There have been discussions about the ancient Greek sanctuaries before the Hellenistic periodthat they had no principle of site planning. Especially those like Olympia, Delphi, etc., whichhad long tradition in the mainland Greece in fact look like a jumble, mainly because the buildings were laid neither orthogonally nor pararelly each other, compared with Hellenistic reeularplanning. However, the present analyses of the plans would suggest us that the buildings in someof the sanctuaries were related each other through axes and the extended lines of the exterior walls. The building arrangement of this kind would have been predecessors of the Hellenistic symmetrical and axial planning of the sanctuaries.

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It was a rule in ancient Greek society that when a someone took refuge in a sacred space or on a sacred object, he could obtain safety there. This particular act is usually called "Asyl" in Japan, but the author prefers to call it "escape to sanctity". Many people today hold a preconception that the Greek word "asylia" has the same meaning as modern word "asylum", and some characteristics of "asylia" are understood as characteristics of "escape to sanctity" in ancient Greek society. However, this is a misunderstanding and have been corrected by the development of study about "asylia" itself. Originally, "asylia" meant freedom from a person's right of self-help by seizing another's goods. It was given as a kind of privilege to foreign people. Later, this privilege became to be an honorary title, and from the middle-Hellenistic period, "asylia" was given not only to persons, but also to cities and their territories in the context of diplomacy. In the late Hellenistic and early Imperial periods, it is true that people often took refuge in the space which was called "asylia", but altars or sanctuaries, which were places of refuge in common, were not usually called "asylia". Therefore, the word "asylia" did not mean holy places of refuge itself, and some characteristics of "asylia" cannot be seen as characteristics of "escape to sanctity" in ancient Greek society. One of the purposes of this article is to make clear the relation between "escape to sanctity" and "asylia". Another is to adopt a new attitude towards the research, documentation and terminology on the subjects.

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神祇歌の月が詠まれていく諸相を検討する。院政期以降の急速な本地垂迹説を基盤にした神と仏による中世の世界観の確立という社会及び宗教情勢の中で、和歌は、神性をいかに詠みあらわしていったのか。神鏡・鏡像のイメージを背負い、神の顕現を告げ、仏の世界にも繋がっていたの月は、神秘的な時代独特の社の風景を捉えつつ、宮曼陀羅などの他の信仰媒体とも交渉しながら、神祇歌創作の中心的歌材として詠作されていく。

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This study focuses on the "Jingu Forest Management Plan" of Ise Jingu Shrine formulated in 1923, and clarifies the zoning method of shrine forests in the plan and the origin of the landscape conservation philosophy on which the plan was based, especially the values that emphasize the view of the shrine forest from the outside of the shrine area. As a result, it was found that the shrine forest zoning method of the plan was very similar to the management method of Shintairin (sacred shrine forest), which was discussed in the "Shaji Fuchirin Ron (Management Theory of Shrine and Temple Forest)" by Honda Seiroku, and was considered to be the origin of the zoning method. The landscape conservation philosophy as the basis for shrine forest zoning of the plan was different from the forest management concept of the 1912 shrine forest survey report. Rather, it is thought to have been created under the influence of the shrine city planning that was underway at the same time, and it is possible that the zoning of the Jingu Shrine forest was a milestone in protection of the view from the city area to the Jingu Shrine, with a view toward the future designation of the adjacent mountainous area as scenic districts.

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Delphi, together with Olympia, has been well-known as a classical sanctuary, especially as a place of oracle. The authors surveyed the Treasury of Massilians (ca.540-500 BC) at the sanctuary of Athena Pronaia in Delphi during the summer in 1994. The field research was carried out to get numerical and visual information from the viewpoint of construction and planning. The survey could make contribution for new observation of the monument in the viewpoint of building technique, and the result is reported as follows.

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The purpose of the paper is to analyze the design of the Asklepieion at ancient Messene in Greece. The sanctuary consists of the Doric temple and surrounding Corinthian stoas, and dates from the late 3rd century BC. Our proportional analysis of the buildings gave the following conclusion. At the initial stage, the temple width was given as 40 ft, and the axial intercolumniation of the temple - the module (U) - was calculated by the simple ratio to the temple width. The authors discuss that the main dimensions of the temple and stoas were calculated based on this module. Then, detailed dimensions were decided according to the simple proportional relationship and rounding of dimensions. Thus, whole process of the dimensional decision was logically explained.

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Messene was an important Hellenistic city in Peloponnesos and well known because it was described by Pausanias. The Asklepieion was located in the city center and was the main sanctuary in Messene. The Doric peripteral Temple of Asklepios was built in a square court which was enclosed by Corinthian stoas. The authors had an opportunity to participate in fieldwork to survey and study the architectural remains of the surrounding stoas. The objective of the present paper is to describe generally the present condition of the stoas and to make clear the dimensions of the buildings as a first step of their architectural study.

