「ケルヌンノス」の版間の差分

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受け入れられているケルト語の音韻規則に従えば、この原ケルト神名素の Romano-British 形は *Cernonos か *Carnonos であったと思われる。いずれもガリ語の Cernunnos と極めて似ている（以上、日本語版Wikipedia）。
 
受け入れられているケルト語の音韻規則に従えば、この原ケルト神名素の Romano-British 形は *Cernonos か *Carnonos であったと思われる。いずれもガリ語の Cernunnos と極めて似ている（以上、日本語版Wikipedia）。
  
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ガリア語では、Cernunnosの名前の語源は、「角」「鹿の角」を意味するkarnonである。 Karnonはラテン語の''cornu''やゲルマン語の''*hurnaz''と同族で、最終的にはプロト・インド・ヨーロッパ語の''*k̑r̥no-''に由来する。大陸ケルト語のガリア人とガラテヤ人の支流には、「角」（''karn-'' "horn"）という語源が見られる。
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ガリア語では、Cernunnosの名前の語源は、「角」「鹿の角」を意味するkarnonである。 Karnonはラテン語の''cornu''やゲルマン語の''*hurnaz''と同族で、最終的にはプロト・インド・ヨーロッパ語の''*k̑r̥no-''に由来する<ref>Pokorny (1959) "k̑er-, k̑erə-; k̑rā-, k̑erei-, k̑ereu"[http://www.utexas.edu/cola/centers/lrc/ielex/X/P0929.html], https://web.archive.org/web/20140307155522/http://www.utexas.edu/cola/centers/lrc/ielex/X/P0929.html, 2014-03-07 </ref>。大陸ケルト語のガリア人とガラテヤ人の支流には、「角」（''karn-'' "horn"）という語源が見られる。アレキサンドリアのヘシキウス（Hesychius）は、ガラテヤ語のkarnon (κάρνον) を「ガリアのラッパ」、つまりテサロニカのエウスタティウス（Eustathius）がcarnix (κάρνυξ) として挙げたケルト軍の角笛を、動物の形の鐘を持つ楽器と解釈しています<ref>Delamarre; Greek text and English translation of the passage from Eustathius' Homeric commentaries given by Edward Wigan, "Account of a Collection of Roman Gold Coins", ''Numismatic Chronicle'' 5 (1865), p. 11 [https://books.google.com/books?id=0VwUAAAAYAAJ&pg=PA11&dq=carnyx+Eustathius&hl=en&ei=yEPDTMPmA4SfnAf__a3UCQ&sa=X&oi=book_result&ct=result&resnum=2&ved=0CCsQ6AEwAQ#v=onepage&q=carnyx%20Eustathius&f=false online.]</ref>。
  
