@article{oai:rekihaku.repo.nii.ac.jp:00001001,
 author = {山田, 慎也 and Yamada, Shinya},
 journal = {国立歴史民俗博物館研究報告, Bulletin of the National Museum of Japanese History},
 month = {Mar},
 note = {application/pdf, 本稿は葬儀祭壇の形態から現代の死の位置づけ方についての考察を試みるものである。かつて葬儀は自宅で通夜，出棺の儀礼を行ったあと，葬列を組んで寺院や墓地などに向かい，そこで改めて儀礼を行い埋葬や火葬となった。それは喪家の儀礼，葬列，寺院・墓地での儀礼と空間を移動して，段階的に儀礼を行っていたのである。こうした儀礼で使用される葬具は，喪家や寺院・墓地などの儀礼よりも，葬列に対応するための形態であった。
東京などの都市部を中心に大正期以降葬列が廃されるようになると，自宅における告別式が普及し，祭壇が使用されるようになった。当時は白布を掛けた祭壇が使用され，昭和30年代まで白布，金欄などの布掛け祭壇が使用されていた。布掛け祭壇は五具足や灯籠，位牌堂，ケソクなど個々の道具の並べただけであり，祭壇全体として何らかのモティーフを喚起するものではなかった。
だが祭壇が彫刻幕板祭壇になると，祭壇の段自体に意匠を込めるようになった。さらに最上段の棺かくしが宮殿化することにより，祭壇は総体として仏浄土を想起するデザインとなり，柩を祭壇前に安置することで他界にたどり着いた死者を喚起するような儀礼空間を演出するようになる。
一方，おもに大型葬では生花祭壇が多用され，なかでも会社や非営利団体などの団体葬は団体のシンボルや団体への死者の功績を祭壇中に表象することが多い。個人葬の場合，故人の功績だけでなく趣味や嗜好までも表象するモティーフをとるものもみられる。従来，葬儀祭壇はモティーフを持つものではなかったが，近年の生花祭壇のように積極的に意味を見いだそうとしているものもある。それは死にゆく人を生前とは異なる別個の存在に転換して扱うよりも，生前の足跡や個性を表象する傾向が強く見られる。つまり葬儀において，死を生前の記憶に位置づけるようになったのである。, This paper tries to consider how to value death today through the form of funeral altars. The funeral used to be held at one's home, and after a ceremony of carrying out the coffin, people formed a funeral procession toward a temple or to a graveyard, where the dead body was to be buried or cremated after another ceremony. That is to say, there were respective ceremonies to each situation, which were held transferring one place to another. In the course, funeral necessaries were mainly for funeral processions, rather than for other rituals.
After the Taisho era, funeral processions were abandoned in urban areas such as Tokyo. On the contrary, the ceremony of bidding farewell at the deceased person's house gained ground, and people began to use altars. At that time, altars were covered with white cloth, and until middle of the 1960's, altars were covered with white or gold brocade cloth. The cloth covered altars were simple, on top of which were several articles such as the five Buddhist altar fittings, a lantern, a miniature mortuary chapel, a footed offering tray; they did not rouse any image as a whole.
When altars became covered with carved long boards, the steps of the altar became designed wholeheartedly. Moreover, the ornamental palanquin on the top stair became palatial, thus the altar was as a whole designed to recall the Buddhist Elysian fields. As the coffin is laid in front of the altar, there creates ritual space as if the deceased arrived at the next world.
On the other hand, natural flower altars are frequently used in large-scaled funerals. The funeral by a group, company funerals or funerals by non-profit organizations among others, frequently uses a group symbol or a meritorious deed of the deceased as an emblem in the altar. In case of an individual funeral, not only a meritorious deed but also a hobby or a favorite thing of the deceased can be used as a motif. As mentioned above, the funeral altar originally did not have motifs, but altars like the ones decorated with natural flowers positively pursue significance of motifs. In one way the deceased is not treated as a dead body completely different from the one while alive, but is represented with the course one has followed before one's death. There is a tendency in the funeral to value death in conjunction with antemortem life rather than postmortem life.},
 pages = {119--136},
 title = {死をどう位置づけるのか : 葬儀祭壇の変化に関する一考察（死）},
 volume = {91},
 year = {2001},
 yomi = {ヤマダ, シンヤ}
}