戀之人偶 ─竹久夢二生涯中對人偶之執著─

Abstract

竹久夢二（1884－1934）的一生皆與浄瑠璃及人偶有著密切關聯。在他各式的藝術創作之中，雖時常出現與浄瑠璃及人偶有關的動機，但夢二與浄瑠璃、人形之間的相關研究，卻意外地少。 本文首先探討夢二的故鄉•岡山縣邑久郡曾盛行的戲劇形式「面芝居」（面かけ），以及浄瑠璃帶給幼年時期夢二的影響。接著藉由分析文學作品，了解浄瑠璃以何種形式存在夢二生涯中。夢二成為作家後，文學及繪畫作品中時常出現浄瑠璃的內容或人名，第二章第一節及第二節，便討論夢二文學作品中常出現的浄瑠璃『傾城阿波鳴門』相關內容。第三節中分析夢二以何種形式，利用『奥州安達原』中「袖萩祭文」此幕，轉化成自己的創作。第四節討論夢二大正時期所繪一連串戲劇相關畫作，分析他如何將浄瑠璃融入繪畫作品當中。 夢二的文學、繪畫作品中，時常出現「人形」(人偶)一詞，可推測是來自浄瑠璃的影響。第三章中將他文學作品時常出現的「人形」一詞分為三種類，分析對夢二而言「人形」的存在為何。此章第三節中，更引用夢二實際生活描述，再度證明「人形」對夢二的象徵意義。此外，夢二更曾執著於製作人偶。第四章第一節中，將考察夢二如何使用人偶，來表現自己的藝術觀。第二節將以內在及外在兩個視點，分析夢二制作人偶的動機。透過以上論述，可窺知夢二生涯與浄瑠璃及人偶關係之密切。

Yumeji Takehisa (1884 - 1934) had been heavily influenced by 'joruri' (a ballad drama) and 'ningyou' (puppets) through out his life. In almost all of his creations, traces of joruri and ningyou can be found; yet few research has been done in this direction which discusses the impact of joruri and ningyou on Yumeji. This thesis will first investigate the influence on the young Yumeji of Menshibai (Mask Performance), a prosperous form of performance at Yumeji's home town in Okayama, and joruri, a traditional Japanese ballad drama. By going through the various literature we can understand the form joruri has taken in Yumeji's works. In chapter 2 section I and II, we discuss 'Keiseiawanonaruto' as an example of Yumeji's portrait of joruri; then we use the scene 'Sodehagisaimon' from the performance 'Oshuadachigahara' in section III to illustrate how Yumeji transforms these traditional art works into his own. We conclude the chapter by introducing a series of painting of Yumeji to see how his paintings in Taishou era are affected by jyoruri. The term 'ningyou' (puppets) often appear in Yumeji's works which we propose as a base for he being influenced by joruri. We divide the term ningyou into three categories by their meanings and discuss these terms more thoroughly in Chapter 3. We further examines how Yumeji expresses his view of art with puppets in Chapter 4, using both the internal and the external view to check how Yumeji came to the decision of making his own puppets, as well as his obsession in puppet-making in Chapter 4 section 2. From the above points, we can illustrate how closely related joruri, ningyou and Yumeji were through out his entire life.