  
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In [[Gaulish]], the name Cernunnos is rooted in the word ''karnon'' which means "horn" or "antler".  Karnon is cognate with Latin ''cornu'' and Germanic ''*hurnaz'', ultimately from [[Proto-Indo-European language|Proto-Indo-European]] ''{{PIE|[[:wikt:Reconstruction:Proto-Indo-European/ḱerh₂-|*k̑r̥no-]]}}''.<ref>[[Pokorny (1959)]] "k̑er-, k̑erə-; k̑rā-, k̑erei-, k̑ereu"[http://www.utexas.edu/cola/centers/lrc/ielex/X/P0929.html] {{Webarchive|url=https://web.archive.org/web/20140307155522/http://www.utexas.edu/cola/centers/lrc/ielex/X/P0929.html |date=2014-03-07 }}</ref>
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In [[Gaulish]], the name Cernunnos is rooted in the word ''karnon'' which means "horn" or "antler".  Karnon is cognate with Latin ''cornu'' and Germanic ''*hurnaz'', ultimately from [[Proto-Indo-European language|Proto-Indo-European]] ''{{PIE|[[:wikt:Reconstruction:Proto-Indo-European/ḱerh₂-|*k̑r̥no-]]}}''.
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The etymon ''karn-'' "horn" appears in both [[Gaulish language|Gaulish]] and [[Galatian language|Galatian]] branches of [[Continental Celtic]]. [[Hesychius of Alexandria]] glosses the Galatian word ''karnon'' (κάρνον) as "Gallic trumpet", that is, the Celtic military horn listed as the [[carnyx]] (κάρνυξ) by [[Eustathius of Thessalonica]], who notes the instrument's animal-shaped bell.<ref>Delamarre; Greek text and English translation of the passage from Eustathius' [[Homeric epics|Homeric]] [[commentary (philology)|commentaries]] given by Edward Wigan, "Account of a Collection of Roman Gold Coins", ''Numismatic Chronicle'' 5 (1865), p. 11 [https://books.google.com/books?id=0VwUAAAAYAAJ&pg=PA11&dq=carnyx+Eustathius&hl=en&ei=yEPDTMPmA4SfnAf__a3UCQ&sa=X&oi=book_result&ct=result&resnum=2&ved=0CCsQ6AEwAQ#v=onepage&q=carnyx%20Eustathius&f=false online.]</ref> The root also appears in the names of [[List of Celtic tribes|Celtic polities]], most prominent among them the [[Carnutes]], meaning something like "the Horned Ones",<ref>Also ''[[Carni]]'' and ''[[Carnonacae]]''.</ref> and in several [[personal name]]s found in inscriptions.<ref>Such as ''Carnarus'', ''Carnatus'', ''Carneolus'', ''Carnius'', and ''Carnicus''. Altay Coşkun and Jürgen Zeidler, {{"'}}Cover Names' and Nomenclature in Late Roman Gaul: The Evidence of the Bordelaise Poet Ausonius" (2003), p. 33.</ref>
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The etymon ''karn-'' "horn" appears in both [[Gaulish language|Gaulish]] and [[Galatian language|Galatian]] branches of [[Continental Celtic]]. [[Hesychius of Alexandria]] glosses the Galatian word ''karnon'' (κάρνον) as "Gallic trumpet", that is, the Celtic military horn listed as the [[carnyx]] (κάρνυξ) by [[Eustathius of Thessalonica]], who notes the instrument's animal-shaped bell. The root also appears in the names of [[List of Celtic tribes|Celtic polities]], most prominent among them the [[Carnutes]], meaning something like "the Horned Ones",<ref>Also ''[[Carni]]'' and ''[[Carnonacae]]''.</ref> and in several [[personal name]]s found in inscriptions.<ref>Such as ''Carnarus'', ''Carnatus'', ''Carneolus'', ''Carnius'', and ''Carnicus''. Altay Coşkun and Jürgen Zeidler, {{"'}}Cover Names' and Nomenclature in Late Roman Gaul: The Evidence of the Bordelaise Poet Ausonius" (2003), p. 33.</ref>
  
 
The [[Proto-Celtic]] form of the theonym is reconstructed as *''Carno-on-os''. The [[augmentative]] ''-on-'' is characteristic of theonyms, as in [[Maponos]], [[Epona]], [[Matronae]], and [[Sirona]].<ref>Delamarre, citing M. Lejeune, ''Lepontica'' (Paris 1971), p. 325.</ref> Maier (2010) states that the etymology of ''Cernunnos'' is unclear, but seems to be rooted in the Celtic word for "horn" or "antler" (as in ''Carnonos'').<ref name="Maier">Bernard Maier, [https://books.google.com/books?id=7AvdTqwucfwC&pg=PA69&dq=%22the+etymology+of+whose+name+is+unclear%22&hl=en&ei=2E3ETPjlFcWOnwfrmpHZCQ&sa=X&oi=book_result&ct=result&resnum=1&ved=0CC0Q6AEwAA#v=onepage&q=%22the%20etymology%20of%20whose%20name%20is%20unclear%22&f=false ''Dictionary of Celtic Religion and Culture''] (Alfred Kröner, 1994; Boydell, 2000), p. 69.</ref>
 
The [[Proto-Celtic]] form of the theonym is reconstructed as *''Carno-on-os''. The [[augmentative]] ''-on-'' is characteristic of theonyms, as in [[Maponos]], [[Epona]], [[Matronae]], and [[Sirona]].<ref>Delamarre, citing M. Lejeune, ''Lepontica'' (Paris 1971), p. 325.</ref> Maier (2010) states that the etymology of ''Cernunnos'' is unclear, but seems to be rooted in the Celtic word for "horn" or "antler" (as in ''Carnonos'').<ref name="Maier">Bernard Maier, [https://books.google.com/books?id=7AvdTqwucfwC&pg=PA69&dq=%22the+etymology+of+whose+name+is+unclear%22&hl=en&ei=2E3ETPjlFcWOnwfrmpHZCQ&sa=X&oi=book_result&ct=result&resnum=1&ved=0CC0Q6AEwAA#v=onepage&q=%22the%20etymology%20of%20whose%20name%20is%20unclear%22&f=false ''Dictionary of Celtic Religion and Culture''] (Alfred Kröner, 1994; Boydell, 2000), p. 69.</ref>

