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司祭と霊媒 : スリランカ・タミル漁村における村落祭祀の分業関係をめぐって
https://doi.org/10.15021/00004284
https://doi.org/10.15021/000042841dbf9920-354a-4c09-9093-d3d1ead4b549
| 名前 / ファイル | ライセンス | アクション |
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KH_015_2_002.pdf (23.1 MB)
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| アイテムタイプ | 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 | 司祭と霊媒 : スリランカ・タミル漁村における村落祭祀の分業関係をめぐって | |||||||||||
| タイトル | ||||||||||||
| タイトル | Priesthood and Mediumship : Their Relationship at a Hindu Village Festival in a Tamil Fishing Village, Sri Lanka | |||||||||||
| 言語 | en | |||||||||||
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| 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 | 10.15021/00004284 | |||||||||||
| ID登録タイプ | JaLC | |||||||||||
| 著者 |
田中, 雅一
× 田中, 雅一
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| 抄録 | ||||||||||||
| 内容記述タイプ | Abstract | |||||||||||
| 内容記述 | This article aims to analyse the relationships between a Brahmin priest and a non-Brahmin medium at a village festival in culminates in the stone image of her found inside the temple. From the llth day onwards the priest conducts an elaborate Anthropologists tend to consider priesthood to be characteristic of the culture of higher castes, and possession that of lower castes. As a result they confirm the dualist view of Hinduism, consisting of the "Great Tradition" and the "Little Tradition." I contend that what is more important to the understanding of the relationships between priesthood and mediumship is the difference in their political functions: rituals presided over by the priest are close to political power. I argue that the political function of priesthood is more effective for the legitimation of power than that of possession. I do not deny the existence of a political function in rituals where possession is frequent, but the political function of priesthood seems to guarantee that political power has a long-term and stable authority. ritual called snanabhiseka. This is supported by the wealthy villagers. It aims to create sacred power and transfer it to the stone images of Partasarati and his consorts and of Draupadi. On the morning of the 18th day, the priest starts another elaborate ritual and creates sacred fire. The medium goes into a trance in front of the stone image and transfers the fire to a firewalking pit. Logs are piled over the fire. In the evening the pit is raked flat, and only hot coals are left. The medium walks over the fire, leading about one thousand male devotees. Firewalking is the climax of the 19-day-long festival. The next day the Brahmin priest removes the sacred thread from the medium's hand, and the festival is over. I argue that the festival as a whole consists of three kinds of rituals; 1) rituals conducted by the medium; 2) rituals conducted by the priest; and 3) rituals conducted by the priest in which the medium participates. The first type is of ecstatic nature, although the medium is not always in a state of possession. It represents the world of devotees. The medium is both guru and incarnation of Draupadi, leading the devotees towards the goddess. The world constructed through the ecstatic rituals is egalitarian and is considered to be "anti-structural." The second type, on the other hand, is not ecstatic. The Brahmin priest presides over the rituals, uttering Sanskrit mantras and using hand gestures. Although not always the case, these rituals are expensive and are restricted to relatively wealthy villagers, who participate as patrons. These rituals confirm secular relationships in the village and legitimate the power of the patrons. The third type of rituals shows us the hierarchical relationships between the priest and the medium. For example, the ritual of tying the sacred thread enables the medium to become possessed. Without this ritual, he cannot play a central part in the festival. He depends on the Brahmin priest. Likewise the fire for the firewalking is created by the Brahmin priest. The medium cannot walk over the fire without the priest's ritual. The festival can be seen as a sacrifice. It consists of "the rite of entry," "immolation," and "the rite of exit." The first is the ritual of tying the sacred thread, the second firewalking, the last the ritual of untying the sacred thread. In this case the medium is considered as the victim offered to Draupadi for the benefit of the village as a whole. a Tamil fishing village, Sri Lanka. Anthropological studies on Hindu religious functionaries tend to contrast the Brahmin priest with the non-Brahmin medium or shaman. They each deal with different, but not totally separate, spheres of village religious life. The Brahmin priest is more concerned with otherworldly values, the medium with this-worldly values. This article considers the relationships between priest and medium in a village festival in terms of their symbolic roles and their political functions. The setting is a local village temple dedicated to Partasarati (Krsna) and to Draupadi, a deified heroine of the Mahabharata. Both Brahmin priest and non-Brahmin medium participate in this festival. While the former performs daily worship and more complicated rituals supported by wealthy villagers, the latter, being possessed by Draupadi, plays the role of the goddess's incarnation. The annual festival starts with purificatory rituals. The priest ties a sacred thread to the medium's right wrist. Then he goes to the sea. There he induces Draupadi's power into a karakam or ritually decorated pot, and becomes possessed by her. Every other evening during the festival he carries the karakam pot on his head to the temple. Draupadi's power |
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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 15, 号 2, p. 393-509, 発行日 1990-12-28 |
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| 出版者 | 国立民族学博物館 | |||||||||||
| 出版者（英） | ||||||||||||
| 出版者 | National Museum of Ethnology | |||||||||||
| ISSN | ||||||||||||
| 収録物識別子タイプ | ISSN | |||||||||||
| 収録物識別子 | 0385-180X | |||||||||||
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| 収録物識別子タイプ | NCID | |||||||||||
| 収録物識別子 | AN00091943 | |||||||||||
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| 出版タイプ | VoR | |||||||||||
| 出版タイプResource | http://purl.org/coar/version/c_970fb48d4fbd8a85 | |||||||||||
