This study aims to clarify forest characteristics and formation process of wooded flat areas inhabited by deer in Nara Park, known for its beautiful scenic landscape, and to explore key factors contributing to the forest formation. We probed into a wide range of past and present documents relating to afforestation of the park, including those written in the Edo period before the park opened. The study found that the wooded areas are classified into six categories, each dominantly comprising a group of tall trees. It has also revealed that there are three factors that have shaped their distinctive forest formation, including the eating habit of deer inhabiting Nara Park, preservation of historical or cultural spaces of religious, historical, or cultural values, and landscape creation based upon newly developed or improved park environments of integrative and scenic values, while presenting basic concepts conducive to future forest protection and sustainability in response to each formation factor.

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Two musical instruments were discovered at the Wakamiya shrine, an auxilliary shrine of the Kasuga Taisha of Nara. These two instruments, a sho (mouth organ) and a wagon (long zither) are believed to have been made in the latter half of the 12th century (the end of the Heian period).
The most interesting feature of the sho is the presence of byojo (rectangular finger-holes which determine pitch) on the reverse side of two of the bamboo pipes (ya and mo). Byojo are also found on the 8th century sho, found at the Shosoin, the imperial repository of Nara. The discovery of byojo on a Heian period instrument challenges the general view that the use of byojo had died out. Moreover, the Heian period instrument's ya and mo are tuned in almost perfect agreement to the sho in the Shosoin.
Another notable characteristic is that the placement of finger holes is not in a horizontal line, but in a diagonal rising to the left, in this respect also mirroring the Shosoin instrument. From the latter half of the Heian period the placement of the finger holes is in a horizontal line as in modern instruments, thus the discovery of the Wakamiya sho would indicate that the transition from diagonal to the horizontal placement occurred within the Heian period.
According to the Wakamiya shrine records of 1137 this sho was an offering from Fujiwara Tadazane. However, markings on the instrument indicate that the sho had been played prior to this dedication ceremony, indicating the sho was made pre 1137. Parallels with the Shosoin sho (specifically the pre sence of byojo and the positioning of the finger holes), coupled with evidence of wear on the instrument, lead one to surmise that this instrument was made between the middle and the end of the Heian period. The lacquering used on the wind chamber (ho) is representative of techniques used at the end of the Heian period and it shows no evidence of having been played prior to the ceremony. Therefore it was probably new at the time of the dedication. All of the bamboo pipes have the pitch name inscribed on them.
The most significant feature of the wagon is that the end portion of the body does not have the usual six protuberances, but instead resembles flower petals, similar to the wagon of the Shosoin. This indicates that the modern shape of the wagon must have evolved after the Heian period. In addition, bark remains on part of the body of the instrument, as well as the nesting holes of insects that lived inside the tree from which it was made. As this kind of wood was not generally used for wagon instruments it seems that there is significance behind its selection. Although there are signs that the instrument had strings there are no markings to suggest it was ever performed, thus it appears that it was made as an offering to the shrine.
The precise year the wagon was made is unknown, however its presence appears in the records from the Kasuga Taisha of 1236, indicating that it was probably dedicated to Wakamiya sometime after the shrine was built (in 1135).

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This study aims to analyze the space composition and line of flow of Shinto shrines, particularly the ‘Kyu-Kampeitaisha' shrines in Nara Prefecture, which are large and important shrines of the old hierarchy. The analysis is based on a comparison with small and medium size shrines. Eight shrines were investigated considering their location, surroundings, composition elements and their composition. The results show that the large shrines have remarkable geomorphic characteristics. The locations were mainly chosen by geomorphic characteristics. This as a cause, the relations of the shrines and surrounding elements declined. Moreover, most of the ‘Kyu-Kampeitaisha' shrines comprise the inner shrines, the outer shrines, open spaces and approaches, and the scale of shrines depends on the length of approaches. The compositions that met the geomorphic characteristics and intentional compositions, which were modeled on the geomorphic characteristics, were seen in the line of flow. However, a few compositions irrelevant to the geomorphic characteristics were also seen. Approaches give rise to asymmetrical space compositions, which, in general, can find a commonality with the Japanese sense.