2022年11月20日 (日) 05:57時点における版

コペンハーゲンのデンマーク国立博物館に展示されているグンデストラップ大釜（Gundestrup Cauldron）のケルヌンノス型角神像。

（参照方法、2021年8月） ケルヌンノス（Cernunnos または Kernunnos）は、ケルト神話の狩猟の神にして冥府神。獣王・動物王であったと推定されている。また、多産と豊作に関係があったと考えられている。古代ケルトやガロ・ローマの宗教では、ケルヌンノス（Cernunnos）またはカルノノス（Carnonos）は角を持ち、あぐらをかいて座る姿で描かれた神で、鹿、角のある大蛇、犬、雄牛と関連している。ケルヌンノスは通常、トルクを持つか身につけており、時にはコイン（または穀物）の入った袋とコルヌコピアを持つ姿も見られる[1]。ケルヌンノスは、元々はケルトの神であったと考えられており、ガリア北東部を中心に50以上の描写や碑文が残されている。

名前と語源

「船乗りの柱」の碑文は [_]ernunnos となっており、いつかの時点で名前の最初の文字が欠落している。しかし、この名前を "Cernunnos" と復元するのに問題点はない。というのは、名前の下に枝角を持った神の絵があるからで、ガリア語の carnon, cernon は「枝角」、「角」を意味している（Delmarre, 1987 pp. 106 - 107）。同様に、古いアイルランド語では cern は「角」、 "bumb, boss" を意味し、ウェールズ語やブレトン語の類似単語 carn とも語源的に関連している。これらは原インド・ヨーロッパ語の *krno- からきたものである。ラテン語の cornu 、ゲルマン語の *hurnaz （英語の "horn" の元）も同じ語源である（Nussbaum 1986; Porkorny 1959 pp.574 - 576）。 Carnutes、Carni、Carnonacae といった部族名、進軍ラッパの carnyx にも同一のガリア語の語源が見いだされる。そこでこの神名素の原ケルト語形は *Kerno-on-os ないし *Karno-on-os と再構成できる。どちらも「角のある男性的な（霊）」という意味である。 -on- という部分は非常に多いわけではないがしばしば神名素に現れる。例えば、マポノス（Map-on-os）、エポナ（Ep-on-a）、マトロナエ（Matr-on-a）、シローナ（Sir-on-a）のように。

受け入れられているケルト語の音韻規則に従えば、この原ケルト神名素の Romano-British 形は *Cernonos か *Carnonos であったと思われる。いずれもガリ語の Cernunnos と極めて似ている（以上、日本語版Wikipedia）。

ガリア語では、Cernunnosの名前の語源は、「角」「鹿の角」を意味するkarnonである。 Karnonはラテン語のcornuやゲルマン語の*hurnazと同族で、最終的にはプロト・インド・ヨーロッパ語の*k̑r̥no-に由来する[2]。大陸ケルト語のガリア人とガラテヤ人の支流には、「角」（karn- "horn"）という語源が見られる。アレキサンドリアのヘシキウス（Hesychius）は、ガラテヤ語のkarnon (κάρνον) を「ガリアのラッパ」、つまりテサロニカのエウスタティウス（Eustathius）がcarnix (κάρνυξ) として挙げたケルト軍の角笛を、動物の形の鐘を持つ楽器と解釈しています[3]。


In Gaulish, the name Cernunnos is rooted in the word karnon which means "horn" or "antler". Karnon is cognate with Latin cornu and Germanic *hurnaz, ultimately from Proto-Indo-European テンプレート:PIE. The etymon karn- "horn" appears in both Gaulish and Galatian branches of Continental Celtic. Hesychius of Alexandria glosses the Galatian word karnon (κάρνον) as "Gallic trumpet", that is, the Celtic military horn listed as the carnyx (κάρνυξ) by Eustathius of Thessalonica, who notes the instrument's animal-shaped bell. The root also appears in the names of Celtic polities, most prominent among them the Carnutes, meaning something like "the Horned Ones",[4] and in several personal names found in inscriptions.[5]

