일본 고대국가와 예능 -8‧9세기 복속의례형 예능을 중심으로-

Abstract

This paper aims to investigate how the recognitions of the Japanese ancient royal court on the foreigners who were not subject to the royal court were revealed as individual features and how the terms related to their art performances in the official history books compiled by the nation were related to the Japanese sense of Little Sinocentrism. It was studied based on the subjugating ritual music and dance rites performed by Hayato people in Satzma and Osmi, Balhae envoy, and the royal clans of Baekje Kingdom in the 8th and the 9th centuries. Hayato people were in the transformation process from the antagonist against the ancient Japanese royal court to guardians of the royal authority by getting refined their rebellious nature. The terms that described Hayato's subjugating ritual-style art performance in the official history books of the nation have changed from Hayato-specific folk art performance to general art performance. When Balhae envoys entered Japan, they followed the procedures of the welcoming diplomatic rites arranged by the ancient Japanese royal court. The core of the ritual consisted of Korean music and dance performed by Balhae envoys. However, according to the Six National Histories of Japan, it was very rare that Balhae’s music and dance were actually played. Royal clans of the Baekje Kingdom were those who became the people of the Japanese emperor. However, until the Heian period, the art performances performed by them were described as "the folk songs and dances of Baekje Kingdom" under the premise that royal clans of Baekje Kingdom meant the royal authority of Baekje Kingdom. The ancient Japanese royal court believed that the performance of traditional Korean music by Balhae and Silla's diplomatic envoy in the ritual space was a powerful device to show the completeness of the emperor's ruling, having a stronger effect than the royal power protected by Hayato. It was because there was a gap between the concept and the realistic world of Little Sinocentrism. The performance of Korean music by Korean envoys changed the flow of the fixed consciousness or led to a special rule with the virtual existence of foreign envoys from Balhae and Silla in mind. This can be seen as a different perception from the reality that the act of art performance in front of the emperor by royal clans of Baekje Kingdom was viewed as a music performance symbolizing subjugation and loyalty to the emperor rather than a personal relationship with the emperor. The foreign tribes from each region who did not subject to the ancient Japanese royal court and the tribes of Balhae and Silla functioned sufficiently as logic to reinforce the solidarity of the Japanese emperor and the people of the emperor. However, it also implicates the weak character of the ancient Japanese imperial system in that their perception of the king and the subjects were revealed stronger through the setting of foreign tribes and the subjugating ritual-style art performance.