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영어

This paper examines various aspects of Izumo faith as depicted in Izumo’s Noh plays, specifically analyzing the portrayal of Susanowo and how it is transformed in each text. In Izumo Ryujin, the Izumo Taisha Shrine not only clearly enshrines Susanowo but also demonstrates its divine authority as a religious Shrine. In particular, Izumo Taisha Shrine has a connection with the dragon god, who is depicted as a being that presented a small snake to Izumo Taisha Shrine as a guardian deity of the land. In Orochi, Izumo is depicted as the place where Susanowo descended. This is closely related to the fact that, during the Middle Ages, Susanowo replaced the deities of the Izumo Taisha Shrinein the Middle Ages, and Susanowo as the deity of Izumo Taisha Shrine manifested his divine authority as the god of national wealth. In the scene depicting the extermination of the giant serpent, Susanowo was not only a deity who enriched the land but also demonstrated his divine authority as a powerful figure. In Kamiarizuki, Izumo is depicted as a sacred place where the gods of the entire nation convene. Consequently, October is referred to as Kamiarizuki (神有月) in Izumo and Kannazuki (神無月) in other regions, indicating the presence of a religious community centered around Izumo. This is why the Izumo Taisha Shrine is regarded as a significant pilgrimage destination for contemporary worshippers. Furthermore, the deity identifies himself as no Kami, the omnipotent god, who possesses two sacred swords that vanquished a giant serpent and accepted recognized treasures. This acknowledgment is the reason all aspects of Susanowo are celebrated for his virtues. In Misaki, Izumo, the story of Susanowo’s defeat of the serpent, while rooted in Kojiki･Nihon Shoki, portrays Susanowo as a divine figure who safeguards and enriches the land. He is also depicted as a deity who maintains the order of the Imperial Age over which he presides. In the myth of Susanowo’s national salvation, he is represented as the deity of Izumo Taisha, and his third daughter is manifested as Ten Rākṣasīs, establishing Susanowo as the father of the Ten Rākṣasīs. What is common to Izumo’s Noh plays is that the deity of Izumo Taisha Shrine is Susanowo. The transition of the deity from Okuninushi to Susanowo serves as evidence of the high regard for Susanowo’s divine authority. This is reflected in the discourse surrounding Susanowo, who emerged among the Japanese deities as an omnipotent god, embodying and synthesizing the various mythological traditions rooted in the ancient Izumo faith. The existence of a religious community centered on Izumo, along with its unique worldview of Kamiarizuki and Kannazuki, combined with the medieval concept of Honji-Suijaku (which posits that Shinto gods are manifestations of Buddhas), facilitated the active acceptance of this beliefs, leading to various transformations in the deity’s character and divine authority.