@article{oai:rekihaku.repo.nii.ac.jp:00002109,
 author = {安達, 文夫 and Adachi, Fumio},
 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, 屏風や絵巻，古地図などの比較的大型で対象や文字が細かく記載されている歴史資料の画像を非常に高精細にデジタル化し，これを任意の移動と拡大・縮小が可能で，資料中の対象の解説を表示できるよう研究開発した歴史資料自在閲覧システムに適用した超高精細デジタル資料を，展示や資料研究の場で活用してきた。洛中洛外図屏風の超高精細デジタル資料に関しては，幾つかの企画展示と，総合展示で秋に実物の歴博甲本を展示する際に公開し，2010年４月より常設している。
今後の展示の企画等に反映できるよう，利用者の閲覧行動に視点をおいて，超高精細デジタル資料がどのように閲覧されているかを明らかにすることを目的として，これらの公開の際に収集した利用記録を分析し，以下を明らかにした。
常設では，閲覧システムの操作に不慣れで充分な閲覧をしない利用者が多い。企画展示と秋公開では，閲覧システムに慣れた利用者が多く，じっくり閲覧している。
閲覧システムが利用される度合いは，その展示場での配置順に影響を受け，先頭で高く，後方程低下する。但し，先方では，操作を少し行って立ち去る利用者がある。後方ほど画像を移動しながらじっくりと閲覧する傾向を見せる。
最も高精細にデジタル化した歴博甲本においても，原画像の倍率より拡大した閲覧がある。超高精細画像を適用する有効性が認められる。
常設を除き，資料の中央部だけでなく，資料全体が広く閲覧されている。多くの利用者は，解説表示がある場合，これを参照して閲覧する個所を選んでいる。解説表示は，一種のナビゲーションの役割を果たしている。
この他，対象毎の連動比較表示の一見分かりにくい動きに対して問題なく閲覧されていること，統合モードにおいて，マニュアルとシナリオの機能が半々で利用され，シナリオからマニュアルへの移行があり，導入の目的を達していることが確認された。, Larger historical paintings and drawings with small characters and pictures on them, such as folding screens, picture scrolls, and ancient maps, are digitized in extremely high definition so that they can be displayed by the historical material viewing system that is developed to display explanations about certain parts of the materials on the screen and zoom in and out wherever the users want to look. These super-high-definition digital materials have been used for exhibition and research. Among them, the superhigh- definition digital images of the Folding Screens of Scenes In and Around Kyoto (Rakuchu-Rakugai-Zu) were installed at several special exhibitions and a general exhibition in autumn, when the actual Folding Screens of Rekihaku A Version were put on display. Since April 2010, these digital images have been open to the public as a permanent exhibition.
The present article is aimed at clarifying museum visitors' behavior patterns to consult the superhigh- definition digital materials and thus making suggestions for future exhibition planning. To this end, the article makes the following matters clear by analyzing the museum visitors' log recorded during the above-mentioned exhibitions.
At the permanent exhibition, there were many visitors who did not make full use of the viewing system due to their unfamiliarity with its operation. At the special exhibitions and autumn exhibition, there were many visitors who knew well how to use the viewing system and carefully looked at the digital images.
The amount of use of the viewing system varied depending on where in the exhibition hall it was installed. The more at the front, the more it was used; the more at the rear, the less it was used. In the former case, some people left after using it for a little while. In the latter case, people tended to look around at different parts of the images more carefully.
Some users magnified the image of Rekihaku A Version, which had been digitized in the highest definition, larger than the original picture. The super-high-definition digitalization can be judged to be useful.
Usually, except for at the permanent exhibition, people looked at not only the central part but also the whole part of images. Many people consulted the explanation on the display, if any, to choose where to look. Therefore, it can be confirmed that the explanation display plays a kind of role as a navigation aid.
Moreover, people had no difficulties in using functions that appear to be hard to operate, such as a comparison display to show related objects together. Visitors also used both manual mode and scenario mode on a fifty-fifty basis, and some of them switched from scenario to manual mode. Therefore, it can be confirmed that the initial purposes of the system installation have been achieved.},
 pages = {173--208},
 title = {超高精細デジタル資料「洛中洛外図屏風」の閲覧特性 : 利用者の閲覧行動からの分析（Ⅲ. 洛中洛外図屏風の活用）},
 volume = {180},
 year = {2014},
 yomi = {アダチ, フミオ}
}