@article{oai:rekihaku.repo.nii.ac.jp:00001973,
 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 = {Nov},
 note = {application/pdf, 死者儀礼においては，人の存在様態の変化により，その身体の状況と取扱い方に大きな変化がおきてくる。身体を超えて死者が表象される一方，身体性を帯びた物質が儀礼などの場でたびたび登場するなど，身体と人格の関係を考える上でも死はさまざまな課題を抱えている。
葬儀では身体性を帯びた遺骨だけでなく，遺影もまた重要な表象として，現在ではなくてはならないものとなっている。なかでもいわゆる無宗教葬においては，遺影のみの儀礼も多く，そこでは最も重要な死者表象となって亡き人を偲び，死者を礼拝するための存在となっている。ところで遺影として使用された写真は，生前のある時点の一断面でありながら，一方で死者の存在そのものを想起させるものである。しかしこうしたまなざしは，写真が人々の間で使用されるようになった当初からあったのであろうか。本稿では追悼のための葬儀記録として作られた葬儀写真集の肖像写真の取り扱われ方の変化を通して，遺影に対するまなざしの変化を検討した。
そこでは写真集が作られ始めた明治期から，巻頭に故人の肖像が用いられるが，撮影時に関するキャプションが入れられている。しかし明治末期から大正期にになると次第に撮影時に関する情報がキャプションに入らなくなり，さらに黒枠等を利用して葬儀写真との連続性が見られなくなっていく。つまり当初，撮影時のキャプションを入れることで，生から死への過程を表現するものとして，肖像は位置付けられていた。これはプロセスを意識する葬列絵巻とも相通じるものであった。しかし後になると，撮影時に関する情報を入れないことで時間性を取り除いたかたちで使用され，肖像は死者を総体的に表象するものとして位置付けられるようになったのである。こうして写真が生の一断面でありながら死者として見なす視線が次第に醸成されていったことがわかる。, In death rites, the circumstances of the body and the way it is handled change dramatically according to changes in mode of human existence. Death poses all sorts of questions with respect to the relationship between body and personality, with the deceased, for example, being represented in non-bodily form, but materials connected with the body making repeated appearances in rites and other situations.
Along with the bones of the deceased, which are connected to his or her corporeality, the portrait of the deceased is a very important representation and an indispensable component of death rites in the present day. Funeral rites focused solely on the portrait of the deceased are common in so-called non-religious funerals. In such funerals the portrait becomes the most important representation of the deceased, serving as a means whereby the deceased is remembered and last respects paid. While the photograph used for the portrait of the deceased depicts just one moment in the person's former life, it brings to mind the entire existence of the deceased. However, it is questionable whether such photos of deceased persons performed this role when they were first used as portraits. In this paper, I look at changes in the way portraits of the deceased are viewed by examining changes in the way portrait photos have been used in funeral albums created as records of the funeral for remembrance purposes.
Portrait photographs of the deceased have been used on the opening page of funeral albums since they started to be made during the Meiji period, but in the earliest albums, the portrait photos are accompanied by captions related to the time when the photograph was taken. However from the end of the Meiji period and on into the Taisho period, such captions provided increasingly sparse information about when the photo was taken, until photos eventually came to be merely framed in a black border or some other kind of embellishment, losing all continuity with the photos of the funeral. In other words, at the start portrait photos accompanied by captions about when the photo was taken were used to express passage from life to death. They thus showed similarities with funeral procession picture scrolls, which also depicted such passage. However, by removing information on when the photo was taken, portrait photos came to represent the deceased as a whole, stripped of any temporal element. As a result, people came to perceive funeral portrait photos as the deceased themselves rather than just a depiction of a single moment in former life.},
 pages = {137--166},
 title = {遺影と死者の人格 : 葬儀写真集における肖像写真の扱いを通して},
 volume = {169},
 year = {2011},
 yomi = {ヤマダ, シンヤ}
}