The Proto-Celtic form of the theonym is reconstructed as *Carno-on-os. The augmentative -on- is characteristic of theonyms, as in Maponos, Epona, Matronae, and Sirona.[6] Maier (2010) states that the etymology of Cernunnos is unclear, but seems to be rooted in the Celtic word for "horn" or "antler" (as in Carnonos).[7]

"Cernunnos" is believed by some Celticists to be an obscure epithet of a better attested Gaulish deity; perhaps the god described in the interpretatio Romana as Mercury or Dis Pater,[8] which are considered to share Cernunnos's psychopomp or chthonic associations. The name has only appeared once with an image, when it was inscribed on the Nautae Parisiaci (the sailors of the Parisii, who were a tribe of Gauls).[9] Otherwise, variations of the name Cernunnos has also been found in a Celtic inscription written in Greek characters at Montagnac, Hérault (as καρνονου, karnonou, in the dative case).[10] A Gallo-Latin adjective carnuātus, "horned", is also found.[11]

Epigraphic evidence

Due to the lack of surviving Gaulish literature regarding mythologies about Cernunnos, stories with various possible epithets he might have had, or information regarding religious practices and followers, his overall significance in Gaulish religious traditions is unknown. Interpretations of his role within Gaulish culture vary from seeing him as a god of animals, nature and fertility to a god of travel, commerce and bi-directionality.[12] The only evidence that has survived are inscriptions found on various artifacts.

The Nautae Parisiaci monument was probably constructed by Gaulish sailors in 14 CE.[13] It was discovered in 1710 within the foundations of the cathedral of Notre-Dame de Paris, site of ancient Lutetia, the civitas capital of the Celtic Parisii. It is now displayed in the Musée National du Moyen Age in Paris.[14] The distinctive stone pillar is an important monument of Gallo-Roman religion. Its low reliefs depict and label by name several Roman deities such as Jupiter, Vulcan, and Castor and Pollux, along with Gallic deities such as Esus, Smertrios, and Tarvos Trigaranus. The name Cernunnos can be read clearly on 18th century drawings of the inscriptions, but the initial letter has been obscured since, so that today only a reading "[_]ernunnos" can be verified.[15]

Additional evidence is given by one inscription on a metal plaque from Steinsel-Rëlent in Luxembourg, in the territory of the Celtic Treveri. This inscription[16] read Deo Ceruninco, "to the God Cerunincos", assumed to be the same deity.テンプレート:Citation needed The Gaulish inscription from Montagnac[17] reads αλλετ[ει]νος καρνονου αλ[ι]σο[ντ]εας (Alletinos [dedicated this] to Carnonos of Alisontea), with the last word possibly a place name based on Alisia, "service-tree" or "rock" (compare Alesia, Gaulish Alisiia).[18]

Iconography

ファイル:Cernunnos.jpg
Cernunnos on the Pillar of the Boatmen, from the Musée national du Moyen Âge (Museum of the Middle Ages), in Paris, France.

On the Pillar of the Boatmen, we find an image depicted with stag's antlers, both having torcs hanging from them with the inscription of [C]ernunnos with it. The lower part of the relief is lost, but the dimensions suggest that the god was sitting cross-legged, in the depiction traditionally called "Buddhic posture",[19] providing a direct parallel to the antlered figure on the Gundestrup cauldron.[20]

Iconography associated with Cernunnos is often portrayed with a stag and the ram-horned serpent. Less frequently, there are bulls (at Rheims), dogs and rats.[21] Because of the image of him on the Gundestrup Cauldron, some scholars describe Cernunnos as the Lord of the Animals or the Lord of Wild Things, and Miranda Green describes him as a "peaceful god of nature and fruitfulness"[22] who seems to be seated in a manner that suggests traditional shamans who were often depicted surrounded by animals.[23] Other academics such as Ceisiwr Serith describes Cernunnos as a god of bi-directionality and mediator between opposites, seeing the animal symbolism in the artwork reflecting this idea.[24]

The Pilier des nautes links him with sailors and with commerce, suggesting that he was also associated with material wealth as does the coin pouch from the Cernunnos of Rheims (Marne, Champagne, France)—in antiquity, Durocortorum, the civitas capital of the Remi tribe—and the stag vomiting coins from Niedercorn-Turbelslach (Luxembourg) in the lands of the Treveri. The god may have symbolized the fecundity of the stag-inhabited forest.

