Statement - shoumyo

Japanese: 声明 - しょうみょう

A translation of the Sanskrit term śabda-vidyā. [1] One of the five academic disciplines in ancient India (Shomyo, Kugyo-myo (Myo of Art), Iho-myo (Myo of Medicine), Inmyo (Myo of Cause), and Naimyo (Myo of Internal Knowledge). The study of grammar and phonology. [2] The recitation of sutras at Buddhist ceremonies. In China, it is also known as Bonbai (Sanskrit chants), San (Praise), and Saimon (Saitama). In Japan, all Buddhist vocal music is collectively referred to as Shomyo.

[Hiroshi Ogawa]

India

In ancient India, music in Brahmanism is said to have developed from the recitation of the Vedas, a sacred text, with melodies. In Buddhism, there are examples of the Buddha approving regular meetings of singing and preaching held by various religions at that time (Sabha Vinirakya 6) and recommending the use of gigaku (a sacred music) as a memorial service for Buddhist monks (Hyakuen-kyo Sutra 3). The Wise and Foolish Sutra 11 tells the story of a monk who sang a Buddhist song and stopped the king's army with his beautiful voice. The Long Agama Sutra 5 describes five types of pure sound as Sanskrit sound, and the Ten Recitation Vinaya 37 describes five types of benefits of vocal singing. However, Brahmanic melodies were forbidden (Konponsatsubata Vinaya Vinaya 9). Later, the Mahayana Buddhist Memyo composed the Sanskrit poem Buddhacharita (Praise of the Buddha's Actions), which describes the life of the Buddha, and is famous as a masterpiece of hymn.

[Hiroshi Ogawa]

China

Kang Seng Hui, who came to Japan during the Three Kingdoms period, was known as a master of chanting. According to the Fayuan Pearl Lin,36 Cao Zhi of the Wei Dynasty was inspired by Buddhist sounds in Yushan, Shandong Province, and created a Buddhist song, which is said to be the origin of the chanting style known as "Yushan chanting." Before the Tang Dynasty, Baku Faqiao and Kang Faping were famous, and after them Soben and others came along. Esoteric Buddhist music was also introduced by the Indian monk Zenmui. However, it declined due to the suppression of Buddhism in 845 (the 5th year of the Kaichang era).

[Hiroshi Ogawa]

Japan

It is believed that chanting was introduced to Japan when Buddhism was introduced in 552 (the 13th year of Emperor Kinmei's reign). According to the Shoku Nihongi (Chronicles of Japan),8 an imperial edict was issued in 720 (the 4th year of Yoro) to standardize the "chanting of the sutras" based on the melody of the Chinese monk Doei. According to the Todaiji Yoroku (Edicts of the Tōdaiji Temple),12 various types of music were performed at the Kaigenhoe ceremony to open the eyes of the Great Buddha of Todaiji Temple in 752 (the 4th year of Tenpyō-shōhō), and chanting was also performed at that time. The Indian monk Bodhisenna and the monk Buttetsu from Lin'yū (a country on the Indochina Peninsula), who served as the leaders of the ceremony, were both experts in chanting. Some of the chanting in Nara Buddhism at that time can still be heard today in the chanting at the Shunie (Omizutori) ceremony at the Nigatsudo Hall of Todaiji Temple. However, the current chanting is largely in the same vein as Tendai chanting and Shingon chanting.

Tendai chanting began in 847 (Shochi 14) during the Heian period, when Jikaku Daishi Ennin, who returned from China, introduced the chanting of Mount Wutai in China. This spread mainly around Mount Hiei and split into five schools, but Ryogen revived it and created a form called "Rongi." Genshin also created a form of chanting in Japanese called "Wa-san." Ryonin, the ninth successor to Ennin, unified the five schools and, following the example of China, established the chanting training center "Raigo-in" in Ohara, Kyoto, which is said to be the Japanese equivalent of Gyozan, and became the master of Tendai chanting. His disciples were Raichou and Kekan, who each established their own schools, forming two schools that continue to this day. Tendai chanting influenced chanting in Zen, Jodo, Nichiren and other sects. Meanwhile, Shingon chanting was introduced by Kobo Daishi Kukai, who returned from China in 806 (Daido 1), and was passed down through Shinga, Gennin, Yakushin, Kanku, and finally perfected by Kancho. It later branched off, but during the Kyuan era (1145-1151), Prince Kakusho of Ninna-ji Temple held a council and four schools were officially recognized: Honso-in, Shinso-in, Daigo, and Shin. Of these, the Shinryu was transferred to Mount Koya at the request of Shoshin during the Joei era (1232-1233), and became the Nanzan Shinryu. During the Shoo era (1288-1293), Raiyu of Negoro, Kii (Wakayama Prefecture), combined the Nanzan Shinryu and Daigo schools to create Shingi Shomyo, which later split into the Chisan and Buzan schools. These two schools and the Nanzan Shinryu are what are known today as Shingon Shomyo.

