노(能)에 등장하는 가무보살의 역할과 의미 고찰- 초목성불과 연계하여 -

초록

The term “Kabuki no Bosatsu” (Bodhisattva of Song and Dance) appears in Noh plays such as Kakitsubata, Seiganji, Yugyōyanagi, Asagao, and Kochō. In Kakitsubata, Ariwara no Narihira, the protagonist of Ise Monogatari, is portrayed as a Kabuki no Bosatsu. In Seiganji, the poet Izumi Shikibu is depicted in the same way. In Asagao, the spirit of the morning glory appears and is identified with the Asagao Princess. Yugyōyanagi features a willow spirit as the protagonist. However, through the quotation of Saigyō’s waka poetry, the spirit is constructed in a way that evokes Saigyō himself. In this manner, the depiction of poets as Kabu no Bosatsu in these plays stems from the belief that waka poetry serves as a medium through which one may be led to Buddhist enlightenment. This belief gives rise to the structure where Kabu no Bosatsu is a waka poet. Furthermore, Buddhism had a profound influence on the worldview of the Noh theater. In particular, the teachings of the Ji-shū sect during the Muromachi period—namely, the idea that through chanting the nembutsu, not only humans but all things in nature can attain enlightenment—are directly reflected in the theatrical world. As a result, even spirits of plants and trees are portrayed as beings possessing Buddha-nature, thus connecting with the concept of “sōmoku jōbutsu” (the enlightenment of grasses and trees).

키워드