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ドクシアデスは,彼の「古代ギリシャの建築空間」(邦題「古代ギリシャのサイトプランニング」長嶋訳)の中で,古代ギリシャのの配置を分析している。それによると,ギリシャ人の空間認識の仕方は,人間の視点を中心にして,そこから各方向に何フィートのところに何があるといった,いわば極座標的な理解の仕方であるとしている。彼はこの考えに基づいて,神城内の建物の配置について,の入口に視点をおき,それを極座標の原点とし,そこから内の建物の特定の点(例えば建物の隅角部)までの距離,それらの距離の比,およびそれらの視線のなす角度を測り,これらの距離,角度の関係を検討した。その結果,の配置は,視点から建物の各点までの距離が幾何学的比例関係をなし,そられ視線の角度の関係が, 360°をそれぞれ10等分または12等分した角度体系「10分割法」および「12分割法」の,2つの体系によって計画されたとしている。しかしながら彼の分析は,むしろ残存している遺跡の現況,つまり計画の結果を説明するが,建築家が実際にの寸法をどのような手順で決定したか,その過程を説明しない。本文では,アテネのアクロポリスについての彼の分析を例にとり,これを批判した。また建物が互いに直角または平行に配置されたでは,彼の述べるような極座標によって,その配置を考えるのは,もともと不自然と思われるし,また施工者にとっては却って不便であり実践的ではないと思われる。むしろ最初から直交座標で考えた方が,合理的かつ現実的だろう。古代の建物の寸法決定の二大要因は,寸法それ自体の値と,寸法間の比例であると思われる。建物の寸法が最終的に決定されるまでには,最初の基本原則から最後の微調整に至るまでの,いくつかの段階を経ると思われるが,最初の段階ではなるべく端数のない完数による寸法,あるいはなるべく簡潔な比例を選ぶだろうということが,当然推測される。この2つの要因を判断の規準として,現在一般的に考えられている古代尺の値をもとにしながら,コス島の2つのの分析結果を次に述べる。紀元前2世紀に建設されたアスクレピオスの上部テラスは,コの字型ストアとそれに囲まれた神殿が,左右対称に配置されている。分析の結果,前時代の神城壁の基礎を利用して建てられている,このストアのスタイロベート長さは,最初南側が270 ft, 東・西側がその3/5の162 ft と計画された。柱間は最初基本的に8ftとして計画されたが,次の段階で,入隅部の柱間が15/8ft拡張,北端の柱間が7/16ft縮少され,標準柱間が南側で81/6ft,東・西側で81/16ftと調整された。スタイロベート長さは,最終的にはこれらの調整を経て,南側2723/4ft,東・西側1621/3ftとなった。神殿の大きさは,その正面スタイロベート幅が東西ストア間の距離に対し,1:5という単純な比例で決定されている。アフロディテのは,紀元前2世紀に建てられたものであるが,ドリス式のペリスタイルの中庭に,前柱式の神殿が2つ左右対称に配置されている。プロピロンも神殿に対応して,正面に2つ左右対称に配置されているが,これらの建物の大きさが周囲の付け柱の柱間に対応していることから,最初の段階では,9ftのこの柱間をモジュールとしたグリッドプランで計画されたものと思われる。中庭の大きさは,この段階では15×13グリッドだったものが,外周の柱より中庭の柱が少さいため,モジュールの値,つまり柱間を7.5 ft に縮少し,大きさを17×15グリッドとした。さらに,中庭の幅,奥行きを寸法比をより単純な7:6とするための微調整を行い,最終的には幅を128ft, 奥行きを110 ft とし,対応する柱間をそれぞれ,717/32ft,71/3ftとした。以上の検討結果から,ドクシアデスの分析は理論的ではあるが,実際の設計手順としては,実践的ではないということが判った。彼のいう空間認識の仕方は,一般の観察者にとっては正しいかも知れないが,計画家にとっては不充分である。むしろ計画家には,平面を鳥瞰できる抽象的な空間把握の能力が要求され,これなしにおそらく設計はできないであろう。そしてこの平面に対して寸法を与えるたためには,当然必要な計算がなされたのである。コスの2つのも,もちろんこの例にもれず,直交座標上で,寸法とその比例を規準に計画された。

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 This paper aims to shed light on the characteristics of the landscape design by Kenzo Tange that commemorates the war victims and promote peace. Two specific works were examined: the Great East Asia Co-prosperity Sphere Memorial Project (1942, hereafter called ‘the Project’), and the Memorial Plaza for Students who Perished in the War (finished in 1967, hereafter called ‘the Plaza’). The landscape design of these two works were compared and analyzed with Tange’s Hiroshima Peace Memorial Park (1949, finished in 1955, hereafter called ‘the Park’).

 The architectural competition of the Project was held during the war in 1942 and was understood as a vision only that was not to be realized. The main part of the Project, the holy precinct for the dead, was located at the east foot of Mt. Fuji. The Plaza started and finished in the 1960s and is located on the south end of Awaji Island. It is positioned on the ridge of Ohmiyama that overlooks the Inland Sea. The Park was designed just after the atomic bombing in Hiroshima. While the historical context to commemorate the victims, the surrounding environment, and the existing materials differ greatly, the common spatial composition has to comply with a north-south principle axis and two trapezoid squares that face each other on the axis as pointed out by other researchers. The viewpoints to compare and analyze the landscape design have three aspects: how the common geometry was applied, how the monumentality was expressed, and how the planting was positioned.

