@article{oai:kanagawa-u.repo.nii.ac.jp:00014101,
 author = {劉, 琳琳},
 issue = {22},
 journal = {非文字資料研究 = The study of nonwritten cultural materials, The study of nonwritten cultural materials},
 month = {Mar},
 note = {本稿は日本の金属業の祭祀の代表例――鞴祭りの形成過程に関わるいくつかの文化要素を考察してみた。鞴祭りの神話的基礎は中世の小鍛冶神話であり、小鍛冶宗近の宝剣作りを稲荷神が助けるというストーリーに、稲荷神が金属業の守護神であるという意識が含まれており、この意識はのちに京都の鍛冶職人をはじめとする金属業界において広まった。一方、鞴祭りの儀礼面の基礎となすのは京都で広く行われた冬の火焼行事と考えられる。一条兼冬の『世諺問答』の記述の分析を通して、火焼の源流は宮中の鎮魂祭御神楽およびその一環としての「庭燎」に遡ることが明らかである。鎮魂祭の深層にはもともと天岩戸神話があり、鎮魂祭は冬至に際して太陽のよみがえりを祈るという意識が含まれることになる。火焼・鞴祭りの成立に伴って、そうした意識もこの二つの行事に流れ込んだと考えられよう。さらに、室町時代以降、中国哲学の一端である一陽来復説が、火焼・鞴祭りの成立の観念面の根拠と見なされるようになった。一方、丙午と五月五日を吉日とする中国冶金業の吉日意識は日本にも伝わったが、ついに中近世の金属業に受け入れられた形跡が見つからず、日本における影響は限定的だと言わざるをえない。一陽来復説が鞴祭りに流れ込んだことによって、金属生産の営みが宇宙の運行とつながる形で捉えられ、暗黒や困難を乗り越え、希望をいつまでも持ち続けていくという前向きな価値観が金属業に結び付くようになった。鞴祭りは一見ごく単純な金属業の祭祀であるが、そのなかに人々の素朴な心理や神話・儀礼・哲学・技術という様々な側面が含まれ、多彩な国際文化交流および選別の結実として生まれたという、興味深い祭りである。, This research discusses some cultural elements which relate to the formation of the Bellows Festival of the metal industry in Japan. The mythical basis of this festival is a myth called ‘Kokaji’ (the swordsmith) ,which happened in the medieval Japan. In the story of Inari God helping a swordsmith whose name was ‘Munechika’ to make a treasured sword, the Inari God was regarded as the guardian angel of the metal industry. This point of view was widely spread among the blacksmiths who were in the metal industry in Kyoto soon. On the other hand, people believe that the basic ritual of this festival is a fire burning event called ‘Hitaki’, which was widely held in the winter of Kyoto. By the description of the ‘Segen Mondo’ of Ichijo Kanehuyu, it is clear that the origin of the ‘Hitaki’ could date back to the ‘Mikagura of Tinkonsai’(a formal dancing ritual performed on the Requiem Festival ) and the ‘Niwabi’(the Bonfire) in the Imperial Palace. The basis of ‘Chinkonsai’(the Requiem Festival) originally related to the myth of Amano-Iwato and the purpose of this festival is to pray for the return of the sun on Winter Solstice. With the establishment of ‘Hitaki’ and the Bellows Festival, this kind of view had become an essential part of them. In addition, after the Muromachi period, the theory of ‘Yi Yang Lai Fu’(the return of spring), a part of Chinese philosophy, was regarded as the theoretical basis of the ‘Hitaki’ and the Bellows Festival. On the other hand, though the concept of the ‘lucky day’ in Chinese metallurgy industry was introduced to Japan, it seems that people in the Middle Ages of Japan did not accept this concept. Thus, we can say that the influence of this concept was limited in Japan. As the theory of ‘Yi Yang Lai Fu’ becoming an essential part of the Bellows Festival, the metal production was closely bound up with the running of the universe, which encouraged people to overcome the darkness and difficulties and to never lose their hope. The Bellows Festival is not only a festival about metal industry , but also an important festival which contains various aspects about psychology, myths, rituals, philosophy and technology. Moreover, it is a result of international cultural exchange and cultural selection., Departmental Bulletin Paper, 論文},
 pages = {95--110},
 title = {日本の金属業祭祀における神道と中国文化 －鞴祭りを中心に－},
 year = {2021}
}