翻刻
《割書：従四位下＿一為＿二尾張国国造＿一 天平勝宝元年八月乙亥従四位下尾張宿祢小倉卒と見え｜たり当国の女なるが都（みやこ）に召れて官仕し命婦などの勤労（きんらう）によりて国造を賜りし也》
《割書：続日本紀に記せし所皆女叙位のうちに列してまさしき婦人なるを後世の書どもに｜尾張宿祢 興員（おきかず）の一名小倉 元正天皇御世尾張守に任じ国造を兼たる男なり》
《割書：しよし見えたるは｜甚あやまりなり》
尾張宿祢 宮守（みやもり）《割書：日本後記及び類聚国史に延暦十八年五月己巳尾張国海部｜郡主政従八位上刑部粳虫言￣ス権掾阿保朝臣広成不＿レ憚＿二朝制＿一》
《割書：檀￣ヲ養＿二鷹鶏＿一遂令＿三当郡少領尾張宿祢宮守￣ヲシテ六斎之日猟＿二於寺林＿一因奪＿レ鷹奏進￣スト 勅￣スラク須＿下｜有￣ラハ＿二違犯＿一先言＿中其状＿上而￣ルニ凌＿二-慢国吏＿一輒奪＿二其鷹＿一宜＿三特￣ニ決￣メテ＿レ杖解＿二-却其任＿一と見えたり当宮所蔵》
《割書：の承和十四年嘉祥三年等の官符に国司郡司が神事を慎まずして神社及び神宮｜寺の修理 怠（おこた）り闕（かけ）し事を歎（なげき）て祝部（はふり）宮麿（みやまろ）解状を奉りしよし見えし宮麿は此宮守》
《割書：とは別人なり｜混（こん）ずべからず》
尾張 連（むらじ）浜主（はまぬし）《割書：続日本後記及び類聚国史に承和十二年正月乙卯外従五位下尾張連｜浜主於＿二龍尾道上＿一舞＿二和風長寿楽＿一観者以＿レ千数初謂鮐背之老不＿レ能＿二》
《割書：起居＿一及＿二于垂＿レ紳【注】赴＿一＿レ曲宛如＿二少年＿一 四座僉曰近代未＿レ有＿二如＿レ此者＿一浜主本是伶人也時年一｜百十三自作＿二此舞＿一 上＿レ表請＿レ舞＿二長寿楽＿一表中載＿二和歌＿一其詞曰那那都義乃美与尓万和俉》
《割書：留毛毛知万利止遠乃於支奈能万飛多天万川流丁巳 天皇召＿二尾張連浜主於清｜涼殿前＿一令＿レ舞＿二長寿楽＿一舞畢浜主即奏＿二和歌＿一曰於岐那度天和飛夜波遠良無久左母支》
《割書：毛散可由留登岐尓伊天弖万毗天牟 天皇賞嘆左右垂＿レ涙賜＿二御衣一襲＿一令＿二罷退＿一同｜十三年正月戊辰召＿二外従五位下尾張連浜主￣ヲ於清涼殿前＿一令＿レ奏＿レ舞于＿レ時年百十四》
《割書：帝矜＿二其高年＿一授＿二従五位下＿一と見え豊原統秋が体源抄に浜主承和三年四月遣唐使に｜付て唐朝に渡て本舞の紕繆（ひひう）を直（なほ）し龍笛の底（そこ）を極（きはめ）て同六年八月帰朝の後両道 殊（こと）に盛（さか）》
《割書：り也としるし河海抄の御法（みのり）の巻の注に 高野天皇れうわうの舞曲を好み給ひ浜主｜御前にて奏せしよししるし塩尻に浜主は熱田の伶人なりしと今に舞楽を伝ふる家数》
【注 国立国会図書館デジタルコレクションの『続日本後記』版本は「袖」とある。】
現代語訳
従四位下に叙せられ尾張国国造となった。天平勝宝元年八月乙亥、従四位下尾張宿祢小倉が卒去したと見える。当国の女性であるが都に召されて官仕し、命婦などの勤労によって国造を賜ったのである。
続日本紀に記された所は皆女性叙位の内に列しており、まさしく婦人であるのに、後世の書物において「尾張宿祢興員の一名小倉、元正天皇の御代に尾張守に任じられ国造を兼ねた男である」と見えるのは、甚だしい誤りである。
尾張宿祢宮守 日本後記及び類聚国史に、延暦十八年五月己巳、尾張国海部郡主政従八位上刑部粳虫が言うには「権掾阿保朝臣広成は朝廷の制度を憚らず、勝手に鷹や鶏を養い、遂に当郡少領尾張宿祢宮守をして六斎の日に寺林で狩りをさせ、因って鷹を奪って奏進した」と。勅して言うには「もし違犯があれば、先ずその状況を言うべきなのに、国吏を凌辱軽慢し、勝手にその鷹を奪った。特に杖刑に決して、その任を解くべきである」と見える。当宮所蔵の承和十四年・嘉祥三年等の官符に、国司・郡司が神事を慎まずして神社及び神宮寺の修理を怠り欠いたことを嘆いて、祝部宮麿が解状を奉ったことが見えるが、宮麿はこの宮守とは別人である。混同してはならない。
尾張連浜主 続日本後記及び類聚国史に、承和十二年正月乙卯、外従五位下尾張連浜主が龍尾道上で和風長寿楽を舞った。観る者は千を数えた。初めは背中の曲がった老人で起居もできないと思われたが、袖を垂らして曲に赴く様は宛も少年のようであった。四座皆言うには「近代このような者は未だ有らず」と。浜主は本来伶人である。時に年百十三歳、自らこの舞を作り、表を上げて長寿楽を舞うことを請うた。表中に和歌を載せ、その詞に曰く「ななつぎのみよにまわたるもものちまりとおのおきなのまひたてまつる」。丁巳、天皇は尾張連浜主を清涼殿前に召して長寿楽を舞わせた。舞い畢わって浜主は即ち和歌を奏して曰く「おきなとてわひやはおらむくさもきもさかゆるときにいててまひてむ」。天皇は賞嘆し、左右は涙を垂らし、御衣一襲を賜って退らせた。同十三年正月戊辰、外従五位下尾張連浜主を清涼殿前に召して舞を奏させた。この時年百十四歳。帝はその高齢を憐れみ、従五位下を授けたと見える。豊原統秋の体源抄に「浜主は承和三年四月遣唐使に付いて唐朝に渡り、本舞の紕繆を直し龍笛の底を極めて、同六年八月帰朝の後、両道殊に盛んになった」と記し、河海抄の御法の巻の注に「高野天皇が龍王の舞曲を好み給い、浜主が御前にて奏した」と記し、塩尻に「浜主は熱田の伶人であった」と。今に舞楽を伝える家は数多い。
英語訳
She was granted the rank of Junior Fourth Rank Lower Grade and became the provincial governor (kuni-no-miyatsuko) of Owari Province. The Shoku Nihon-gi records that in Tenpyō-shōhō 1, 8th month, Kinoto-i day, Junior Fourth Rank Lower Grade Owari-no-sukune Ogura died. She was a woman from this province who was summoned to the capital to serve in government and was granted the position of provincial governor through her diligent service as a court lady (myōbu).
All entries recorded in the Shoku Nihon-gi list her among the women receiving court ranks, clearly indicating she was a woman. However, later historical works erroneously state that "Owari-no-sukune Okikazu, also known as Ogura, was a man who served as governor of Owari Province during Emperor Genshō's reign and concurrently held the position of provincial governor." This is a grave error.
