@article{oai:rekihaku.repo.nii.ac.jp:00001194,
 author = {黒田, 智 and Kuroda, Satoshi},
 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, 勝軍地蔵とは、日本中世における神仏の戦争が生み出した軍神（イクサガミ）であった。その信仰は、観音霊場を舞台に諸権門間の対立・内紛といった戦争を契機として誕生した。そして征夷大将軍達の物語とともに、その軍神（イクサガミ）的性格を色濃くしていった。
多武峯談山神社所蔵「日輪御影」は、いわば勝軍地蔵誕生の記念碑的絵画であった。
「日輪御影」は、応長・正和年間（一三一一〜一二）に、興福寺との合戦に際して戦場となった多武峯冬野における日輪出現と、その周辺の観音勝地で起こった三神影向伝説を絵画化したものである。画面下方に描かれた束帯に甲冑を着した三眼の異人は、良助法親王と推測され、彼が喧伝した勝軍地蔵を想起させる。画面上方の円光中に描かれた藤原鎌足像は、三眼の異人と対をなして勝軍地蔵の化身として配置されている。また画面上部に描かれた三つの円光は太陽・月・星であり、山王三聖信仰を背景とする三光地蔵の表象である。
「日輪御影」に表された勝軍地蔵信仰の世界観は、三光の多様な言説を背景として、鎌倉中期から南北朝期にかけて浮上する太陽・日輪の文化の急速な波及と密接に関わっている。太陽・日輪イメージは、勝軍地蔵信仰と結びつくことで、戦う神仏のイデオロギー・武威のシンボルへと収斂していたのである。
こうした太陽・日輪イメージは、天空における太陽の月・星に対する優位性が日本という国家・国土の優越性に準えられた思想であった。それは、日本の神仏の優位性を主張し、日本という国土を神聖化し、日本を仏教的コスモロジーの中心に位置付けようとする運動であった。勝軍地蔵信仰は、同時代の中世的国家・国土観念と不可分な結びつきをもちながら、後代に少なからぬ影響を及ぼしていったのである。, Shogun jizo is an ikusa-gami (military deity) that was created as a consequence of the war among gods during the Middle Ages. The belief in this deity came into being on the occasion of battles that were confrontations and internal disputes between various men of influence in sacred sites of the Kannon (Goddess of Mercy). Together with the tales of the Seii-taishogun (military general), the character of the shogun jizo took on stronger character of a military deity.
“Nichirin-no-Miei” is held at Tonomine-Tanzan Jinja Shrine, and is symbolizing the birth of the shogun jizo.
“Nichirin-no-Miei” is a depiction of the appearance of nichirin (sun) at Tonomine Fuyuno, which was the battleground of the war that took place against Kofuku-ji Temple during the Ocho and Showa periods (1311-1312). It also depicts the legend of Sanshin Yogo (appearance of three gods), that took place near sacred sites of the Kannon. The strange three-eyed figure depicted at the bottom of the drawing wearing armor over full court dress is assumed to be Ryojo Hosshinno (Imperial Prince Priest Ryojo, son of Emperor Kameyama), who is somewhat reminiscent of the shogun jizo. The figure of Fujiwara-no-Kamatari, who is an incarnation of the shogun jizo, drawn in the upper part of the drawing inside an aureole is forming a counterpart to the three-eyed creature. The three aureoles drawn in the upper part of the picture are the sun, moon and Venus, and symbolize the Sanko jizo, which are linked to the Sanno Sansho religious belief.
The world view of the shogun jizo belief represented in “Nichirin-no-Miei” has a close relationship with the rapid spread of the sun culture, which constitutes the Sanko belief together with the moon and Venus, that emerged from the middle of the Kamakura Period (1185-1333) through to the Period of the Northern and Southern Courts (1336-1392). By linking with the belief in the shogun jizo, the sun image came to narrow down to a symbol of the ideology and military power of warring gods.
This image of the sun representing the superiority of the sun over the moon and Venus in the heavens was a belief that was modeled on the superiority of the state and territory that constituted Japan. It was a movement that advocated the superiority of Japanese gods, sanctified the territory of Japan and sought to position Japan in the center of the Buddhist cosmology. At the same time as being inextricably linked to the concept of the medieval state and territory of that period, the belief in the shogun jizo came to have a considerable influence over later periods.},
 pages = {127--151},
 title = {勝軍地蔵と「日輪御影」},
 volume = {109},
 year = {2004},
 yomi = {クロダ, サトシ}
}