本稿では、寛政～文化期の光格天皇から仁孝天皇への皇位継承過程における、中宮欣子（光格正配）と光格皇子をめぐり生じた諸問題への対応から、当該期の光格天皇の政治姿勢と朝廷運営の特質を検討した。
　中宮欣子は後桃園天皇皇女として、光格天皇の皇位の正統性を担保する存在で、寛政期に中宮とその所生皇子温仁(ますひと)親王は、次代への皇位継承を考慮する上で重要な地位にあった。しかし、温仁親王の死去により、結果的に中宮所生皇子の皇嗣冊立は果たせず、文化期に後宮の勧修寺(かじゅうじ)婧子(ただこ)所生の恵仁(あやひと)親王が皇嗣に冊立され、中宮「実子」として養育される方針が定められたが、中宮から親王の居所を移させるなど、良好とは言い難い関係性がみられた。
　光格譲位の意向は、文化8年(1811)段階で朝廷内にて内々に示されていた。だが当時の朝廷では、中宮欣子や勧修寺婧子など天皇母をめぐる問題が多発しており、その影響もあり譲位の意向はこの段階では幕府へ表明されなかった。
　文化10年(1813)の譲位表明後、朝幕双方でその準備が進むが、その最中、再度中宮に皇子が誕生する。この段階で恵仁親王への譲位は揺らがず仁孝天皇が受禅したが、譲位後の文政期には、中宮所生の高貴宮(あてのみや)（仁孝実弟）への皇位継承が高い可能性を有して存在していた。しかし、当該期に高貴宮を含む皇子・后妃の死が相次いだことで、再度朝廷は皇統断絶の危機を迎え、この状況に対し、光格は鷹司家息女を仁孝へ再入内させる方針を提示した。鷹司家は光格の実家である閑院宮家と近い血縁関係にあり、「閑院宮系」血統から仁孝以後の皇統を補強しようとしたものと評価できる。
寛政～文化期における光格天皇の政治姿勢と朝廷運営の特質は、以下の3点に整理できる。①寛政中期以降の光格天皇は、自らと次代の朝廷内における地位・権威の補強との課題に直面し、それが朝廷運営に影響していた。②文化中期に次代への皇位継承に関連して中宮欣子・後宮女房をめぐる問題が多発したことで光格の譲位は遅滞し、一連の問題への対応で中宮欣子や後桜町上皇の存在が重視されたように、両者の意向が政治動向へ大きく影響する状況にあった。③文化期には、皇位継承に起因して生じた軋轢・問題へ対応する方策として、幕府の財政負担により皇族の居住空間をめぐる建築政策の実現を朝廷が期待する側面があり、それは当該期に朝幕協調体制の再構築がなされるに至った朝廷側の具体的な背景の一つとして位置づけることができる。

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 This research aims to examine the rise in popularity of the Heian revival style of court-nobles' residences during the early modern period. This paper traces this history in detail, focusing on the main residence of the head of the Ichijō family. It is known that this residence featured a revival style main hall (shinden) as far back as the seventeenth century. In the eighteenth century, it was well known as one of the finest examples of this style. After the Tenmei conflagration, the hall was rebuilt, again in the Heian revival style. This is supported by the fact that Kigo Harima was in charge of the main hall's reconstruction at this time. The details of this paper's findings are as follows.

 The Ichijō family's main residence gradually grew in size during the first half of the seventeenth century. From the time that the residence was improved and expanded in Keian 2 (1649) until the Meiji period, there were no changes in its size or form. The Heian revival main hall can be first seen in a drawing depicting the initial improvements in Keian 2. However, it did not have a strong Heian revival personality: it was a planar building, similar to the main hall of the Konoe family residence from the same time period, and functioned as a place to hold audiences. That said, compared to the Konoe family residence, the building site plan—comprising the main hall, the hallway (futamune-rō) and inner gate corridor (chūmon-rō) connected to the main hall, and the corridor for the household staff (samurai-rō)—better embodied the revival style. The head of the family at the time, Ichijō Akiyoshi, referred to the Shinkaimon-zu in the Honkaimon-Shinkaimon-zu when it was being built.
 The main hall, rebuilt in Enpō 5 (1677), no longer functioned as a place to hold audiences. Comprised of a moya and hisashi, it more closely embodied the Heian style than before. When rebuilding it, Ichijō Kaneteru, then head of the family, referred to not only the Shinkaimon-zu in the Honkaimon-Shinkaimon-zu but also the Honkaimon-zu. The Honkaimon-Shinkaimon-zu was created in the later medieval period by Kujō Hisatsune, evidently with the Heian-period residence of his ancestors in mind. This is evidence that the study of court-nobles during the medieval period influenced the Heian revival style during the early modern period. This hall was so well known at the time for its Heian revival style (ōko-no-katachi) that Yoshimune, the eighth Tokugawa shogun, sought the building plan used during its construction.
 The main hall rebuilt after the Tenmei conflagration appears to have also been in the Heian revival style. This is supported by the fact that Kigo Harima, who was involved in both the reconstruction of the Dairi (the Imperial Palace) in this style and the building of the Takatsukasa family's Heian revival main hall during the same period, was in charge of construction.

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