Other examples of Cernunnos imagery include a petroglyph in Val Camonica in Cisalpine Gaul.[9][25] The antlered human figure has been dated as early as the 7th century BCE or as late as the 4th.[25] Two goddesses with antlers appear at Besançon and Clermont-Ferrand, France. An antlered god appears on a relief in Cirencester, Britain dated to Roman times and appears depicted on a coin from Petersfield, Hampshire.[9] An antlered child appears on a relief from Vendeuvres, flanked by serpents and holding a purse and a torc.[26] The best known image appears on the Gundestrup cauldron found on Jutland, dating to the 1st century BCE, thought to depict Celtic subject matter though usually regarded as of Thracian workmanship.

Among the Celtiberians, horned or antlered figures of the Cernunnos type include a "Janus-like" god from Candelario (Salamanca) with two faces and two small horns; a horned god from the hills of Ríotinto (Huelva); and a possible representation of the deity Vestius Aloniecus near his altars in Lourizán (Pontevedra). The horns are taken to represent "aggressive power, genetic vigor and fecundity."[27]

Divine representations of the Cernunnos type are exceptions to the often-expressed view that the Celts only began to picture their gods in human form after the Roman conquest of Gaul.[28] The Celtic "horned god", while well attested in iconography, cannot be identified in description of Celtic religion in Roman ethnography and does not appear to have been given any interpretatio romana, perhaps due to being too distinctive to be translatable into the Roman pantheon.[29] While Cernunnos was never assimilated, scholars have sometimes compared him functionally to Greek and Roman divine figures such as Mercury,[30] Actaeon, specialized forms of Jupiter, and Dis Pater, the latter of whom Julius Caesar said was considered the ancestor of the Gauls.[31]

Possible reflexes in Insular Celtic

There have been attempts to find the cern root in the name of Conall Cernach, the foster brother of the Irish hero Cuchulainn[32] in the Ulster Cycle. In this line of interpretation, Cernach is taken as an epithet with a wide semantic field—"angular; victorious; prominent," though there is little evidence that the figures of Conall and Cernunnos are related.[33]

A brief passage involving Conall in an eighth-century story entitled Táin Bó Fraích ("The Cattle Raid on Fraech") has been taken as evidence that Conall bore attributes of a "master of beasts."[8] In this passage Conall Cernach is portrayed as a hero and mighty warrior who assists the protagonist Fraech in rescuing his wife and son, and reclaiming his cattle. The fort that Conall must penetrate is guarded by a mighty serpent. The supposed anti-climax of this tale is when the fearsome serpent, instead of attacking Conall, darts to Conall's waist and girdles him as a belt. Rather than killing the serpent, Conall allows it to live, and then proceeds to attack and rob the fort of its great treasures the serpent previously protected.

The figure of Conall Cernach is not associated with animals or forestry elsewhere; and the epithet "Cernach" has historically been explained as a description of Conall's impenetrable "horn-like" skin which protected him from injury.

Possible connection to Saint Ciarán

ファイル:God of Etang sur Arroux possible depiction of Cernunnos.jpg
God of Etang-sur-Arroux, a possible depiction of Cernunnos. He wears a torc at the neck and on the chest. Two snakes with ram heads encircle him at the waist. Two cavities at the top of his head are probably designed to receive deer antlers. Two small human faces at the back of his head indicate that he is tricephalic. Musée d'Archéologie Nationale (National Archaeological Museum), in France.
ファイル:Cernunnos - Parco di Naquane R 70 - Capo di Ponte (Foto Luca Giarelli).jpg
Rock carving of an antlered figure in the National park of Naquane, Italy.[34]

Some see the qualities of Cernunnos subsumed into the life of Saint Ciarán of Saighir, one of the Twelve Apostles of Ireland. When he was building his first tiny cell, as his hagiography goes, his first disciple and monk was a boar that had been rendered gentle by God. This was followed by a fox, a badger, a wolf and a stag.[35]

Neopaganism and Wicca

Within Neopaganism, specifically the Wiccan tradition, The Horned God is a deity that is believed to be the consort of the Great Goddess and syncretizes various horned or antlered gods from various cultures. The name Cernunnos became associated with the Wiccan Horned God through the adoption of the writings of Margaret Murray, an Egyptologist and folklorist of the early 20th century. Murray, through her Witch-cult hypothesis, believed that the various horned deities found in Europe were expressions of a "proto-horned god" and in 1931 published her theory in "The God of the Witches". Her work was considered highly controversial at the time, but was adopted by Gerald Gardner in his development of the religious movement of Wicca.[36]

Within the Wiccan tradition, The Horned God reflects the seasons of the year in an annual cycle of life, death and rebirth and his imagery is a blend of the Gaulish god Cernunnos, the Greek god Pan, The Green Man motif, and various other horned spirit imagery.[37][38]

In popular culture

  • Cernunnos is featured in both Marvel Comics and DC Comics as a member of the Celtic pantheon.
  • Cernunnos is a playable hunter as the second of the Celtic gods to arrive in Smite.
  • In the french production Black Spot Cernunnos is referred to frequently as the woodsman.