Owari-no-sukune Miyamori: The Nihon Kōki and Ruijū Kokushi record that in Enryaku 18, 5th month, Tsuchinoto-mi day, Owari Province Ama County administrator Junior Eighth Rank Upper Grade Ōsabe-no-Urukamushi reported: "Assistant deputy Aho-no-asomi Hironari disregarded court regulations and arbitrarily raised hawks and chickens, eventually having the county assistant administrator Owari-no-sukune Miyamori hunt in temple groves on the six precept days, and consequently seized hawks to present to the court." The imperial edict stated: "If there are violations, one should first report the circumstances, but [Hironari] insulted and showed contempt for provincial officials and arbitrarily seized their hawks. He should be specially sentenced to beating with sticks and dismissed from his position." Documents from Jōwa 14 and Kajō 3 preserved at this shrine show that when provincial and county officials neglected religious duties and failed to maintain shrines and shrine-temples, the ritual specialist (hafuri) Miyamaro submitted a complaint. However, Miyamaro is a different person from this Miyamori and should not be confused.
Owari-no-muraji Hamanushi: The Zoku Nihon Kōki and Ruijū Kokushi record that in Jōwa 12, 1st month, Kinoto-u day, Outer Junior Fifth Rank Lower Grade Owari-no-muraji Hamanushi performed the Wafū Chōjuraku dance on Ryūbi Road. The spectators numbered in the thousands. Initially thought to be a bent-backed old man unable to move about, when he dropped his sleeves and moved to the music, he appeared just like a young man. All four sections of the court said, "In recent times there has been no one like this." Hamanushi was originally a court musician (reijin). At age 113, he created this dance himself and submitted a petition requesting to perform Chōjuraku. The petition included a waka poem with the words: "nanatsugi no miyo ni mawataru mono chi mari to o no okina no mahi tatematsuru" (In the reign of seven generations, this hundred-year-old man presents his dance). On the day Hinoto-mi, the Emperor summoned Owari-no-muraji Hamanushi to the front of Seiryōden and had him perform Chōjuraku. After the dance, Hamanushi immediately recited a waka: "okina tote wahi ya wa oramu kusa mo ki mo sakayuru toki ni idete mahi temu" (Though I am an old man, why should I lament? When grass and trees flourish, I will come forth and dance). The Emperor praised and admired him, those around shed tears, granted him one set of imperial robes, and dismissed him. In the same era's 13th year, 1st month, Tsuchinoe-tatsu day, Outer Junior Fifth Rank Lower Grade Owari-no-muraji Hamanushi was summoned to the front of Seiryōden to perform dance. At this time he was 114 years old. The Emperor, pitying his advanced age, granted him Junior Fifth Rank Lower Grade. Toyohara Tōshū's Taigensha records that "in Jōwa 3, 4th month, Hamanushi accompanied the imperial envoy to Tang China, corrected errors in original dances, mastered the fundamentals of the dragon flute, and after returning to court in the same era's 6th year, 8th month, both arts became particularly flourishing." The annotations in the Minori volume of Kaikai-sha record that "Emperor Kōya favored dragon king dance music, and Hamanushi performed before him." The Shiojiri notes that "Hamanushi was a court musician from Atsuta." Many families continue to transmit gagaku dance and music to this day.