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The purpose of this paper is to shed light on Ariwarano narihira's poem “ちはやぶる神代も聞かず竜田河からくれなゐに水くくるとは” from a new perspective, away from the existing interpretation. To this end, I investigated the meaning of Makurakotoba in Narihira's poem, and confirmed that the world of distant ancient gods is at the root before the time when Yamato’s gods appeared, which gives an exotic atmosphere beyond human knowledge. In addition, the image of Uji River following this “chihayaburu” often implies dangerous and dynamic power due to this influence, and it was thought that the relationship between Tatsuta River and “mizukukuru” in Narihira's peom should be reconsidered.
Accordingly, it is a mainstream interpretation of “mizukukuru”, which means that the river of Tatsuta was dyed in maple color, but previously, there were another interpretations of the Tatsuta River as a scenery passing through over the maple.
And the origin of what was understood as tie dyeing, was newly raised by Kamonomabuchi, and it was still accepted that the waves of the Tatsuta River is passing through over the maple, influenced by Kensho and Deika, who lived close to Narihira, and other poetry with the honkadori of narihira's poem. Accordingly, he questioned the view of Tatsuta River passing through over the maple, which is currently interpreted as the meaning of tie dyeing, and argued that there is room for reconsideration of the interpretation of “mizukukuru” along with the meaning of “chihayaburu”.
Finally, the meaning of “kamiyomo kikazu” in Narihira's poem was interpreted from a new perspective, and the analysis of other poetry recited by Narihira confirmed that in Narihira's poetry, we can find the attitude as a boundary person to live in two worlds: the world of gods, the present, the ancient and present, dream and reality. And it was confirmed that this can provide clues to the formation of Japanese culture, time in Japanese, and spatial sense.
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