See also

References

  • Corpus Inscriptionum Latinarum (CIL) volume 13, number 03026
  • Delmarre, Xavier (2003). Dictionnaire de la langue gauloise (2nd ed.). Paris: Editions Errance. ISBN 2-87772-237-6.
  • Lejeune, Michel (1995). Recueil des inscriptions gauloises (RIG) volume 1, Textes gallo-grecs. Paris: Editions du CNRS.
  • Nussbaum, Alan J. (1986). Head and Horn in Indo-European. Berlin, New York: Walter de Gruyter. ISBN 3-11-010449-0.
  • Porkorny, Julius (1959). Indogermanisches etymologisches Wörterbuch. Berlin: Franke Verlag.

Notes

  1. ↑ Green, Miranda, Celtic Art, Reading the Messages, p. 147, 1996, The Everyman Art Library, ISBN:0-297-83365-0
  2. ↑ Pokorny (1959) "k̑er-, k̑erə-; k̑rā-, k̑erei-, k̑ereu"[1], https://web.archive.org/web/20140307155522/http://www.utexas.edu/cola/centers/lrc/ielex/X/P0929.html, 2014-03-07
  3. ↑ Delamarre; Greek text and English translation of the passage from Eustathius' Homeric commentaries given by Edward Wigan, "Account of a Collection of Roman Gold Coins", Numismatic Chronicle 5 (1865), p. 11 online.
  4. ↑ Also Carni and Carnonacae.
  5. ↑ Such as Carnarus, Carnatus, Carneolus, Carnius, and Carnicus. Altay Coşkun and Jürgen Zeidler, テンプレート:"'Cover Names' and Nomenclature in Late Roman Gaul: The Evidence of the Bordelaise Poet Ausonius" (2003), p. 33.
  6. ↑ Delamarre, citing M. Lejeune, Lepontica (Paris 1971), p. 325.
  7. ↑ Bernard Maier, Dictionary of Celtic Religion and Culture (Alfred Kröner, 1994; Boydell, 2000), p. 69.
  8. ↑ 8.0 8.1 Anne Ross. (1967, 1996). Pagan Celtic Britain: Studies in Iconography and Tradition. Academy Chicago Publishers.
  9. ↑ 9.0 9.1 9.2 テンプレート:Cite book
  10. ↑ Xavier Delamarre, Dictionnaire de la langue gauloise (Éditions Errance, 2003), pp. 106–107.
  11. ↑ Equivalent to Latin cornutus, "horned"; Delamarre, citing J. Vendryes, Revue Celtique 42 (1925) 221–222.
  12. ↑ テンプレート:Cite book https://ceisiwrserith.com/therest/Cernunnos/cernunnospaper.htm
  13. ↑ Based on the inscription (CIL XIII. 03026), on the accession of the emperor Tiberius.
  14. ↑ A. Kingsley Porter, "A Sculpture at Tandragee," Burlington Magazine 65 (1934), p. 227, pointing out the relative maturation of the antlers.
  15. ↑ Phyllis Fray Bober, Cernunnos: Origin and Transformation of a Celtic Divinity, American Journal of Archaeology, Vol. 55, No. 1 (Jan., 1951), pp. 13-51 https://www.jstor.org/stable/501179
  16. ↑ AE 1987, 0772 = AE 1989, 00542.
  17. ↑ RIG 1, number G-224.
  18. ↑ Delamarre, Dictionnaire pp. 38–39. See also Pierre-Yves Lambert, La langue gauloise (Éditions Errance, 2003), pp. 53 and 58.
  19. ↑ Blázquez Martínez, J. M. (1957). Una réplica desconocida al Cernunnos de Val Camonica: el Cernunnos de Numancia. Revue d'Études Ligures, 23, fasc. 3-4, 1957, pp. 294-298.
  20. ↑ テンプレート:Cite book
  21. ↑ テンプレート:Cite book
  22. ↑ Green, Miranda (1992) Animals in Celtic Life and Myth, p. 228.
  23. ↑ テンプレート:Cite book
  24. ↑ テンプレート:Cite journal
  25. ↑ 25.0 25.1 Webster, "Creolizing the Roman Provinces," p. 221, especially note 103.
  26. ↑ Anne Ross, "Chain Symbolism in Pagan Celtic Religion," Speculum 34 (1959), p. 42.
  27. ↑ Francisco Marco Simón, "Religion and Religious Practices of the Ancient Celts of the Iberian Peninsula," e-Keltoi: Journal of Interdisciplinary Celtic Studies 6 (2005), p. 310.
  28. ↑ Webster, "Creolizing the Roman Provinces," p. 221.
  29. ↑ Jane Webster, "Creolizing the Roman Provinces," American Journal of Archaeology 105 (2001), p. 222; distinctiveness of Cernunnos also in William Van Andringa, "Religions and the Integration of Cities in the Empire in the Second Century AD: The Creation of a Common Religious Language," in A Companion to Roman Religion (Blackwell, 2007), pp. 87–88.
  30. ↑ David M. Robinson and Elizabeth Pierce Belgen, "Archaeological Notes and Discussions," American Journal of Archaeology 41 (1937), p. 132.
  31. ↑ Phyllis Fray Bober, "Cernunnos: Origin and Transformation of a Celtic Divinity," American Journal of Archaeology 55 (1951), p. 15ff.
  32. ↑ Porter, A Sculpture at Tandragee, p. 227.
  33. ↑ John Koch. (2006) Cernunnos [in] Celtic Culture: A Historical Encyclopedia, p. 396. ABC-Clio.
  34. ↑ Umberto Sansoni-Silvana Gavaldo, L'arte rupestre del Pià d'Ort: la vicenda di un santuario preistorico alpino, p. 156; Ausilio Priuli, Piancogno su "Itinera".{{{date}}} - via {{{via}}}..
  35. ↑ テンプレート:Cite book
  36. ↑ Forced into the Fringe: Margaret Murray's Witch-Cult Hypothesis.21 April 2017 - via {{{via}}}.
  37. ↑ Farrar, Stewart & Janet, Eight Sabbats for Witches
  38. ↑ The Rebirth of Witchcraft, Doreen Valiente, page 52-53

