Kenjō (Genjō)

能楽界で活動した人物のリストで、本文中で頻繁に言及されている人物に焦点を当てています。「検索用語」は本文中に見られる表記を指し、「参照用語」は現在のローマ字表記を指します。同じ名前に複数の読みがある場合、参照用語は現在の読みを表します（例：検索用語：Démé-Jioman、参照用語：Deme Takamitsu）。

KenjoIkenouchi, Nobuyoshi（1925）Explanations of Nō plays: a vade mecum for spectators of Nō plays, Nōgakukai, Tokyo [EN]

24Iwafune, Hagoromo, Tomoe, Chōryō, Nue, Orochi, Kamo, Kaki-tsubata, Kashiwazaki, Kanawa, Yorimasa, Youchisoga, Tadanori, Takasago, Tamura, Sotobakomachi, Tsurukame, Raiden, Ukai, Uta-ura, Nomori, Nonomiya, Kuramatengu, Kurumazo, Kwagetsu, Yashima, Kenjō, Fujitaiko, Kosode-soga, Tenko, Aioi, Ayanotsuzumi, Aridōshi, Saigyōzakura, Sagi, Sakuragawa, Kinuta, Kiyotsune, Yuya, Miwa, Miidera, Shōjō, Jinenkoji, Shō-kun, Hyakuman, Momiji-gari, Morihisa, Zegai, Sumagenji, Eboshi-ori, Ebira, Ema—52 in all.

KensyōNogami, Toyoichirō（1934）Japanese Noh Plays: How to See them, Board of Tourist Industry, Tokyo [EN]

37In this group are also included those in which appear gods who, although without godly virtues, have a mysterious power, as in Kuzu (The Sweet-fish of Kuzu, Yosino), Kasuga-ryūjin (The Dragon-God at Kasuga), Kensyō (The Finest Lute called Kenzyō), Ama (The Fisherwoman), Tani-kō (The Sanction of Throwing into a Valley) and Syari (The Sarira, or the Sacred Bones of Buddha).

KenzyōNogami, Toyoichirō（1934）Japanese Noh Plays: How to See them, Board of Tourist Industry, Tokyo [EN]

61Kenzyō (Kenzyō, the Finest Lute)

近代能楽用語索引Index of Nō-related Terms in Modern Texts

日本国外文献における曲名

Kenjō (Genjō)