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In chapter I the difference between personal\nand individual iyemoto and the iyemoto system as an organization or\ninstitution is discussed. Then the various usages of the word\niyemotoi n the literature of Edo period are examined. In chapter II\npopularization of performing arts is discussed from the following\naspects: (1) the spread of aesthetic pastime in chonin (townsmen)\nsociety: (2) the enlightenment of performing arts and publication\nof secret traditions; and (3) the appearance of masters in town.\nThis chapter attempts to clarify the situation which led to the\nformation of the iyemoto system. In chapter III activities of the\niyemoto itself which preceded the formation of iyemoto system are\ndiscussed, mainly focusing on: (1) dependence on the Tokugawa\nfeudal system; (2) the establishment of iyemoto in Kyoto; and (3)\nthe legitimization of iyemoto. That particular iyemoto retained\nsupremacy over the others is pointed out. In chapter IV organizational\nmethods adopted by the iyemoto are discussed. These\nmethods are: (1) systematization of \u0027aesthetic pastime\u0027 population\nand natori (accredited master) system; (2) renovation of curriculum\nfor educating the public, and the awarding of a diploma; (3)\niyemoto and the right of issuance of a diploma; and (4) renewal of\nthe charisma of iyemoto. In chapter V changes in methods of\nperformance incidental to the formation of the iyemotos ystem are\nreferred to, such as: (1) the seven special ceremonies of the Senke\nfamily in the tea ceremony; (2) the change from rikka to ikebana\nin flower arrangement; and (3) the emergence of utai chanting in\nthe noh play. The relationship between the formation of the\niyemoto system and the popularization of performing arts is speculated\non. 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家元制度 : その形成をめぐって
https://doi.org/10.15021/00004540
https://doi.org/10.15021/0000454036398dd4-196d-483a-add0-a4cfae40d650
名前 / ファイル | ライセンス | アクション |
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KH_004_4_003.pdf (2.1 MB)
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Item type | 紀要論文 / Departmental Bulletin Paper(1) | |||||||||||
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公開日 | 2010-02-16 | |||||||||||
タイトル | ||||||||||||
タイトル | 家元制度 : その形成をめぐって | |||||||||||
タイトル | ||||||||||||
言語 | en | |||||||||||
タイトル | The Formation of the Iyemoto System | |||||||||||
言語 | ||||||||||||
言語 | jpn | |||||||||||
資源タイプ | ||||||||||||
資源タイプ識別子 | http://purl.org/coar/resource_type/c_6501 | |||||||||||
資源タイプ | departmental bulletin paper | |||||||||||
ID登録 | ||||||||||||
ID登録 | 10.15021/00004540 | |||||||||||
ID登録タイプ | JaLC | |||||||||||
著者 |
守屋, 毅
× 守屋, 毅
WEKO
8643
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抄録 | ||||||||||||
内容記述タイプ | Abstract | |||||||||||
内容記述 | This article examines the iyemotos ystem, focusing on its historical development. In chapter I the difference between personal and individual iyemoto and the iyemoto system as an organization or institution is discussed. Then the various usages of the word iyemotoi n the literature of Edo period are examined. In chapter II popularization of performing arts is discussed from the following aspects: (1) the spread of aesthetic pastime in chonin (townsmen) society: (2) the enlightenment of performing arts and publication of secret traditions; and (3) the appearance of masters in town. This chapter attempts to clarify the situation which led to the formation of the iyemoto system. In chapter III activities of the iyemoto itself which preceded the formation of iyemoto system are discussed, mainly focusing on: (1) dependence on the Tokugawa feudal system; (2) the establishment of iyemoto in Kyoto; and (3) the legitimization of iyemoto. That particular iyemoto retained supremacy over the others is pointed out. In chapter IV organizational methods adopted by the iyemoto are discussed. These methods are: (1) systematization of 'aesthetic pastime' population and natori (accredited master) system; (2) renovation of curriculum for educating the public, and the awarding of a diploma; (3) iyemoto and the right of issuance of a diploma; and (4) renewal of the charisma of iyemoto. In chapter V changes in methods of performance incidental to the formation of the iyemotos ystem are referred to, such as: (1) the seven special ceremonies of the Senke family in the tea ceremony; (2) the change from rikka to ikebana in flower arrangement; and (3) the emergence of utai chanting in the noh play. The relationship between the formation of the iyemoto system and the popularization of performing arts is speculated on. The article concludes with a discussion of wholely future development of the iyemoto system. |
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書誌情報 |
国立民族学博物館研究報告 en : Bulletin of the National Museum of Ethnology 巻 4, 号 4, p. 709-737, 発行日 1980-03-25 |
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ISSN | ||||||||||||
収録物識別子タイプ | ISSN | |||||||||||
収録物識別子 | 0385-180X | |||||||||||
書誌レコードID | ||||||||||||
収録物識別子タイプ | NCID | |||||||||||
収録物識別子 | AN00091943 | |||||||||||
著者版フラグ | ||||||||||||
出版タイプ | VoR | |||||||||||
出版タイプResource | http://purl.org/coar/version/c_970fb48d4fbd8a85 | |||||||||||
出版者 | ||||||||||||
出版者 | 国立民族学博物館 | |||||||||||
出版者(英) | ||||||||||||
出版者 | National Museum of Ethnology |