力長若官八幡社
驚 祐
言5︒
一Y4ぽ竜園
一 一 1｜⁝︸ 「
−牢 ㍉
篭籏
蝉
擢
，‥（NΦ O〔
）
⇔・
膨警
鉱§・．
いぎスヶ
舗
憎 實・∋
、
嚢綴
…
︑蔓泳
鳳膿パ 遠 懸
ξφぺ、 η
．，
叉
．嚢鐵
・
三警灘㌦．蟹
図12 r尾張国名所図絵』
申鱗駅忘毅巷鍵建凪叔圏桝画
一
N
．っ
綬引之
O北上鵡西向O
沓抜一重也O
紫
同
O
宴 乗 之 子 息
11 O北上商
西向
O
曇o
謡汁…酎
N酬N糾嵩1扇洋 橋
蛍
Ni宙
冷〉キ
Nコ培尚書
・◎
欝汁O 繰 o 騰
O O
畔逗呵封 離漫噺廿愈漣
寺家章 酬欄叱 胞 紫 ξフ
蕗帖
工｝測 苫｝〔ロ翔 信 同
西向 少文 O 増 麹 碧
斌 掩 摘
同
楢別當玄膳
O O
南北二木屋在之
O
O
此 等 之間板敷二差莚敷之
O
川露砲幹
寛
O
乗（鰻︶
鰻引之
宴 来 沓抜二重也
辣・有官等自是入
図13r中臣茄賢記』
心4即是却弍熊
Festival Decoration
−Origin and Spread of Hitotsumono一 FuKuHARA Toshio
In some festivals， a child or doll called Hitotsumono passes in the procession， In
folklore， this has been conventionally interpreted as Yorimashi or Yorishiro（an image into which the divine spirit enters）． As against this， this paper reviews the Hitotsulnono by investigating examples mainly in the Kinki and Ky6sh6 Districts． The Hitotsumono came into being in the late Heian Period in the festivals of the Kinai Region， when a horse driver（a child）was brought into the framework of then typical festival enter−
tainments， such as Dengaku（ritual music and dancing performed in Shinto shrines and
へ
Buddhist temples），0−no−mai（King s Dance）， Shishimai（ritual lion dance）， Seinoo
（Court dance performed at the Kasuga shrine）， Mikokagura（shrine maidens music and
dancing）， Sum6 （wrestling）， Kurabeuma （horse racing）， and Yabusame （horseback archery）． The Hitotsumono appeared in the festivals of shrines at Uji， Kasuga， Gion，
Inari， Imamiya， and Hie． The Hitotsumono spread from these festivals in the Kinai Region in the early Middle Ages， to various parts of the country， as one of the enter−
tainments for divine service connected with the Tendai−sect and Hie−Shrine， or as one of the entertainments for divine service connected with the Hachiman−Shrine H6j6e
（Buddhist ceremony in which captured animals and 6sh are released to fields， mountains，
ponds or marshes）． Many of the Hitotsumono， which became established in various areas， disappeared when the framework of the festivals of the Middle Ages and the Miyaza（local organizations for festivals）were dissolved， or changed in quality． The Hitotsumono was， originally， performed also by young people and adults， and its exist−
ence depended on unexpectedness and eye−catching ideas． However， in the repetition of the same acts in festivals， the Hitotsumono became stereotyped with no special art， and most of the皿lost popularity and disappeared． Only Hitotsumono which brought a child or a doll into the performance remained in existence． The Hitotsumono was originally amedium， so its participation in a parade had no religious meaning． In the Modern Age， folklorists came to consider it as an ilnage into which the divine spirit enters．
The interpretation of the essence of the Hitotsumono shifted from that of its original secular existence（a type of performance in the parade）to a sacred one（an image into which the divine spirit enters）；the latter is the commonly accepted opinion at the present． The Hitotsumono already existed in festivals in the Heian Period， together with Mikoshi（portable shrines）． From the theological viewpoint， the question is why agod should have to rest on a separate image， though the god passes to Otabisho（the
resting Place） by a portable shrine？ Hitotsu of the Hitotsumono is not a cardinal
number， but an ordinal number． It seems to have two meanings；the Hitotsumono passes by丘rst， and it is the most conspicu皿s． The essence of the Hitotsumono is the elegance of the procession， the divine presence， the divine visit， or passage， or parade．
322
6熟講禄 戦。
承 。熟爵
紺瀦
灘慈灘
欝1離譲
鰻癬
鞭
緩灘
ぷ灘ぷ
・滋◇
ベう ら セ ホ ご こ へ ま シ ベ
、一灘〉 灘 嚢 熱禄踏，
。 灘ぷ X ・ ，渓 締
ぺ
・灘灘鋼簾鎌鷲 ・・
磁 ぶ繰菜鍛 認灘慈 熟綴灘、 灘
ジ ． ボ難漁購、 惑 ．謙惑
ぶ お づ シ
品 ン×
㌶膨麟 蒙灘ぶ ぶ
導 。縁綬 灘懸灘俗w 織緩 滋
翌 、 … 灘灘 衣
※ 蜜 ※ 源
鳶穣灘灘繋磯講 ＿。舞難灘雛
鰯 藁闘．
鶉 鎌ぶ
懸畷 図15 『鷺国祭礼図屏風』 （豊国神社蔵） 『近世初期風俗画一より複写