During the Kamakura period, new sects of Buddhism such as Jodo, Jodo Shinshu, and Nichiren, which are doctrinally descended from Tendai, arose, and while being greatly influenced by them, Buddhist rituals and chanting also developed in their own unique ways. The Rinzai and Soto sects, which arose from Zen Buddhism in the Song dynasty, were influenced by both Tendai and Shingon chanting, and developed rituals and chanting with a Chinese character. Today, the chanting of these sects also occupies a special place.

[Hiroshi Ogawa]

Statement Type

Based on the style of the lyrics, Shomyo songs can be broadly divided into three types: (1) Sanskrit-based songs written in Sanskrit, (2) Chinese-based songs written in Chinese, and (3) Japanese-based songs written in Japanese. Sanskrit-based songs include "Four Wisdom Sanskrit Praises," "Kikkyo Sanskrit Praises," and "Fudo San." Chinese-based songs include "Uta," "Sange," "Bonnon," and "Shakujo." Japanese-based songs include "Sandan," "Kyouke," "Koushiki," "Wasan," and "Rongi."

[Slope Public Road]

Musical personality

Shomyo has a well-developed musical theory, which is particularly evident in Tendai Shomyo and Shingon Shomyo. However, there are some discrepancies between the actual chanting and the theory. The musical theories of both sects have also had a significant influence on the various sects of Kamakura Buddhism.

Shomyo is monophonic music, and its melodic structure is made up of a chain of melodic patterns of larger and smaller units. This phenomenon of combining melodic patterns is common to all traditional Japanese music. Each of these melodic patterns has a name. The name sanju, which is the melodic pattern of koshiki, can also be found in the nembutsu and wasan of the Otani school of Jodo Shinshu, heikyoku, joruri, and so on. There are two types of rhythm: metrical rhythm and non-metrical rhythm. In the Tendai sect, the former is called teikyoku and the latter jokkyoku, and anything in between is called gukyo (broken song).

The musical score for shomyo is called Hakase (also called Bokufu or Seppu), and is written with symbols written to the right or left of the characters. Hakase's form and name vary depending on the sect and era, but they can be broadly divided into Goin Hakase, which indicates the pitch, and Meyasu Hakase, which indicates the movement of the melody. In recent years, some have used 5-line notation. Also, the gomatenfu notation for Soga and Noh plays has been greatly influenced by Hakase.

In this way, Shomyo influenced later vocal music in many ways, including its melodic forms and musical notation. In other words, it can be said to be the origin of traditional Japanese music in a broad sense.

[Slope Public Road]

"Oriental Music Selections 6: Buddhist Music" edited by the Society for the Study of Oriental Music (1972, Ongaku No Tomosha)" ▽ "Kindaichi Haruhiko, Research on the Four Lecture Ceremonies (1964, Sanseido)" ▽ "Iwata Soichi, Chronology of Materials Related to Shomyo" (1974, Heirakuji Shoten)" ▽ "Yokomichi Mario, Kataoka Yoshimichi, et al., Shomyo Encyclopedia (Records, 1983, Hozokan)"

[Reference] | Sheet Music

Source: Shogakukan Encyclopedia Nipponica About Encyclopedia Nipponica Information | Legend

Japanese:

