolls". In Japan, these have long been used as a means of depicting a continuous narrative through pictorial expression.
歴史の授業などで、日本の絵巻物の代表的作品として『鳥獣戯画』あるいは『鳥獣人物戯画』の名前を聞いたことがあるかもしれません。平安時代の終わりごろに作られた作品で、うさぎやカエル、サルなどのいろんな動物がまるで人間のように遊んだり相撲をとったりしている姿を描いたユーモラスな絵巻物です。日本の漫画のルーツなんて言われることも多く、国内外問わずよく知られていてCMなどのモチーフにも使われています。他にも、古典ながら現代のテレビドラマにも劣らない大人の恋愛小説『源氏物語』を絵で楽しめる『源氏物語絵巻』、鎌倉時代に日本を侵略しようとした「元寇」を描いた『蒙古襲来絵詞』、源頼光と四天王の鬼退治を描いた『大江山絵詞』、人が死後に落ちる地獄のさまざまな拷問を描いた『地獄草紙』などさまざまな絵巻物が作られ、テレビなどのない当時のエンターテイメント作品として貴族らが楽しんでいました。現在残っているものは歴史書などにはない「絵で当時の様子を知る」貴重な資料として多くは国宝指定にもなっています。 You may have heard in history class and so forth about the Choujuu-Giga, aka the "Scrolls of Frolicking Animals", as being a typical example of Japanese picture scrolls. Created around the end of the Heian Era, these humongous picture scrolls depict various animals such as rabbits, frogs, and monkeys playing and wrestling as if they were humans. Known both domestically and internationally as the root of Japanese manga, they're often used as a motif in commercials and other media. Various other picture scrolls were produced as entertainment for aristocrats back when there was no television. These include:

Genji Monogatari Emaki (源氏物語絵巻 lit. "The Tale of Genji Picture Scroll"): an illustrated version of "The Tale of Genji" (a classic romance novel that's as mature as a modern TV drama)
Mouko Shuurai Ekotoba (蒙古襲来絵詞 lit. "Illustrated Account of the Mongol Invasion"): a depiction of Japan's invasion by the Mongols back during the Kamakura era
Ooe-yama Ekotoba (大江山絵詞 lit. "Illustrated Account of Mount Ooe"): a depiction of Minamoto no Yorimitsu and the Four Devas exterminating oni
Jigoku Zouji (地獄草紙 lit. "Hell Scroll"): a depiction of various tortures people would endure in Hell after death.

Many of the surviving pieces were declared national treasures, since they were valuable items that provided an illustrated understanding of ancient life that history books couldn't provide.
絵物語も、やはり両手を心持ち開いた程度伸ばすとひとつの場面が描かれていて、巻き取りながら次の場面へ移る形で進みます。通常は最初に物語の概要や導入が文章で書かれていて、これを「詞書(ことばがき)」と言います。絵の部分は基本的に絵だけなので、開いては巻き取って進む「紙芝居」に近い形態と言えます。 Likewise, "Emonogatari", or illustrated stories, also consist of single scenes that require both hands to roll it out, before rolling it back up and proceeding to the next scene. Usually, the first part of the story is a written outline or introduction, which is known as "Kotobagaki". Since the illustrated part is basically a single image, it can almost be described as a form of Kamishibai​ that's opened, then rolled up as it goes along.
