@article{oai:urawa.repo.nii.ac.jp:00000399,
 author = {ムラカミ, チズコ and 村上, 千鶴子 and Murakami, Chizuko},
 issue = {3},
 journal = {総合福祉},
 month = {Mar},
 note = {P(論文), 松尾芭蕉(1644-1694)と木喰明満(1718-1810)とは、各々江戸時代中期・後期に活躍し、共に貴重な文化遺産を創造した。俳句と木彫という異なる分野ではあるが、共に希有の芸術家として知られている。また、両者には類似点が多く、共に放浪の旅人として旅に生き、また妻帯することなく、人並み外れた超俗の人生を送った。しかしその現世への関わりには対照的ともいえる部分が存在する。つまり芭蕉は最初の紀行文「野ざらし紀行」において、「猿を聞人捨子に秋の風いかに」という句を読み、現実と理想の相克のうちに捨て子を置き去りにした。一方木喰明満は旅の先々で布教を第一義としながらも、医療・奉仕活動に精進し、その傍ら寝る間を惜しんで彫像を彫り続けた。それを、芸術家と宗教家の違いと片づける立場もあるが、むしろ彼らをしてその各々に分かったものについて、彼らの経歴を振り返りながら、また彼らの悟道の程度、芸術の相異に着目しながら種々の観点から考察を加えた。, Matsuo Basho(1644-1694) and Mokujiki-Myoman(1718-1810) took active parts each in the middle and the latter of the Edo period. And both of them have created great cultural heritages. Despite they engaged in the different artistic fields, both of them are very famous as great artists in Japan. There were a lot of similarities between them, for example, both of them led vagabond lives, had no wives and lived supermundane lives. But there was a striking contrast to the world. That is, Basho composed a haiku [Saruwokikuhito sutegoni akinokaze ikani] and left an abundant baby in the conflict between the reality and the ideal. On the other hand, Mokujiki-Myoman devoted his life not only to the pursuit his own faith but to help poor people, besides he sat up till late into the night with making wood sculptures. The critics may say that their difference in the attitude toward people should rise because of their professional difference. Beyond the professional difference, the author preferably considers and clarifies their differences in viewpoints of their personal histories, their degree in spiritual awakening and the artistic differences.},
 pages = {117--126},
 title = {見殺しと救済 : 事事無礙による止揚と瞬間の意味 : 芭蕉と木喰明満の場合},
 year = {2006}
}