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本研究では，限られた範囲に訪問施設を複数有する観光地の事例として奈良公園とその周辺地域（奈良公園エリア）を取り上げ，当該観光地への交通アクセスとエリア内周遊行動特性の分析を通して，観光振興に向けた交通支援策について考察した．まず奈良公園エリアへの来訪者アンケート調査結果を集計し，交通手段選択モデルを構築することで，アクセス交通手段の選択特性を明らかにした．次に，周遊する施設パターンを分類・マッピングし，アクセス交通手段ごとや再来訪回数ごとの各施設への周遊特性を明らかにした．さらに再来訪意識を高めるには，交通アクセス改善のための渋滞対策も効果があることをモデル構築により示した．これらより周遊行動特性を考慮しつつ交通アクセスと再来訪支援等の観点から考えられる観光交通支援施策について考察を加えた．

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環境の保護は，社会的に重要な課題である。しかし，環境保護の実際をみると，学術的な重要性や，保護が生み出す受益のために，特定の少数者に過重な負担や受忍を強いる例が散見される。「奈良のシカ」の事例は，こうした問題がみられてきた典型例である。

奈良のシカは，「奈良公園の風景の中にとけこんで，わが国では数少ないすぐれた動物景観をうみ出している」とされる天然記念物であり，奈良における最も重要な観光資源の一つでもある。が，当地では，このシカによる農業被害（「鹿害」）を巡り，シカを保護する側（国，県，市，

，愛護会）と被害農家との間での対立，紛争が長期化し，1979年には被害農家による提訴という事態にまで至ってしまった。本稿では，まず，鹿害問題の深刻化過程をみた後に，紛争長期化の背景を，「シカが生み出す多様な受益の維持」「保護主体間の責任関係の曖昧性」「受苦圈と受益圈の分離」「各保護主体にとっての保護目的の違い」等に着目しながら検討した。

鹿害訴訟の提訴と和解（1985年）は，被害農家が長期に亘って強いられてきた状況を大さく改善させる契機となった。しかし，この新しい鹿害対策も，十分には機能してこなかった。そこで，後半では，鹿害対策の現状に検討を加えた上で，依然として問題の未解決状態が続いている理由と問題解決への糸口について考察した。

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The aim of this paper is to study and explain the symbolism of the Shun’nichi in terms of the religious organization, Shun’nichi-kou, in Machi of Nara in the Edo period (1603-1867). The present work is based upon two sources: the first is a sacred map, Mandala of Shun’nichi, which represents a holy place, Mikasa mountain; the second is a ritual conducted by Shun’nichi-kou using the sacred map. This study belongs to the field of cultural geography which incorporates humanistic geography.

Shun’nichi was a sort of unified religion which combined people’s faith regarding four different elements: Kohfukuji-temple, Kasuga-Wakamiya-shrine, Kasuga-shrine, and Mikasa mountain. The religion lasted from the Middle Ages to the Edo period in Japan. Shun’nichi was the most powerful organization in Nara in that era.

Mandala of Shun’nichi usually depicts Mikasa mountain in bright green on which many pine trees and Japanese cedars grow. One type of Mandala of Shun’nichi describes Mikasa mountain together with Kasuga-shrine, Kasuga-Wakamiya-shrine, and a part of Kohfukuji-temple; therefore, it looks like a map. Another type of Mandala of Shun’nichi represents a deer as well as Mikasa mountain. All types of Mandala of Shun’nichi show one common belief: as long as the leaves of the trees on Mikasa mountain are bright green, the Gods stay on the sacred mountain. Most of these pictures were described on scrolls.

Shun’nichi-kou in Machi was held on January 21 or another day. Mandala of Shun’nichi was set up on Tokonoma at a member’s house (Touya) or a meeting place of Machi (Kaisyo). Tokonoma with Mandala of Shun’nichi was decorated with leaves of evergreen trees such as a Japanese cedar or a pine tree; moreover, rice, sake, and other items were also dedicated. Then they went to the Kasuga-Wakamiya-shrine to dedicate their performance of a special dance known as Kagura.

Based upon those sources, this paper concludes that the symbolism of Shun’nichi of Shun’nichi-kou was a sacred landscape. The holy place was Mikasa mountain. As long as the leaves of the trees on the mountain were bright green, it was believed that the Gods were present. Kasuga-Wakamiya-shrine, Kasuga-shrine, and a part of Kohfukuji-temple were also often included as a part of the sacred landscape.

When the Meiji period began, Shun’nichi was banned by the government. After Shun’nichi disappeared, members of Shun’nichi-kou could no longer believe in the sacred landscape.

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