以上の考察によって明らかになったことを要約する。中世の神社本殿を遺構にもとづいて分類し, 切妻造平入, 切妻造妻入, 入母屋造, その他特殊な形式とした。4.1 切妻造平入の本殿 流造・両流造・切妻造平入向拝つき本殿などがふくまれる。流造は量的に多いが, 両流造, 切妻造平入向拝つき本殿は少い。(1) 流造は上下賀茂神社本殿で代表されるように三間社が主要な位置をしめている。量的には, 一間社は三間社をうわまわるほど多いが, 摂社・末社・境内社など簡単な小社殿の形式として採用されている場合が多い。(2) 三間社流造は神谷神社本殿のような普通の形式と, その一変形とみられるもので, 園城寺新羅善神堂のように, 流造の庇の前方にさらに向拝をつけたものとに大別できる。(3) これらの形式は地域的な特徴をもって分布している。向拝つきのものは滋賀県に特に多く分布し, 中世にかぎれば滋賀県の三間社流造はすべて向拝つきである。滋賀県以外では北陸地方に比較的に多い。兵庫県, 京都府, 奈良県などでは向拝つきでないものが主流である。(4) 向拝のつかない形式のものは, さらに3つに細分できる。(1)普通の形式, (2)向拝はつかないが平面は向拝つきのものに似ており, 庇部分を一室とするもの, (3)一間社2社を相の間で連結した形式のものである。(2)は愛知県など東海地方に多い。(5) 五間社流造も三間社と同様に分類できる。九間社, 十一間社など正面柱間の多いものに連結社殿が多い。4.2 切妻造妻入の本殿 , 隅木入形本殿がおもなものである。(1) の地域的分布はきわめてはっきりした境界がある。は奈良県北部, 京都府南部, 大阪府, 和歌山県北部に分布しており, 隅木入はこの地域の外側に分布し, 東は栃木県, 山梨県, 長野県, 近畿で滋賀県, 奈良県, 和歌山県, 兵庫県, 西は岡山県, 山口県などにある。(2) , 隅木入とわりきって分類できず, むしろ入母屋造妻入の本殿に似た形式のものがある。これらは入母屋造妻入のものをふくめて, との境界をなす地域に多い。(3) , 隅木入の名でよばれているが, すべてが春日大社と関係しているものでなく, 紀伊, 熊野三山との関係も重要である。これについては別に研究の機会をもちたい。4.3 入母屋造本殿 入母屋造本殿を平入と妻入のものとにわけた。(1) 平入の三間社は4形式に分類できる。このうち大阪, 錦織神社本殿で代表される形式[E-1], 鹿児島, 郡山八幡神社で代表される[E-3]の平面はそれぞれ流造の三間社[A-1], [B]と同じであって, 流造との関連をおもわせる。(2) 妻入のものは秋田, 兵庫, 岡山など地域によって分類ができる。このうち兵庫の御霊神社本殿, 天津神社本殿は, 中間に鶴林寺行者堂, 泉穴師神社境内社住吉神社本殿など形本殿の変形とみられる形式をおき, さらにが分布する範囲のすぐ外側に分布するという条件を考えると形本殿と密接な関係があるとおもわれる。4.4 以上のほか特殊な形式, 類例の少い本殿があり, また1様でなく複数棟よりなる本殿がある。本殿の外観上, 千鳥破風, 唐破風などの存在また祭神, 神道の流派と社殿形式との関係は重要であるので, 今後の課題としたい。

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The medieval Shinto Shrines, many of which exist in south-Kinai area, had been changed with the ornamentation by taking same detail of Temple, Buddhism architecture. This study will emphasize these regional Shrines had digested Chinese culture with the ornamentation and transformed differently from other nationalistic Shrines. The sacred place represented in Shinto Shrines designates to consist of several phases from landscape with the forest into the purposeful expressions of shrine pale, architectural form, and architectural detail, which finally reached embodiment of the popular respect in the late medieval period.