サンスクリット語シャブダ・ビディヤーśabda-vidyāの訳語。〔1〕古代インドの学術区分としての五明（声明・工巧明(くぎょうみょう)・医方明(いほうみょう)・因明(いんみょう)・内明(ないみょう)）の一つ。文法・音韻に関する学問のこと。〔2〕仏教儀式で経文を諷誦(ふじゅ)すること。中国では梵唄(ぼんばい)、讃(さん)、祭文(さいもん)などとも別称。日本では仏教声楽の全体を声明と総称する。

［小川　宏］

インド

古代インドでは、聖典ベーダに曲節を付して詠じたことから、バラモン教の音楽が発達したといわれる。仏教でも、当時の諸宗教で行われた定期的な唄誦説法の集会を仏陀(ぶっだ)が聴許した例（『薩婆多毘尼勒伽(さつばたびにろくぎゃ)』6）や、伎楽(ぎがく)による仏僧供養(くよう)を仏陀が勧めた例（『百縁(ひゃくえん)経』3）がある。また『賢愚(けんぐ)経』11には、美声で国王の軍勢が停止した唄比丘(うたびく)の話がみられる。『長阿含(じょうあごん)経』5では五種清浄(しょうじょう)あるものを梵音というと説かれ、『十誦律(じゅうじゅりつ)』37では声唄には五種利益ありと説かれている。ただしバラモン教の曲調は禁じられた（『根本薩婆多部律摂(こんぽんさつばたぶりつしょう)』9）。後代、大乗仏教の馬鳴(めみょう)が仏陀の一代記を詠んだサンスクリット詩『ブッダチャリタ（仏所行讃(ぶっしょぎょうさん)）』などは讃歌の傑作として著名である。

［小川　宏］

中国

三国時代に来朝した康僧会(こうそうえ)が声明の名手と称せられた。『法苑珠林(ほうおんじゅりん)』36によると、魏(ぎ)の曹植(そうしょく)が山東省魚山(ぎょさん)で梵音を感得して梵唄を創作したと伝え、それが「魚山声明」と称する声明の起源とされる。唐代以前には帛法橋(はくほうきょう)、康法平(こうほうへい)が有名で、それ以降には僧弁(そうべん)らがいる。また密教音楽をインド僧善無畏(ぜんむい)が伝えた。しかし845年（会昌5）の仏教弾圧で衰滅した。

［小川　宏］

日本

日本には、552年（欽明天皇13）の仏教伝来とともに声明も伝えられたとみられる。『続日本紀(しょくにほんぎ)』8によると、720年（養老4）唐僧道栄(どうえい)の曲節に基づき「転経唱礼」を統一させる詔(みことのり)が出されている。また『東大寺要録』12によれば、752年（天平勝宝4）に東大寺大仏開眼法会(かいげんほうえ)において種々の音楽が演奏され、そのとき声明も行われた。その導師を勤めたインド僧菩提遷那(ぼだいせんな)や林邑(りんゆう)国（インドシナ半島にあった国）の僧仏哲(ぶってつ)は、ともに声明の達人であったという。このときの奈良仏教における声明の一部は、東大寺二月堂修二会(しゅにえ)（御水取(おみずとり)）の声明にいまも伝わる。しかし、現行の声明は、ほぼ天台(てんだい)声明と真言(しんごん)声明の流れである。

　天台声明は、平安時代の847年（承知14）唐から帰国した慈覚(じかく)大師円仁(えんにん)が中国五台山の声明を伝えたのに始まる。これが比叡山(ひえいざん)を中心に広まり5流に分派したが、良源(りょうげん)が中興し、「論義」という形式を創始した。さらに源信は日本語による声明「和讃(わさん)」をつくった。また、円仁から9代目の良忍(りょうにん)は5流を統一し、中国に倣って京都大原に、日本の魚山といわれる声明道場「来迎院(らいごういん)」をおこし、天台声明の大成者となった。その門下に頼澄(らいちょう)と家寛(けかん)がおり、それぞれ流派をおこして2流をなし、現在に及ぶ。天台声明は禅宗、浄土宗、日蓮(にちれん)宗などの声明に影響を与えた。一方、真言声明は、806年（大同1）唐より帰朝した弘法(こうぼう)大師空海(くうかい)が伝え、真雅(しんが)、源仁(げんにん)、益信(やくしん)、寛空(かんくう)を経て、寛朝(かんちょう)が大成した。その後は分派したが久安(きゅうあん)年間（1145～1151）、仁和(にんな)寺の覚性(かくしょう)法親王が評定会(ひょうじょうえ)を開き、本相応(ほんそうおう)院流、新相応院流、醍醐(だいご)流、進(しん)流の4流が公認された。このうち、進流は貞永(じょうえい)年間（1232～1233）に勝心(しょうしん)の要請で高野山(こうやさん)に移され、南山(なんざん)進流となった。正応(しょうおう)年間（1288～1293）、紀伊（和歌山県）根来(ねごろ)の頼瑜(らいゆ)は南山進流と醍醐流をあわせて新義声明をつくったが、これはのちに智山(ちさん)派と豊山(ぶざん)派に分かれた。現在この2派と南山進流が真言声明として伝わる。

