天下の名刹・宇治平等院鳳鳳堂の建築形態は、宇治川の氾濫あるいは湛水に備えたものではなかったかとの仮説を述べるものである。
1053(天喜元)年、藤原頼通によって落慶供養された鳳凰堂は、中堂とその左右にのびると尾廊をもっている。は楼造で下層は吹放しとなっており、上層には高欄がめぐらされているが、その梁は低く人が立って歩くことはできない。純粋に形を整えるために造られたものと評価されているが、この吹放しのは河川技術からみればピロティ様式の建物である。
平等院は宇治川のすぐ辺りにあり、鳳凰堂の前面にある園池には、宇治川から自然取水された水が入っていた。また往古の河床高、氾濫状況、築堤の状況から判断して、洪水で宇治川の水位があがれば、園池の水位もそれに従って上昇していた。その高さから見て中堂が水に浸ったことはないであろうが、部も含めてその回りは出水時には湛水していたと考えて間違いない。水に浮かぶ阿弥陀堂であり、はこれに億えてピロティーにされたと判断するのである。
さて、出水時は上にみた通りであるが、平常時にも部は水に浸り、そこを舟が行き来したと考えても物理的には可能である。頼通は自分の邸宅である高陽院で、寝殿の回りの池・堀割を大きく造り、大きな舟が行き来できるようにしていた。この形態は高陽院のみであった。頼通がこの癸想を平等院にも応用した、と考えてもおかしくない。水上に浮かぶ宗教建築物、それは1168(仁安3)年ないしその翌年、平清盛によって造営が完成した海に浮かぶ厳島神社へと連想させていく。

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本稿は、鳳凰堂仏後壁画に描かれる阿弥陀浄土図および平等院庭園の発掘調査状況を紹介し、阿弥陀浄土図の園池表現と平安期平等院庭園との関連性について考察を加えたものである。寝殿造庭園の様式的完成を背景として、理想的な庭園美として阿弥陀浄土図に洲浜形宝池が描かれ、また平等院に洲浜をあしらった浄土庭園が作庭されたことを指摘した。

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This is a study on the evoluting process of the details mainly as to the "Roh-Haiden" in Yamaguchi and Shimane Prefectures. The results are as follows ; 1. The Roh-Haiden (tower gate) is most characteristic to be made up the wooden stage. 2. As to the features of the ornamental details, Roh-Haiden is found largely. 3. This style was presumed to decline in the latter Muromachi era, but revived in the middle Edo era, which was succeeded to in the last Edo era.

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Hwang Ryong-sa was the most important national temple in Silla. This paper is about the site plan of HwangRyong-sa temple at the early stage. A change in site plan was inferred from a research excavation result, and a positional change of HwangRyong-sa in Silla was considered from performing temple of Buddhist rites and the change of temple name of HwangRyong-sa. And through these consideration results, a change of HwangRyong-sa at early stage was clarified. The results are as follows.
The first buildings of HwangRyong-sa were the eastern main hall and a few buildings at the site of western main hall (Fig.5). With these buildings, form of a temple of HwangRyong-sa was tentatively shaped in around 566. But it was not the completion of HwangRyong-sa as the most important national temple of Silla.
The second site plan of HwangRyong-sa was completed when the large central main hall was built in 584. There is three main halls in the second site plan, and the site was divided into three areas by the western and eastern cloisters (Fig.6). By this time HwangRyong-sa became the most important temple of Silla, and the national Buddhist rites was performed in HwangRyong-sa.
Large nine-storied pagoda was completed in 645 and the western and eastern cloisters were removed. As a result the third site plan was completed as one pagoda and three main halls pattern (Fig.7).

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The purpose of this study is to clarify relationship of arrangements between the garden lantern and the buildings in Byodo-in garden. Garden lanterns, since ancient times, have been offered Buddhist tribute in center positions in front of the main temple building that enshrined some Buddhist statues. In this study, based on some examples of arrangements of garden lanterns in ancient Buddhist temples, it could be pointed out the following two features in arrangement of the garden lantern in front of Houo-do; (i) it was affected the arrangement of the garden lantern by that there spread the Aji-ike pond, (ii) as it was decided the location of the garden lantern of Byodo-in garden, it seems to have been considered the ratio of the distance between the lantern and two buildings, that is, Houo-do and Ko-gosho which had been located against Houo-do across the Aji-ike pond for resting or looking Houo-do but had already been lost. As a result, the arrangement of the garden lantern of Byodo-in garden was not only under the category of ancient Buddhist temples but also had an original feature. Furthermore, based on the considered above, it could be referred changes of arrangements of garden lanterns in the process which garden lanterns of ancient Buddhist temples had been accepted to Jodo temples.

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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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A sanctuary has allways an entrance : a gate. Sometimes these gates are built with wooden stage. They are called "Ro-Haiden" in Yamaguchi area. This paper will clarify that the "Ro-Haiden" of Yamaguchi area was built and spread under the influence of Todaiji-Hachimanga Shrine and Hofu-TemmangU Shrine. The "Ro-Haiden" was used not only as a passage but also as a ritual place. The content 1. Introduction 2. The style and its' distribution of the "Ro-Haiden" in the area of Yamaguchi 3. Ceremonial practices at the "Ro-Haiden" (1) In Hofu-Temmangu Shrine (2) In Aiosho-Hachimangn Shrine 4. The formation of the "Ro-Haiden" and its' distribution. (1) A review of hitherto published theories about the "Ro-Haiden" (2) The relation between Todaiji-Hachimanga Shrine and Hofu-TemmangQ Shrine in the Kamakura era (3) The area formed by the "Kechienshn" of Hofu-TemmangQ Shrine (4) The distribution of the "Kechiensha" group [Hofu-Temmanga Shrine] and the distribution of the "Ro-Haiden" 5. Conclusion

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Sixty-one sheets of plans of the Ueno Museum is preserved in the Tokyo National Museum. These plans was drawed by J. Conder and five students of the Imperial College of Engineering and the engineers of the Department of Public Works since August 1878 to October 1879. The Ueno Museum was two-storied brick building and had twenty-five exhibition rooms arranged functionally. It's total floar space was 49170 square meter and was largest at that time in Japan. It's exterior ornament was introduced the motif of Indian or Saracenic architecture for impart an Eastern character to it and J. Conder called it a pseudo-Saracenic style.

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This study paid its attention to vibration observation at the actual place as the way that we could investigate a structural characteristic of cultural assets building quickly.We performed vibration test of a frame model of traditional shrines and temples building and added examination. The results from the examination are as follows. (1) we have clarified the following the behavior of the frame after a shock precisely by sampling the data with high frequencies. (2) we have verified the effectiveness of the multiple points observation system.

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