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The form of shrines' main halls are classified into the four types. And each type can be subdivided further. The classified list as follows : [table] Some of these subdivided types which have a feature of the geograpical distribution are explained. (1) NAGARE-ZUKURI, Kohai-tsuki type; This type is distributed mainly in the Shiga Prefecture. In the Prefectures of Kyoto, Nara and Hyogo, only the ordinary type is distributed. (2) KASUGA-ZUKURI; The ordinary type is distributed in the small region of the Nara and near. The Sumigiiri type is distributed in the area except Nara and near.

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This paper is the study on the custom of the disposition of Kasuga Shrine's obsolete buildings and the distribution of Kasuga style. The contents are follows ; Introduction Chapter 1 : The disposition of the Four Main Shrines and Wakamiya Shrine. Chapter 2 : The disposition of the Small Shrines. Chapter 3 : The price of obsolete buildings. Chapter 4 : The custom of the disposition and the method of the transportation of obsolete buildings. Conclusion The results are followi ; 1. During Japanese middle ages, it was the customary practice to use obsolete building materials of the Fourth Main Shrine for the shrine in Otzuki village (Tenri city in Nara), obsolete building materials of Enomoto Shrine for the shrine in branch temple of Kofuku temple and obsolete building materials of Kii Shrine for Tatzuichi Shrine (Daianji-cho in Nara). 2. Many obsolete buildings of the Four Main Shrines and the small shrines were used for local shrines in Kofuku-ji's and Kasuga's territories, ones in regions which Shinto priests had been living, ones which were intimately connected with Kasuga Shrine and branch shrines that there were out of the Kasuga's area. 3. I think that there is a direct relationship between the custom of reconstructing buildings at regular intervals and the fact that Kasuga's obsolete buildings were used for other shrines. 4. As a general rule, obsolete buildings were transported in sections after being torn down, but sometimes obsolete buildings were moved in tack to another place.

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Tanzan-Jinja is one of important shrines in the history of Japanese architecture on account of its characteristic plan and style. I showed in my monograph the following facts. 1. 'Ikken-shimen bisashi' plan of this shrine probably traces back to 914. 2. The style of 'Kasuga-zukuri' may have been used in 914. 3. The plan may have a distinctive feature of 'Miedo' (a hall which installs a portrait) as which this shrine was built originally.

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創建神社は明治以降の創設になり国家神道思想より祭祀と由緒を創造した神社であったが,基本的な性格は,国家神道体制の教化拠点としての役割,国庫支出による国家的事業としての創建,古式遵奉に則り祭祀に応じた社殿意匠の設定,近世期神仏習合を排除し簡素な神社施設の再構成といった点を共通項として見せた。具体的例として,創建神社の嗜矢である明治5年竣工の別格官幣社湊川神社に見られた本殿のは地域的様式を反映させたものと言え,制限図に則った吉野神宮,独創的な神明造を見せた宮崎神宮,御所施設を移築した橿原神宮の初期創建神社4例を通し,建武中興の時代から神武天皇の再評価へ復古目標を遡行させながら見られた意匠的混乱が,明治中期に効力を発揮した制限図によりいったん回収され本殿流造に統一,明治後半期になると復古主義的発想と創造的発想との対立を生み出したことを究明した。

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In Meiji-era, Chuta Itoh started the study of Japanese architectural history. He had the important relationship with Kakuzo Okakura. Itoh received the essential ideas of traditional Japanese artistic history from Okakura. He wrote architectural section in "The history of the art of Japan" whose Japanese edition was published in 1901. This book was re-edited in 1908 and there Itoh rewrote architectural section and changed recognition of traditional Japanese architecture history in many points. His changes of recognition show the early forming process of the study of Japanese architectural history. So there are very interesting facts.

