Receipt - Zuryou

Japanese: 受領 - ずりょう

The original meaning was the handover of duties when a new government official was replaced in the ancient society of government officials, but since the importance of the duties of the new government official was greater in the case of the kokushi, it became another name for the kokushi, and as authority over state affairs was concentrated in the kokushikancho (the kami or, in the absence of the kami, the suke), it came to refer to the kokushikancho. The mid-10th century was the decisive period when the kokushikancho, who had miscellaneous duties, were neutralized and state affairs were seized by the kokushikancho. From this time on, the zuryo began to use their own subordinates to exercise arbitrary control over their own clans, without being bound by traditional customs. This arbitrary control placed an excessive burden on the peasants, and gave rise to a resistance movement known as the kokushi harassing government lawsuit. The Owari Province Gunji and Peasants' Report of 989 (Eijo 1) is a good historical document that shows the peasants' dissatisfaction with the zuryo's control. The Zyuro increased their taxes by about 20%, accumulated private wealth, and built magnificent mansions in Heian-kyo, reaching the height of their prosperity. However, the prosperity of the Zyuro reached its peak during the Sekkan period, and in the Insei period, the rise of local powers led to a gradual decline in their income.

[Morita Tei]

Receipt of awards in the performing arts, etc.

In ancient times, the title of Jyō was another name for the kokushi (provincial governor), and there were four ranks of official: Kami, Suke, Jo, and Sakan. In the Middle Ages, it became an honorary title for Jigebito (low-ranking people) without any official status, and came to be used to award artisans and entertainers. In the early modern period, the recipients of the title became more diverse, but the majority of recipients were swordsmiths, confectioners, and other artisans, as well as Jōruri tayu (playwrights) and puppeteers, and later it was given mainly to those involved in Jōruri, and the official title became fixed at Jō. There were three ranks: Daijō, Jō, and Shōjō, and from the Meiji period onwards, those who received the title Jō received oral instruction from the imperial family. After the Second World War, Toyotake Kotsubo-dayu, a Gidayubushi performer, was appointed Yamashiro no Shojo in 1947 (Showa 22), and puppeteer Yoshida Bungoro was appointed Namba no Jo in 1956.

[Kiyoko Moteki]

"Study on the Collapse of the Kokushi System" by Shigeki Yoshimura (1957, University of Tokyo Press)" ▽ "Reception" by Tei Morita (1978, Kyoikusha)

[Reference] | Kokushi

Source: Shogakukan Encyclopedia Nipponica About Encyclopedia Nipponica Information | Legend

Japanese:

本義は古代官人社会で交替の際の事務引き継ぎのことであるが、交替事務の重要性において国司の場合が他に勝っていたので、国司の別称となり、国務権限が国司官長（守(かみ)ないし守を欠く場合介(すけ)）に集中していくにしたがい、国司官長をさすことばとなった。雑任(ぞうにん)国司の無力化と国司官長による国務の掌握とが決定的となるのが10世紀中葉であり、このころから受領が自己の郎等(ろうとう)らを駆使し、部内に対し旧来の慣行にとらわれることなく、恣意(しい)的な支配を行うようになった。この恣意的支配は、農民に対し過重負担をもたらし、国司苛政(かせい)訟訴とよばれる抵抗運動を引き起こした。989年（永祚1）尾張(おわり)国郡司百姓等解(ひゃくせいらのげ)は、農民らの受領支配に対する不満を示す好個の史料である。受領らは、ほぼ2割前後の増徴を行い、私富を蓄積し、平安京において豪壮な邸宅を構えるなど、栄華を極めた。ただし受領の栄華も摂関期が頂点で、院政期になると在地勢力の台頭により、収益はしだいに減少していった。

［森田　悌］

芸能などにおける受領

受領は、古代では国司の別称で、守(かみ)・介(すけ)・掾(じょう)・目(さかん)の四等官があったが、中世には実を伴わない官名として地下人(じげびと)の名誉称号となり、職人や芸能人などの表彰に利用されるようになった。近世に入るとその対象も多種多様にわたったが、なかでは刀鍛冶(かたなかじ)、菓子匠などの職人、浄瑠璃太夫(じょうるりたゆう)・人形操師(あやつりし)などの芸能人で受領する者が多く、のちには主として浄瑠璃関係者に与えられ、官名はもっぱら掾に固定する。大掾・掾・少掾の三階級があり、明治以降は宮家から口宣(くぜん)を受けて掾号を名のった。第二次世界大戦後では、義太夫節(ぎだゆうぶし)の豊竹古靭(とよたけこうつぼ)大夫が1947年（昭和22）に山城少掾(やましろのしょうじょう)を、人形遣いの吉田文五郎(ぶんごろう)が56年に難波掾(なんばのじょう)を受領している。

［茂手木潔子］

『吉村茂樹著『国司制度崩壊に関する研究』（1957・東京大学出版会）』▽『森田悌著『受領』（1978・教育社）』

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