External links

テンプレート:Celtic mythology topics

概要

ケルヌンノスという名称はパリで出土した「船乗りの柱」に見られる（ただし不完全で、冒頭の1文字が欠けている）。彼の姿は、デンマークで発見され、紀元前1世紀まで遡るとされる銀製のグンデストルップの大釜（Gundestrup Cauldron）にも描かれている。ここでは、彼は胡坐をかいており、頭に二本の角、手には山羊（もしくは雄羊）頭の蛇を持っている。これは角のある神としての一般的な描写である。要出典範囲、地母神を妻としたが、この女神は後に破壊神エススについた、2015年10月。

起源

碑文や絵画、像といった考古学的資料によると、ケルヌンノスはガリア、北イタリア（Gallia Cisalpina）、ブリテンの南の沿岸地方で崇拝されていた。イタリアのヴァル・カモニカ（Val Camonica）で発見されたものが最古の描写と思われ、これは紀元前4世紀のものである。もっとも有名なものはデンマークで見つかったグンデストルップの大釜（Gundestrup Cauldron）で、これは紀元前1世紀のものである。この神の名前はパリの「船乗りの柱」から知られる。この奉献碑は現在パリの国立中世美術館に展示されている。ガリア人の水夫達が1世紀の初めに作ったもので、碑文（CIL XIII number 03026）からみておそらく紀元14年、ティベリウス皇帝の即位の際のものであろう。これが発見されたのは1710年のことで、ノートルダム寺院の基礎からであった。この場所はルテティア（パリの古代ローマ時代の名前）、ケルトのパリシイ族の「市民的な」（civitas）首都であった。そこにはケルヌンノス初め各種ケルトの神々がユーピテル、ウゥルカーヌス、カストル、ポルックスといったローマ神話の神々と並んで描かれている。

