일본에서 전개된기악(伎楽) 복원 작업에 대한 고찰

Abstract

Gigaku (伎樂) was introduced to Japan by Mimaji (미마지) from Paekje (百濟). It has also been disconnected in Japan during Edo era (江 戶 時代, 1603-1867). Hayashi Kenzo (林謙三) was the first musicologist who attempted to restore the gigaku tradition in Japan since 1960's. As a result of his continuous work, gigaku play was restored through music and scholastic papers. In this paper, I gave more focus on the historical records that he mainly referred from. Restoration of the gigaku performance in Japan, have been made in several directions including masks and the material artifacts. Some of which have been settled out recreating a concert repertoire for the modern world. The gigaku restoration mainly performed in three different view points. The first gigaku restoration project was attempted by the musicologist Hayashi Kenzo. As a result of his research project, the instrumental music of the gigaku was reconstructed in 1960's and they were remained in recording. While he was reconstructing the music of gigaku, he mainly focused on the historical event that happened hundreds of years ago between Japan and Paekje (百濟). Considering the fact that the gigaku play was introduced by Paekje people, he thought the music should be based on the komagaku (狛樂). He particularly picked ch’ijo (徵調) mode from komagaku. He reconstructed nine pieces by reviewing old scores like Sinch’anakbo (新撰樂譜), Hoejungbo (懷中譜)』, Injiyorok (仁智要錄), and Kiakbo (妓樂譜). He named nine pieces from Gigaku including Saja (사자), Okong (오공), Kŭmgang (금강), Karura (가루라), Kollyun (곤륜), Yŏksa (역사),　Paramun (바라문),　Taego (대고) and　Ch’wiho (취호). His restored nine musical pieces were not played in the restored gigaku performance in real, because he was mainly focused on the restoring the exact music from the old scores. As a second movement, gigaku restoration was attempted by the buddhist temple in 1980's. This project was based on the concept that the gigaku play was mainly associated with the buddhist ritual. In 1980, the restored gigaku performed by kagakubu (雅樂部) from Tenri Taigaku (天理大學) to celebrate Todaiji's successful remodeling project (東大寺昭和大修理落慶法要). The biggest difference between Hayashi's and Tenri Raigaku's work was the composition of the music. Tenli dagaku's restoration throughly focused on the actual performance of gigaku on the stage unlike the Hayashi's work. Based on the successful restoration of the gigaku performance, Tenli Taigaku composed a new gigaku Samjang pŏbsa (三藏法師)’ by the request from Yaksasa temple (藥師寺). Samjang pŏbsa played at Yaksasa temple every year. Different from the former two reconstruction project, kyogen actor Nomura Manozo (野村万之丞) also tried to restore the gigaku play under the concept that the gigaku was the traditional performing Arts in pan-Asia. He nearly recreated new-gigaku (眞伎樂) by mixing the traits from the various asian country's mask play. Gigaku restoration projects from 1960's achieved some successful result in Japan. Some of the successfully restored pieces are keep playing on the stage (sometimes at the temple) even now. Considering the position of gigaku occupied in the Asian traditional performing art history (including Korea), the case of Japan will be considered as important in the restoration work of the traditional performance of different countries.