Earticle

초록

영어

This study examines the intersection of hōraku waka (ritual poems offered as entertainment to deities and buddhas) and hōnō waka (dedicatory poems) through a comparative analysis of the Hosshin Wakashū compiled by Princess Senshi and the Shūgyokushū compiled by Jien. While the Hosshin Wakashū primarily reflects personal religious aspiration, positioning waka as an alternative form of Buddhist practice equivalent to scripture recitation, it does not yet assume the communal and performative dimensions of ritual entertainment. By contrast, the Shūgyokushū’s “Hie Hyakushu” explicitly situates waka within the framework of hōraku, aligning poetic composition with musical performance (kagura) in the ritual space of Hie Shrine. Through this transformation, waka emerges not only as an individual expression of faith but also as a medium that integrates the gods themselves into Buddhist soteriology, guiding them toward enlightenment. This comparative study highlights the dynamic shift whereby waka developed from private devotional practice to a communal ritual act that mediated between human, divine, and Buddhist realms. Ultimately, it demonstrates the multifaceted functions of waka in medieval Japan as both a literary and a religious performance.

목차

1. はじめに
1.1 問題提起と研究目的
1.2 先行研究と用語整理
2. 『発心和歌集』に見る奉納和歌の位相
2.1 ｢発心｣の理念と奉納歌的性格
2.2 『発心和歌集』出自歌の勅撰集入集とその性格
3. 法楽和歌の機能と『日吉百首』の位相
3.1 法楽和歌の機能と意義
3.2 誰の往生を願うのか
3.3 思想的背景と日吉信仰
3.4 奉納と法楽の交錯
4. 終わりに
【参考文献】

키워드

저자

• 権赫仁 [ 권혁인 | 光云大学校 インゼニウム学部大学 副教授 ]

참고문헌

발행기관

간행물

표지보기 관심저널 등록

• 간행물명

  일본언어문화 [Journal of japanese Language and Culture]

• 간기

  계간

• pISSN

  1598-9585

• 수록기간

  2002~2025

• 등재여부

  KCI 등재

• 십진분류

  KDC 730 DDC 495