大鎧の威色目 : 色相にみる日本人の美意識

Abstract

O-yoroi, said to be the original of Japanese armor, was merely practical for cavalry battle using bow and arrow but was a sophisticated art form made of a variety of materials as well as with quality craft skills of gold, textile-dyeing, leather, lacquer, etc. Its artistic value as an integrated craftwork is still highly appreciated today. This article focuses on the color of Odoshi of O-yoroi to examine its representation in detail, and eventually to draw a conclusion from the hue that warriors preferred about how their aesthetic feeling has been formed. This study was carried out through the examination of three different fields of materials; 'extant works, ' 'picture scrolls, ' and descriptions in 'war chronicles, ' especially from mid-Heian Period in the 10th century, the advent era of O-yoroi, to mid-Kamakura Period in the 12th-13th centuries when it was used most in actual warfare. Conventional study on Japanese armor mainly dealt with analyzing the structure of extant pieces and verifying its materials. However, based on those kinds of demonstrative researches, this study looks further into armor especially from the aspect of artwork. It was eventually to challenge the adoption of the Japanese aesthetics that derived from warriors' sense of beauty for their armors, into textile-dyeing works I produce as a modern craftwork. This article consists of five chapters as follows. Chapter 1 History of O-yoroi First of all, I searched into the history of Japanese armor before O-yoroi appeared to see the color hue used by the Japanese race from ancient times. Next, the development of O-yoroi was examined from its start to declination according to the classified periods I set in order to investigate the relation between samurai warriors and O-yoroi. Then, the study proceeded to the detailed examination of component parts of O-yoroi, and I actually put it on to experience for myself how warriors felt by wearing it. Chapter 2 Odoshi of O-yoroi Odoshi is one of the most important parts in O-yoroi. It has a psychological process to menace the opponents. I began on investigation into the definition of Odoshi from the historical side. Then, I verified the materials, technique, and dyeing of Odoshige. The dyeing method, especially, was examined based on the description from "Engishiki." I also divided the colors of Odoshi by name and demonstrated them with some examples. Chapter 3 Trend of Odoshi Color This chapter compares the color of Odoshi from three fields of materials to focus on its trend. In 'extant works' each armor were studied following the classified period I set. 'Picture scrolls' I used were three volumes such as "Bandainagon-emaki, " "Heijimonogatari-emaki, " and "Moukoshurai-emaki". And I referred to the literature of "Hougenmonogatari, " "Hejimonogatari, " "Heikemonogatari, " "Genpeiseisuiki, " and "Joukyuki" that are all 'war chronicles.' I extracted descriptions of the color of Odoshi or O-yoroi from those materials to closely examine the color correlation between the Odoshi and Hitatare (warrior' s outfit), distinctions among noble lineages and positions, and the trends of each period. This research arrived at the conclusion that aristocratic culture had an effect on the color of Odoshi from the time when O-yoroi was born to its spread, but as the warriors took more power, stronger hue became popular, and the balance of color between the Odoshi and Hitatare became more contrasting. Chapter 4 Hue of the Odoshi Color and Culture How the aesthetics of samurai warriors in armor has been formed was investigated. I began with tracing the history of robe colors then examined Kasaneirome (combination patterns of colors) to study the hue and aesthetics of aristocratic culture. I also probed into the origin of four hues used a lot for the color of Odoshi. Then, through the intimate study on similarities and differences between cultures of aristocrat and samurai warrior, I reached the conclusion that the value of beauty they shared in common is the Japanese aesthetic conception that yielded our distinctive chromatic sensation. It can be said that the hue established by the aristocracy by the early Heian Period was innovated by warriors after mid-Heian Period and that they developed new representation in their armors. Chapter 5 Japanese Aesthetics seen in the color of Odoshi In this chapter, I examined how the concept of 'Hare and Ke (festive life and everyday life)' inherent in the Japanese conscious mind is related to the warriors' aesthetic conception in wearing O-yoroi. I also performed an experiment with reproducing Kozakura-gawa and Kozakurakigaeshi-gawa that were popular in the late Heian Period to experience myself the color hue of those days. Then I challenged to adopt the color of Odoshi derived from the Japanese aesthetics into my textile-dyeing productions as a modern craftwork. I produced nine works in total of four versions during four terms. In summary, this research focused on the Odoshi color of O-yoroi demonstrates the aesthetic-formation process of warriors in armor through the materials of three fields, draws the Japanese aesthetic conception from it, and challenges to take over and develop the patterns of the Odoshi color into the modern craftwork.