中でも、比較的庶民でも目にすることのできる機会があったのが、仏画・宗教画としての絵巻物です。日本に限らず宗教画は、文字の読めない人でも「奇跡などのありがたみ」や「信じない人が受けるバチ」などをわかりやすく伝える手段としてよく用いられました。先に挙げた『地獄草紙』などもそのパターンで、「死後裁きにあう」と文字に書かれるより、痛そうで恐ろしい地獄絵図を見た方が「地獄に落ちないで済むなら」宗教に入りたくなるというものです。宗教画としての絵巻物には、宗派の開祖らの事績を伝える「伝記絵巻」とともに、寺社などの起源を伝える「縁起絵巻」もたくさん作られました。「どんな徳の高い僧が、どんな経緯でこの寺を建てた」という内容で、ここがすばらしい寺なのだと権威づけしたりするわけです。ただし、わかりやすいだけでなく飽きさせないようにする必要もあって、派手に脚色されていたりもはやファンタジーとしか言いようのない物語になっていることもあります。『信貴山縁起絵巻』もそんな「縁起絵巻」に類するものですが、『宇治拾遺物語』や『今昔物語集』、『古本説話集』といった十二・十三世紀頃の物語・説話集にも同様の話が載っている物語を絵物語化したもので、詳しい成立年代は不詳ながら十二世紀ごろに作られたとされています。作者も不明ですが、人体や建物の表現の正確さ、人間の表情の豊かさ等絵画的なレベルが高かったり、物語としての演出表現も凝っていて、『鳥獣戯画』に並ぶ「漫画のルーツ」とされたり、『源氏物語絵巻』や『伴大納言絵詞』といった作品と並べて「三大絵巻物(四大とも)」呼ばれています。 Among these, Buddhist and other religious picture scrolls were the most prevalent, and even commoners had the opportunity to witness them. In Japan and elsewhere, religious paintings were often used as an easy-to-understand means of preaching to even non-literate folk the appreciation of miracles and the like, along with the punishments that non-believers would receive. The "Jigoku Zouji" mentioned previously is yet another example of this pattern of showing painful and frightening images of Hell, as opposed to simply writing "You will receive judgement after death", to tempt the viewer to join a certain religion if it means that they won't go to Hell after they die.

Many picture scrolls were produced as religious paintings. For example, there were "Denki-Emaki" (Biographical Picture Scrolls), which described the exploits of religious sect leaders, as well as "Engi-Emaki" (Origination Picture Scrolls), which told the origin stories of temples, shrines, etc. By describing the kind of virtuous monk that would build a certain temple and how and why he built it, the temple is considered a wonderful place and is given authority. However, it's necessary to not only make the story accessible, but to make sure people don't get bored with it, so the story is sometimes adapted in extravagant ways, even becoming what can only be described as a fantasy.

The Shigisan Engi-Emaki is one such Engi-Emaki, but it's an illustrated version of a story said to have been created in the 12th century (though the exact date is unknown), and which is also found in things like the Uji Shuui Monogatari​, the Konjaku Monogatarishuu, and the Kohonsetsuwashuu, all of which are collections of short stories dating back to the 12th and 13th centuries. The author of this story is also unknown, but it's considered the root of manga alongside the Choujuu-Giga, and is also placed as one of the "Three Major Picture Scrolls" (or Four Major) alongside the "Genji Monogatari Emaki" and "Ban Dainagon Ekotoba".
高僧とその姉の物語 The story of a high priest and his sister
『信貴山縁起絵巻』は三巻で構成されていて、主人公は奈良の霊山「信貴山」に毘沙門天を祭る朝護孫子寺(ちょうごそんしじ)を開いた高僧「命蓮(みょうれん)」。『宇治拾遺物語』などでは、信州出身の命蓮が一人前の僧となるため奈良の東大寺に向かい、受戒後そこから見える信貴山で修行を続けたことも書かれていますが、『信貴山縁起絵巻』は最初の「詞書」と一枚あるいは複数の絵が失われていて、いきなり物語中の事件勃発から始まります。 Shigisan Engi-Emaki consists of three volumes, and it tells the story of Myouren, a high priest who founded the Chogoson Temple---a Buddhist temple dedicated to Bishamonten---situated on the sacred "Mount Shigi" found in Nara. According to the "Uji Shuui Monogatari​" et cetera, Myouren travelled from his home in Shinshu to Toudai Temple in Nara so he could become a full-fledged monk, and after receiving the precepts, he continued his ascetic training on Mount Shigi, which happens to be visible from Toudai Temple. Volume 1 of Shigisan Engi-Emaki is missing its Kotobagaki and one or two pictures, so the story abruptly starts with the occurrence of the incident it revolves around.