この神の名前を書いた出土品としては「船乗りの柱」が最も古いものだが、他にも二つの同様な碑文が見つかっている。一つは Treveri の勢力圏であった Seinsel-Rëlent （ルクセンブルク）で発見された金属の飾り板である。この碑文からは "Deo Ceruninco" （神ケルニンコスに）という文字が読み取れる（AE 1987, 0772）。もう一つは フランスのラングドック＝ルシヨン地域圏エロー県にあるモンタニャック（Montagnac）で発見されたゴール（Gaul）の碑文で、ギリシア語で "αλλετ[ει]υος καρνονου αλ[ι]σο[ντ]εας" とカルノノスの名が記されている。

語源

図像

ケルヌンノスの描かれ方はケルト圏を通じ極めて一貫している。もっともわかりやすい特徴は牡鹿の角であり、通常長髪で髭をたくわえた成人男性の姿で、ケルトで高貴のしるしである豪華な装飾を施された首輪、トルクを身に付けている。硬貨で一杯の財布を持つのと同様に、しばしば他のトルクを腕や角にぶら下げているものもある。通常、足を組んで座る姿で描かれ、その姿勢は瞑想しているともシャーマンの呪術を行なう姿ともいわれているが、実際はケルト人が狩猟のときにしゃがむという事実を反映しているに過ぎないのかもしれない。

ケルヌンノスはほとんど常に動物、特に牡鹿と共に描かれる。しばしばこの神特有の動物であり第一の眷属と考えられる牡羊の角をもった蛇と共に描かれるが、蛇自体も神であったかもしれない。また、これらほど頻繁ではないものの牡牛1、犬やドブネズミなどの獣が傍らに描かれることもある。動物と共に描かれることが多いことから、研究者はケルヌンノスを「百獣の神」ないし「野生の神」と呼ぶことがある。特に牡鹿と共に描かれ、これが主要な獲物であったことから「狩猟の神」と呼ばれることもある。興味深いことに「船乗りの柱」はケルヌンノスを水夫や貿易と結びつけるが、古代にはドゥロコルトルムというレミ族の城市だったフランス、シャンパーニュ地方のマルヌ県から出土したケルヌンノスの硬貨入れや、トレウェリ族の居住地内にあったルクセンブルクの Niedercorn-Turbelslach から出土した硬貨を吐き出す鹿などから彼と物質的な豊かさとの関連が伺える。また、この神は森に住む鹿の繁殖力の象徴であったかもしれない。

中世の痕跡

この神の痕跡はキリスト教時代にまでたどることができる。ウェールズとアイルランド双方の文学的伝統の中で、この神を仄めかす記述を見つけることができる。ブリタニーでは伝説の聖者、カルナック（Carnac）のコーネリ（Korneli または Cornély）にケルヌンノスの属性がある。イギリスの民間伝承にみられる狩人ハーン（Herne the Hunter）もケルヌンノスの暗示であると示唆する説もあるが、ハーンはウィリアム・シェイクスピアの劇『ウインザーの陽気な女房達』第4幕第4場で初めて言及されるサクソン人の生き残りであることから、この説は疑わしい。

復興異教主義

ウイッカに代表される現代の復興異教主義運動（Neopaganism）では、角のある神に対する崇拝が復活した。信奉者はケルヌンノス一般的に生命と豊穣と死のサイクルを追っている。この神の死は現在、通常サウィン、すなわち10月31日に行われるケルトの新年の祭の日に設定されている。

歴史的なケルヌンノスと復興異教主義のそれとの大きな違いは、後者が男根的象徴の傾向を持っていることである（ただし、この特徴はヴァル・カモニカの図像に見られる）。パンとの混淆や、 サバトの悪魔レオナール等の描写から来ているのだろう。

参考文献

  • Wikipedia：ケルヌンノス（最終閲覧日：22-11-12）
    • Corpus Inscriptionum Latinarum (CIL) volume 13, number 03026
    • Delmarre, Xavier (2003) Dictionnarie de la langue gauloise (2nd ed.) Paris: Editions Errance. ISBN 2-87772-237-6
    • Lejeune, Michel (1995) Receuil des Inscriptions Gauloise (RIG) volume 1, Textes gallo-grecs. Paris: Editions du CNRS
    • Nussbaum, Alan J. (1986) Head and Horn in Indo-European, Berlin, New York: Walter de Gruyter. ISBN 3110104490
    • Porkorny, Julius (1959) Indogermanisches etymologisches Wörterbuch Berlin: Franke Verlag

関連項目

外部リンク

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