@article{oai:rekihaku.repo.nii.ac.jp:00001455,
 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, 本稿の目的は，岩手県中央部における寺院への額の奉納習俗の変遷を取り上げ，死者の絵額や遺影などの表象のあり方について，国民国家形成過程との関連を考慮しつつ近現代における死への意味づけについて考察することである。
盛岡市や花巻市など北上川流域と遠野地方にまたがる岩手県中央部では，江戸末期から明治期にかけて，死者の供養のため大型の絵馬状の絵額が盛んに奉納された。絵額は来世の理想の姿を複数の死者とともに描いており，死者を来世に位置づけ安楽を祈るという目的を持ったものであった。しかもその死者は夭折した子供や若者，中年が多く，または一軒の家で連続して死者を出した場合など，不幸な状況ゆえにより供養をし冥福を祈ったものであった。
しかし明治後期になると従来の絵額とは異なるモティーフを持つようになり，絵額から肖像画や写真などの遺影に変化していった。こうした変化は特に軍人に関して顕著であり，御真影や元勲の肖像，戦死者の遺影と類似の構図をとるようになる。
こうした遺影への変化は，表象のあり方が現世の記憶を基盤にしただけでなく，不幸な死者へのまなざしから顕彰される死者へとその視線は変わることになったのである。一方で，写真それ自体が死者そのものの表象として使われるようになり，人々の遺影への意味づけは多義的になっている。こうして近代の国民国家形成の過程において，とくに戦死者の祭祀との関連から，死者の表象のあり方が大きく変わるととともに，死の意味づけを変えていったことがわかる, This paper examines the significance of death in the modern era using representations of the deceased in the form of votive pictures and portraits and considers their association with the process of the formation of the nation state. It looks specifically at changes in the custom of dedicating pictures of the dead to a temple in the central part of Iwate Prefecture.
In this region, which straddles the Kitakami River Basin containing Morioka City and Hanamaki City as well as the Tono region, from the latter part of the Edo period through the beginning of the Meiji period the dedication of large wooden plaques as a way of worshipping the dead became very popular. These wooden plaques depict images of an ideal afterlife and the drawings of a number of dead people and were made for the purpose of praying for the repose of the souls of the dead in the next world. What is more, they were offered to pray for the souls of those who died as a result of unfortunate circumstances, as suggested by the many pictures of children and young and middle-age people. There are also examples of the successive deaths of members of the same household.
In the latter part of the Meiji period, however, different motifs from traditional wooden plaques were adopted, and this custom of wooden plaques came to be replaced by portraits of the deceased. This shift is particularly noticeable in the case of those who served in the army. Their commemorative pictures took on a composition similar to that found in official portraits of the emperor, portraits of national figures and photographs and portraits of the war dead.
This new style of representation using a photographic or painted portrait was not founded solely on memories of this world, but also symbolized a shift from gazing at the deceased who died in unfortunate circumstances to turning attention to the deceased who had been honored for virtuous deeds. In contrast, photographs themselves came to be used as life-like representations of the dead. This change to photographs and portraits has multiple meanings. We may conclude that during the process of the formation of the nation state in the modern era, the forms in which the dead were represented changed considerably due to their association with the worship of the war dead, which also altered the significance of death.},
 pages = {287--326},
 title = {近代における遺影の成立と死者表象 : 岩手県宮守村長泉寺の絵額・遺影奉納を通して},
 volume = {132},
 year = {2006},
 yomi = {ヤマダ, シンヤ}
}