@article{oai:rekihaku.repo.nii.ac.jp:00001669,
 author = {山田, 岳晴 and Yamada, Takeharu},
 journal = {国立歴史民俗博物館研究報告, Bulletin of the National Museum of Japanese History},
 month = {Dec},
 note = {application/pdf, 安芸国における神社玉殿の祖型は厳島神社玉殿である。その厳島神社の玉殿は、奈良時代に遡る神座の形式である御帳台に、本殿の形式の一部を取り入れて、すなわち、御帳台という調度を建築化させて成立したものである。その初源的な玉殿の形式は、大型で桁行一間または三間、梁間一間、切妻造、檜皮葺で、著しく床高は低く、見世棚造とせず、面取角柱、舟肘木、豕扠首とし、軒は正面二軒、背面一軒であった。また、その玉殿は本殿内陣の床に直に安置されていた。厳島神社の玉殿は、奈良時代まで遡る御帳台の形式を受け継ぎつつ、独自の形式を持つ神座として分化発展したものである。安芸国に広く分布している中世の玉殿は、祖型である厳島神社玉殿からさらに進化すなわち建築化していったものであり、いわば御帳台から分化した神座の一系統である。
他国と比べて安芸国において玉殿が広く分布し、中世の玉殿が大量に残っているのは、一宮である厳島神社が玉殿を安置する形態を採ったためである。厳島神社から始まった玉殿は、中世後期において安芸国の村落の中心的神社、いわゆる村の鎮守社級の規模の神社まで広く普及していった。その普及過程における神社の格式や経済的規模の差を反映して、見世棚造や高床や長柿葺の採用などがおこる。そうした変化はさらなる本殿の形式の取り入れという建築化であり、同時に低廉化も進行していった。近世においては、さらなる玉殿の普及が進み、安芸国の神社は小祠まで、ほとんどすべてが玉殿を安置するに至った。それらの玉殿の形式の変化は、単なる神体の容れ物となる箱形化と、微細な部品を膠で接着し組立てる工芸品化への分化であり、いずれも非建築化であった。これら玉殿の変化は、すべて神社建築の流れに帰結するものであり、寺院建築様式が関係したものではない。玉殿という建築形式は神社において独自に形成されたものであった。, Itsukushima Shrine is the archetype of gyokuden (inner sanctuary) in Aki Province which is now the west area of Hiroshima Prefecture. The gyokuden of Itsukushima Shrine has developed from michodai in shinza-style which dates back to the Nara period, also incorporating the architectural style of the honden (main building). In other words, gyokuden was based on michodai, a type of furniture. The early form of gyokuden was large sized. Ketayuki (beam) was one ken or three ken, harima (cross beam) was one ken. The roof was in kirizuma-style and hiwadabuki(cypress bark covering). It had extremely low floor height and the misedana was removed from the facade. It had chamfered squared-pillars, funahijiki (boat-shaped brackets), inokosasu (two diagonal struts whose tops butted against each other), and had double row of rafters at the front and a single row at the back. Gyokuden was placed directly on the floor of naijin (inner sanctum) of the honden. The gyokuden of Itsukushima Shrine diverged as a shinza with its own unique form, while continuing to inherit the michodai-style dating from the Nara period. Medieval gyokuden found all over Aki Province continued to evolve from their archetype ― the gyokuden of Itsukushima Shrine, and the gyokuden style structures in Aki Province were a type of shinza that had diverged from michodai.
There was a wider distribution of gyokuden in Aki than in other provinces and many of these medieval gyokuden in Aki has survived. This is because Itsukushima Shrine, the ichinomiya for the province, had adopted the style of placing a gyokuden within the shrine. In the latter part of the medieval period, the placing of gyokuden originating from Itsukushima Shrine became common among tutelary shrines in the villages of Aki Province. With the spread of setting gyokuden, architectural styles such as the misedana style, high floors, and nagakokerabuki (long shingled roof) was adopted. These new styles reflected the differences in the status and economic scale of shrines. Such changes also saw the incorporation of the honden-style architecture, while they became progressively less expensive. In the Early Modern period, gyokuden became even more common, and nearly all shrines in Aki Province, up to the level of shoshi (small hokora), came to have gyokuden. These changes in the style of gyokuden resulted in two styles: box-shaped gyokuden that served as a receptacle for sacred objects, and crafts assembled by joining minute parts together with glue, neither of which were buildings. All of these changes in gyokuden were the consequence of trends in shrine architecture and were not related to forms of temple architecture. The creation of gyokuden was only unique to shrines.},
 pages = {109--167},
 title = {神社玉殿の起源と特質 : 安芸国の玉殿を中心として},
 volume = {148},
 year = {2008},
 yomi = {ヤマダ, タケハル}
}