一巻目の物語は、ふもとに暮らす金持ちの家に命蓮がいつも托鉢用の鉢を法力で飛ばしているという状況から始まります。金持ちはそれをいまいましく思っていたため、蔵に鉢を放り込んで放っておいたら鉢が蔵ごと宙に持ち上げ命蓮の堂まで運んでいき、空飛ぶ蔵を追う金持ちと従者たちが描かれます。堂までたどり着いた金持ちが返してくれと訴えると、命蓮は中身の米俵だけ持って帰れと言い、無理ならばとひとつだけ米俵を鉢に乗せ、それに先導させてたくさんの米俵を飛行させて金持ちの家の庭まで届けさせた、という物語です。 The first volume starts off with Myouren constantly using his Buddhist powers to fly his begging bowl to the home of a rich man living in the foothills. However, the rich man was annoyed by this, so he threw the bowl into his granary. Once he left, the bowl lifted the entire granary into the air and carried it to Myouren's temple, and the rich man and his followers are shown to be chasing after the flying granary. When the rich man arrived at the hall, he pleaded that Myouren return the granary to him, but Myouren insisted that the man could only take the rice within it. The rich man claimed that to be impossible, so Myouren placed a single sack of rice inside the bowl and had it lead many rice sacks flying to the rich man's courtyard, and thus the story ends.
普通托鉢といえば僧が歩いて家を訪問して行うものですから、そもそも鉢だけを飛ばして食料などを貢がせる状況が異常です。飛ばす法力もすごいけれど、自分で動かない命蓮が横着な上、蔵ごと奪ったり蔵そのものは返さなかったりと人が悪いようにも見えます。命蓮自身は、寄進しない金持ちをたしなめるつもりだったようですが、それより空飛ぶ蔵や米俵のスペクタクルと、道端などに描かれている人々の驚きの表情が印象に残ります。 Since almsgiving is usually done by monks visiting homes on foot, it is quite unusual to have a monk just sending a begging bowl away and asking people to contribute food and other necessities. Having the ability to fly sounds great, but Myouren doesn't act on his own, and he also comes across as arrogant and a bad person as he takes an entire granary without returning it. Myouren himself apparently intended to chide the rich man for not donating, but I was more impressed by the spectacle of the flying granary and rice bags, and the surprised expressions of people shown on the roadside and so on.
二巻目は、時の天皇「醍醐天皇」が病に伏せっていて都の高僧に祈らせても治らないということで、霊験あらたかという噂の命蓮に白羽の矢が立ちます。祈祷を依頼するため使者が堂を訪れ、引き受けることにはなりますが祈祷自体は堂で行うと、命蓮は京へ向かうことを固辞します。もし天皇が治っても、多くの僧が祈祷を行っているので誰の祈祷のおかげかわからないと言う使者に、命蓮は護法童子を向かわせるので、それが見えたら自分の祈祷が効いたと答えました。かくして天皇の病が癒やされ、護法童子も確認した天皇は再度使者を向かわせ、褒美を取らせようとするのですが、命蓮はそれも誇示する高潔ぶりを見せて終わります。 In volume 2, Emperor Daigo, who was ruling at the time, had fallen ill and couldn't be cured even despite having high priests in the capital praying for him. A messenger visited Myouren's temple to request a prayer, and although he accepted the request, Myouren was adamant on not visiting the capital to conduct a pray, and that he would stay within the temple to do so. With the emperor cured of his illness, and a Goho-Douji confirming it, the messenger was sent out once again to collect the prize, but Myouren showed himself to be a man of integrity by flaunting his virtues.
このエピソードは歴史書にも記録されている実際の話なのですが、実際は命蓮にあたる僧の祈祷が行われても天皇は崩御してしまいます。脚色にもほどがあるような気がしますが、飛翔する護法童子の姿がとても印象的でそれ以外は霞んでしまうくらいのインパクトがあります。巻物独特の進め方を意識した演出で、一巻の金持ちたちや二巻の使者が巻物を開く動作に合わせて右から左へ向かうよう描かれているのに対し、護法童子はいきなり顔が見え、広げていくにしたがって全身や載っている雲が飛行機雲のようにまっすぐ長く伸びていきます。信貴山から京の都まで五十キロ近い距離を一気に飛翔するスピード感は見事なものです。毘沙門天の眷属で、首と肩のあたりからたくさんの刀身を吊るしている「剣の護法童子」もかっこよく描かれていて、歴史的な事実との相違など気にもなりません。 This episode is an actual story recorded in history books, but in reality, the emperor perished despite receiving prayers from a monk named "Myouren". This may seem like a footnote, but the image of the Goho-Douji flying in the air is so impressive that the rest of the story becomes hazy. The rich folk in the first scroll and the messengers in the second scroll are shown moving from right to left as the scroll is opened, but the Goho-Douji's face ends up becoming visible all of a sudden, and as the scroll is unfurled, the entire body and the cloud he rides on lengthen like a contrail. It's magnificent to watch the Douji quickly fly from Mount Shigi to the Kyoto capital (which have a distance of 50 kilometers between them) in a single bound. Another cool detail is the depiction of the Ken-no-Goho Douji (Bishamonten's dependents), and how they have numerous swords hanging from their neck and chest, so I don't mind the discrepancies with historical facts.
