法楽和歌と奉納和歌の交錯－󰡔発心和歌集󰡕と󰡔拾玉集󰡕の比較を通じて－

Abstract

This study examines the intersection of hōraku waka (ritual poems offered as entertainment to deities and buddhas) and hōnō waka (dedicatory poems) through a comparative analysis of the Hosshin Wakashū compiled by Princess Senshi and the Shūgyokushū compiled by Jien. While the Hosshin Wakashū primarily reflects personal religious aspiration, positioning waka as an alternative form of Buddhist practice equivalent to scripture recitation, it does not yet assume the communal and performative dimensions of ritual entertainment. By contrast, the Shūgyokushū’s “Hie Hyakushu” explicitly situates waka within the framework of hōraku, aligning poetic composition with musical performance (kagura) in the ritual space of Hie Shrine. Through this transformation, waka emerges not only as an individual expression of faith but also as a medium that integrates the gods themselves into Buddhist soteriology, guiding them toward enlightenment. This comparative study highlights the dynamic shift whereby waka developed from private devotional practice to a communal ritual act that mediated between human, divine, and Buddhist realms. Ultimately, it demonstrates the multifaceted functions of waka in medieval Japan as both a literary and a religious performance.