〈絵語り〉の構図 : 『信貴山縁起』/「信濃国聖事」 <特集 : 絵画とことば>

The Design of "Egatari (Story-Telling through Pictures) On Shigisan-Engi (The Origin of the Holy Mountain of Shigi) and "The Priest of Shinano" <Special Issues : Drawings and Words>

竹村 信治

日本文学

〈絵語り〉は、「絵を表現して伝達する、絵を説明して伝達するという二義を一挙に包合する」タームとして徳田和夫によって提案されたものだが、ここではその二様の営みを、『信貴山縁起』とその同話『古本説話集』65『宇治拾遺物語』101の三者の比較を通じて検討した。"たい"・木片の本縁を語ってこれと帰依との交換を求める『縁起』は〈読み取られるための道具〉として絵を語り、『縁起』と近い本文をもつ『古本』は『縁起』の命蓮を〈聖〉性の文脈に絡め取って解いている。そして『宇治』はその双方を語りつつ、命蓮の〈俗〉への視線も用意する。三者は三様の物語を三様の語り方で語るが、『縁起』の「修辞的用法」としての風俗表現の存在は、『宇治』に見る多元的多義的な表現性の形成への回路の一つとも看倣される。

The term "Egatari" was proposed, by Kazuo Tokuda, as the term that would "unite the double significance of communicating through pictorial expressions and communicating by way of explaining picture." I have tried to examine the double function by comparing the three tales of Shigisan-Engi, and its variations, namely, the 65th episode of Kohon-Setsuwashū and 101th episode of Ujishūi-Monogatari. Shigisan-Engi, which narrates the identity of the piece of wood called "tai" and requires the exchange between the piece and the act of conversion, represents pictures as "a means of interpretation." Kohon, whose text closely resembles that of Engi, interprets the fate of Engi in the context of the sacred. Uji presents both the instrumentality of the picture and the sacredness of the fate, while preparing for the interpretation of the fate in the context of theprofane. The three tales narratethree different stories in three different ways. Yet, one could suggest that the description of the common life as a "rhetorical mode" by Engi is one of the conduits to the plurally-motivated and polysemous expressions in Uji.

日本文学 [ 910 ]

日本語

日本文学協会

[ISSN] 0386-9903

[NCID] AN00197092