 Regarding the common geometry (two trapezoid squares on the north-south principle axis), it was clarified that while all works show the contrast between the northern part to commemorate the victims and the southern part to promote peace or for the place where people gather, the application of the geometry of the Project and the Plaza differs to the Park. In the former, the geometry was applied to emphasize the contrast and the separation of the two trapezoid squares through a different view and spatial experience provided on the bridge or the approach that connects the squares. In the latter, the geometry was applied to create a network and a center in the Park.

 In regard to the expression of the monumentality, it was clarified that Tange planned monumental scenery both on the site scale and the landscape scale. In the scenery on both scales, the vertical or massive existence appear as a focal point. Moreover the scenery on the landscape scale, the vertical or horizontal expression of architecture made a contrast to the constantly changing nature.

 Finally, in spite of the importance of the planting of the scenery in the initial design, Tange’s lack of concern about planting was confirmed through his final design.

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The Hellenistic sanctuary of the Asklepios at Messene has a square courtyard surrounded by the Stoas from its four sides. It has been considered by that the Asklepieion was built between the end of the 3^rd century and the 2^nd century B.C. Nevertheless, the recent studies of the buildings of the Asklepieion assigned that the construction of the sanctuary is dated as the first half of the 2^nd century B.C. The stylistic analysis of the architectural ornamentation demonstrates that the Stoas are dated to the first half of the 2^nd century B.C., which agrees with the recent dating of the other buildings of the Asklepieion and archaeological findings. It is also confirmed that the ornamentations of the Stoas belong to the traditional architecture from the early Hellenistic period back to the middle of the 4^th century to the 3^rd century B.C. The Corinthian Stoa was influenced by the trend of the founder, who is believed to be a king of Macedonia.

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阪神淡路大震災農地・農村調査研究委員会の6チームの調査結果を,「災害に対する農村の強みと弱み」という切り口から総括的にまとめた。とくに,農村地域の地震被害がそれほど大きくなかった理由や今後の農村地域の復旧の問題点などについて,調査時に農村の方々から直接お聞きしたことや調査結果から学んだことなどを交えて,検討したものである。

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Leandrios, the Milesian historian of the early Hellenistic period, claims that Cleochos, the grandfather of the founding hero of the city of Miletus, was buried in the Didymaion, the Apolline oracular sanctuary near the city. Despite the recent interpretation by Polito, based on Sourvinou-Inwood's theory, it is unlikely that either Cleochos or his grand son, Miletos, the eponymous founding hero, was regarded as autochthonous by the ancient Milesians. The story reported by Leandrios must be a version of accounts of the Cretan foundation of Miletus, not an episode of a myth of autochthony. While the name of Cleochos was plausibly already known in the 5th century BC, his burial in Didyma had not been mentioned before Leandrios, as far as we know. The burial of the grandfather of the founding hero in the famous sanctuary was plausibly invented in the early Hellenistic period or, if not invented out of thin air, paid much more attention to than before. The fresh start for Miletus in this period would have created among the citizens a lively sense of communal identity and interest in local myths. Moreover, the revival of the Didymaean Oracle, the foundation of the gigantic temple and Miletus' diplomatic negotiations with the Seleucid kings and Greek cities, especially their own 'colonies', must have made the Milesians highly conscious of the importance of Didyma, one of the most valuable elements of their symbolic capital. Besides, among other newly founded or re-founded Ionian cities, the Milesians may have tried to distinguish themselves from the others by claiming a mythical origin for their own city and their important mantic sanctuary dating back to the heroic age.

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Messene, an ancient city in Peloponnesos, Greece, was founded by Epaminondas, the Theban hero, in 369 BC. The Sanctuary of Asklepios (or the Asklepieion) was the main sanctuary of the town and located in the center beside the Agora. The sanctuary was excavated by A. K. Orlandos during the years from 1950s to 1970s. However, he passed away after that, leaving the research uncompleted. The authors reinvestigated the remaining peristylar stoas of the sanctuary, and tried to reconstruct the Corinthian order of the outer and inner colonnades together with the roof structure. The investigation of the traces of the wooden structure revealed us that the roof was built sloped all the way toward the court being supported by sloped beams. However, the outer halves of the interior of the stoas had ceilings which sloped toward the back walls, forming the interior as if the roofs were built sloped toward both sides.

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万葉集には、五十数例の「いはふ」という語が見られる。本特集の呼びかけ文にあるように、現今、万葉集のテキストも電子化され、検索機能を用いれば瞬時にその用例を並べることもできる。そのことによって、「いはふ」には「いむ」や「まつる」といった言葉との親和性があることが浮かび上がる。だが、それのみでは一つの歌になぜ「いむ」でも「まつる」でもなく「いはふ」が用いられているのか、という問題まではなかなか論じることはできない。本稿では折口信夫の鎮魂論における「いはひ」という概念に注目することによって、万葉集に見られる「いはふ」という語の表現性について考えてみたい。

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