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The three Kumano shirines are Kumano-niimatsu Shrine (also called Hongu), Kumano-hayatama Shrine (also called Shingu) and Kumano-Nachi Shrine (also called Nachi). Of these shrines, "Hongu" contains the god, Ketsumiko, Hayatamashin is the god of Shingu and the Nachi waterfall is the god of the Nachi Shrine. The existence of the Hongu and Shingu Shrines is described in the records of the Nara Period. However, there is no mention of the Nachi Shrine. In my opinion there was probably a shrine at the foot of the waterfall. Ketsumiko was certainly the god of Hongu untill the middle of the tenth century, but it was not until the latter half of eleventh century that the god, Hayatamashin and the goddess, Musubishin were also enshrined in the Hongu. By the early half of the twelfth century the Shrines, "Goshogu", "Yonshogu", along with corridors, pagodas, the hall of the Buddha etc. were added within the sacred precincts. Hayatamashin was the god of "Shingu" untill the middle of the tenth century, but since then it seems that this shrine added the goddess, Musubishin, and the god, Ketsumiko along with others. As a result of this, this shrine was sacred to eight gods and a goddess by the early half of the twelfth century. In the early twelfth century "Nachi" Shrine was situated on the slopes of Mt. Nachi. This shrine also became as sacred a precinct as "Hong" and "Shingu". The two shrines, "Hongu" and "Shingu" acted in union until the middle of the eleventh century, but "Hongu", "Shingu" and "Nachi" had united their administrations by the latter of the twelfth century. Contents of this thesis are as follows : I. The Condition of the Three Kumano Shrines as Described in the Records of the Nara And the Early Half of the Heian Periods. II. The Condition of the Three Kumano Shrines as Described in the Records of the Middle And Latter Half of the Heian Period. II-1. The Condition of the Kumano-niimasu Shrine (Hongu). II-2. The Condition of the Kumano-hayatama Shrine (Shingu). II-3. The Condition of the Kumano-nachi Shrine (Nachi). III. Conclusion.

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The buildings of the Japanese shrine develop into two courses. One of them is based on the Japanese Style from ancient times. The examples taking this course are Ise Zingu and Izumo Taisha and these shrines keep of ther initial style under no influences of the style of Buddist buildings. Taking another course the buildings of shrine have the ornamental detail of Buddist buildings. The majority of shrines in the middle age develop into the latter course. Nikko Toshogu is at the zenith of this course. The purpose of this paper is to investigate the ornamental details and its regional tedencies of the buildings of shrine. The ornamental details are employed actively in the buildings of shrine at the end of the 13th century and classified into following three types; (1) Wayo : This style is used from Nara periad in Japan. (2) Daibustuyo : These styles are introduced from China in early years of the 13th Century. (3) Zensyuyo : These styles are introduced from China in early years of the 13th Century. These apears the regional tendencies on the employment of the ornamental details after the 14th century. The shrines in Nara and Southern Kyoto have details of the Daibustu Style. In Osaka prefectures, the shrines have the details decorated gergeously. The details of the shrines in Siga prefecture are simpler and plainer than that in Osaka. The chronological tendencies after the 14th century in to be found the regional characters in the limited area.

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This paper aimed to ascertain patterns of medieval and early modern descriptions about form of the shrine of Ise, through investigation of Japanese literatures between 1180s and 1860s. As a result, the descriptions point out simplicity of the shrine were found in some literatures this paper referred to. It seems that they were based on Confucian words of a Chinese classic. And, in the literatures, there were a few descriptions praise the shrine, too. Therefore, it is obvious that there had been the views which is similar to modernist's views of the shrine of Ise before the modem period.

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KASUGA shrine, one of the oldest Shinto shrine in Nara, hold the ceremony on 17th December evary year, which is called KASUGA-WAKAMIYA ONMATSURI. The main stage of this ceremony is OTABISHO, the open space along the entrance path to KASUGA shrine. In here 9 temporary buildings include shrine are set up in short term for this ceremony. This paper describes the constitution of OTABISHO, the detail of the temporary buildings, and the process of setting up.

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