三巻目は、故郷を発って以来連絡のない命蓮を心配する姉(具体的な名前の表記はなく、「尼公(あまぎみ)」と呼ばれます)が弟を捜す物語です。旅立ちからはすでに二十年の月日が流れており、誰に聞いても命蓮の行方はわかりません。なんとか東大寺にたどり着き、そこで何日も祈り続けると夢に大仏が現れ、信貴山に向かうことを促され、そこでやっと再会。姉もまた信貴山に残り、修行することになってエンディングとなります。 The third volume tells the story of Myouren's elder sister (she doesn't have a specific name; she's just called "the nun"). The nun hadn't heard from her brother since he left his hometown, so she became worried and went out to search for him. Twenty years had passed since his departure, and nobody she asked knew of Myouren's whereabouts. She managed to reach Toudai Temple, and after days of praying there, a giant Buddha statue appeared to her in a dream and urged her to head to Mount Shigi, where she and Myouren finally reunite. The story ends with the sister choosing to remain on Mount Shigi and practice asceticism with Myouren.
一・二巻と比べ地味な展開ですが、大仏が助けてくれるところが見どころになっています。蔵の飛行や使者の旅路と、説話集ではほとんど描写されていない部分を絵として膨らませてより情緒深く感じさせてきた絵巻物ですから、三巻目は特に紙幅を使って旅の描写に力を入れています。ご存知の通り、「東方星蓮船」では命蓮の姉である「聖白蓮」が重要なキャラクターとなっています。後に幻想郷に落ち着いて「命蓮寺」を建てるあたりはやはり下敷きとして『信貴山縁起絵巻』があり、ゲームでの姉弟の関係性を想像する上で(あくまでも)参考にもなるはずです。絵巻の命蓮が開いた堂では毘沙門天を祀っていたわけですから、毘沙門天の弟子、あるいは代理として命蓮寺の僧となった寅丸星の存在も『信貴山縁起』に縁があると言えます。ちなみに、『信貴山縁起絵巻』が伝わった実在の寺「朝護孫子寺」の本尊も毘沙門天ですが、これは聖徳太子が物部守屋討伐を行う際、信貴山で戦勝祈願を行い毘沙門天が現れ戦いにも勝利したという言い伝えがあります。今となっては聖徳太子自体実在が否定される見解が強くなっていますが、物部守屋との関係性や、毘沙門天が現れたとされる時が「寅の年、寅の日、寅の刻」とされている点など、東方に繋がるキーワードをもたらす存在として注目すべきでしょう。 The development is more subdued than in volumes 1 and 2, but the highlight of this story is when the giant Buddha comes to the rescue. The picture scrolls provide more emotional experiences like describing the flight of the granary, the messenger's journey, among other things that are rarely depicted in story collections, but Volume 3 is especially devoted to describing the journey, using the full width of the paper.

As you may know, Byakuren Hijiri---Myouren's sister---is a major character in Undefined Fantastic Object. The circumstances where she later on settles down in Gensokyo and builds the Myouren Temple are also based on the Shigisan Engi-Emaki, and it should also provide a reference (and only a reference) for imagining their brother-sister relationship ingame. Since Bishamonten was enshrined in a temple opened by Myouren in the picture scroll, Shou Toramaru's existence as a disciple/proxy monk of Bishamonten at the Myouren Temple is also related to Shigisan Engi-Emaki. Incidentally, Bishamonten is also the patron deity of Chogoson Temple, the actual temple in which Shigisan Engi-Emaki was handed down. It's also been said that while Prince Shoutoku prayed for victory at Mount Shigi while he was fighting Mononobe Moriya, and Bishamonten appeared before him and helped him win the battle.

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.