　鎌倉時代に、教義的には天台宗の流れをくむ浄土宗、浄土真宗、日蓮宗などの新仏教がおこり、仏教儀式や声明もそれに多くの影響を受けながらそれぞれ独自の展開をしていった。宋(そう)代の禅宗よりおこった臨済(りんざい)宗と曹洞(そうとう)宗は天台・真言両声明の影響を受けつつ、中国的な性格をもつ儀式や声明を展開させた。今日これらの宗派の声明も格別な位置を占めている。

［小川　宏］

声明の種類

声明曲はその詞章の形式から、(1)サンスクリット語（梵語(ぼんご)）で書かれた梵文(ぼんぶん)系、(2)漢語で書かれた漢文(かんぶん)系、(3)日本語で書かれた和文系、の三つに大別できる。梵文系の曲には『四智梵語讃(しちぼんごさん)』『吉慶(きっきょう)梵語讃』『不動讃』などがあり、漢文系には唄(ばい)、散華(さんげ)、梵音(ぼんのん)、錫丈(しゃくじょう)など、そして和文系には讃嘆(さんだん)、教化(きょうけ)、講式(こうしき)、和讃、論議などがあげられる。

［坂　公道］

音楽的性格

声明は、発達した音楽理論をもち、天台声明と真言声明にそれが顕著である。しかし、実際の演唱と理論には食い違った部分もある。また、両宗派の音楽理論は、鎌倉仏教の各宗派にも少なからず影響を及ぼしている。

　声明は単旋律音楽であり、その旋律構造は大小の単位の旋律型の連鎖によってできている。このような旋律型の組合せといった現象は、日本の伝統音楽全般に共通している。これらの旋律型には、それぞれに名称がつけられている。講式の旋律型である三重(さんじゅう)の名称は、浄土真宗大谷(おおたに)派の念仏・和讃や、平曲(へいきょく)、浄瑠璃(じょうるり)などにもみられる。拍子は、拍節的リズムと非拍節的リズムの2種類がある。天台宗では前者を定曲(ていきょく)、後者を序曲といい、この中間的のものを倶曲(ぐきょく)（破曲(はきょく)）と名づけている。

　声明の楽譜は博士(はかせ)（墨譜(ぼくふ)、節譜(せっぷ)などともよぶ）といい、文字の右または左に記された記号で表される。博士は宗派や時代によりその形態・名称が異なるが、音高を表す五音(ごいん)博士と、旋律の動きを表す目安(めやす)博士に大別できる。近年では五線譜を用いたものもある。また、早歌(そうが)、謡曲の胡麻点譜(ごまてんふ)は、博士の影響が大きい。

　このように声明は、その旋律型、記譜法などの多くの点で、後世の声楽に影響を与えた。つまり、広い意味において日本伝統音楽の源流といえる。

［坂　公道］

『東洋音楽学会編『東洋音楽選書6　仏教音楽』（1972・音楽之友社）』▽『金田一春彦著『四座講式の研究』（1964・三省堂）』▽『岩田宗一著『声明関係資料年表』（1974・平楽寺書店）』▽『横道萬里雄・片岡義道他編『声明大系』（レコード・1983・法蔵館）』

[参照項目] | 楽譜

出典　小学館　日本大百科全書(ニッポニカ)日本大百科全書(ニッポニカ)について　情報 | 凡例

<<: Shomyoji Temple

>>: Varicose veins