@article{oai:rekihaku.repo.nii.ac.jp:00002106,
 author = {古川, 元也 and Furukawa, Motoya},
 journal = {国立歴史民俗博物館研究報告, Bulletin of the National Museum of Japanese History},
 month = {Feb},
 note = {application/pdf, 室町時代後期の都市京都を考える際に、社会的組織として重要な構成要素となるのは洛中日蓮教団（宗祖日蓮を師と仰ぐ信仰集団）である。洛中の日蓮教団は鎌倉時代後期から南北朝期に日蓮門下六老祖の一人である日朗が京都への布教を開始し、その後大覚妙実、日像の布教によって教線を拡大し、後醍醐天皇による四海唱導布教の綸旨を得てからは、四条門流を中心に諸派の離合集散を繰り返しながらも宗勢を増してゆくのである。日蓮教団は天文五年に宗門にとっての一大法難ともいうべき天文法華の乱（天文法難）に遭ったとされ、最終的には帰洛を勅許されるも一時的には洛中より追放されていた。その後も教団内部における門流の対立や和合、織田信長による天正七年の安土宗論敗北など教団内の運営は安定性を欠き、通説的理解では十六世紀後半の教団の恢復は十分にはなされなかったとされている。
ところで、天文法華の乱を前後して制作されている洛中洛外図の諸本には日蓮教団系寺院が描きこまれている。従来の洛中洛外図研究ではこれら寺院の存在が景観年代の確定に寄与したこともあったが、洛中洛外図の諸本が制作依頼者の意図に基づく理想的景観を盛りこんだ工房作であることを考えれば、個別の景観年代追求はさほど意味のあることでもない。また、これら日蓮教団寺院は諸本によって差異があり、描写も一様ではない。むしろ考究すべきは、洛中より追放処分を受けた教団が描き続けられなければならない理由はどのようなものなのかであり、洛中諸本山のうちの描写される本山とそれ以外の本山に差異はあるのか、そのことはどのような社会的背景を持つのかを確定する必要があろう。本稿では、成立年代とその制作背景が確定されつつある洛中洛外図の研究成果を援用しつつ、描かれた日蓮教団諸本山が意味する点について論及したい。, Considering the city of Kyoto in the late Muromachi Period, the Nichiren Sect of Buddhism (a religious group looking up to Nichiren as their mentor) in the city is an important element as a social organization. The Nichiren Sect in Kyoto started with the missionary work of Nichiro, one of Roku Roso (the Six Senior Disciples of Nichiren) , in the city from the late Kamakura Period to the Nanboku-cho Period. Then the missionary work of Daikaku Myojitsu and Nichizo extended the influence of the religion. After granted an order of Shikai Shodo  (missionary to the whole world) by the Emperor Go-Daigo, the sect steadily gained religious influence while constantly changing its alignment centered on the Shijo Monryu lineage. Reportedly, the Tembun Hokke Rebellion, also known as the Tembun Religious Persecution, broke out against the Nichiren Sect in 1536 (Tembun 5) . This greatest persecution of the sect caused to temporarily expel its members from Kyoto though they were allowed by the Emperor to come back in the end. The management of the religious group continued to lack stability due to such factors as conflicts and realignments of divisions within the group and its defeat in the Azuchi religious dispute caused by Oda Nobunaga in 1579 (Tensho 7) . According to the commonly accepted theory, the sect did not fully revive in the late 16th century.
Multiple paintings of Rakuchu-Rakugai-Zu (Scenes In and Around Kyoto) created around the Tembun Hokke Rebellion depict temples of the Nichiren Sect. In conventional studies of Rakuchu-Rakugai-Zu, the existence of these temples has contributed to dating the scenes. Considering that Rakuchu-Rakugai-Zu paintings are artworks depicting ideal scenes based on the aim of the sponsors, however, it is not very important to date an individual scene. Moreover, these Nichiren temples in the paintings vary from each other, and there are also differences in depiction. Therefore, the more important things to study are why the sect exiled from Kyoto was continually portrayed, whether there are any differences between head temples portrayed in the paintings and other head temples, and, if any, what social background the difference has. Quoting research results of the Rakuchu-Rakugai- Zu paintings that are being dated and whose purposes to be created are being confirmed, the present article is aimed at defining the meaning of the head temples of the Nichiren Sect depicted in the paintings.},
 pages = {129--140},
 title = {中世都市研究としての天文法華の乱（Ⅱ. 洛中洛外図屏風と社会的背景）},
 volume = {180},
 year = {2014},
 yomi = {フルカワ, モトヤ}
}