@article{oai:rekihaku.repo.nii.ac.jp:00002389,
 author = {小島, 道裕 and 森下, 佳菜 and 大薮, 海 and Kojima, Michihiro and Morishita, Kana and Oyabu, Umi},
 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, 国立歴史民俗博物館が所蔵する二つの初期洛中洛外図屏風「歴博甲本」と「歴博乙本」について、描かれた人物すべて（甲本＝一四二六人、乙本＝一一七二人）をデータベース化する作業を終え、横断検索も可能となったため、両者のデータを定量的に比較する形で、その違いについて、特に不明な点が多かった乙本について考察を試みた。
乙本は全体的に甲本よりも簡略化されており、またひとつの場面に、場面と関わる形で特定の種類の人物を集中させる傾向が見られる。生業の種類が少ないことや、僧侶を宗派別に描かないことなど、人物に個性が乏しく、また男性の老人が全く見られないことや尼僧をほとんど描かないなど、偏りもかなり著しい。
しかし、それは単純に甲本よりも質と量が下がったことを意味するのではなく、乙本独自の観点ないし嗜好から選択が行われた結果でもある。尼僧が排除される一方で着飾った女性が目立つし、振売や農民について、野菜を扱った独自の場面が多く見られる。祭礼については、神輿が渡御する祭礼を二つ描き、内裏でも賑やかな三毬杖(さぎちよう)の場面を描いており、全体を華やかに仕立てようとする意識が見られる。
このような差は、発注者や絵師の個性でもあろうが、時代差の問題と考えられるものも多く見られる。尼僧が少ないことは、後家尼の地位が下がって、家長として表に出なくなったためと思われるし、また、兜に「変り兜」的なものが見られることや、幟旗など多様な指物が見られること、髷では「丁髷」に近い髷が多いことなども、甲本よりも時代が下がったことによる近世的な現象と見ることができよう。作品の年代観としては、乙本の年代をおよそ一五八〇年代、豊臣期ころとした従来の推定と本稿での検討結果に違和感はなく、大きな変更は必要ないと思われる。, A database has been compiled of all the figures depicted in two sets of early folding screens of Scenes in and around Kyoto (Rakuchū-Rakugai-Zu) in the possession of the National Museum of Japanese History, Rekihaku A and B Versions (containing 1,426 and 1,172 persons, respectively), and prepared for federated search. Using this database, this paper makes a quantitative comparison of the two paintings to present their differences while focusing on Version B, which remains unknown in many aspects.
In general, depiction is more simplified in Version B than in Version A. Version B tends to bring certain types of people together in a scene while showing the relationship between these characters and the scene. Meanwhile, the painting as a whole lacks the variety of characters. Version B does not describe a wide variety of occupations or distinguish priests by their sects. Moreover, the selection of characters is unbalanced. It contains no old men and only a few priestesses.
However, this does not mean that Version B is of lower quality and quantity than Version A. This is merely a result of selection depending on the specific perspective and preference of the Version. While including only a few priestesses, Version B contains many women in beautiful attire as well as many unique scenes depicting vegetables handled by street venders and farmers. Version B also portrays two festivals with portable shrines carried around as well as the lively scene of Sagichō Festival held at the Imperial Court. These features imply the intention to adorn the whole scene.
These differences can be attributed to the preferences of the clients and painters but also ascribed to the difference of times. The reason why only a few priestesses are included in the picture seems to be because they lowered their profile as representatives of their families after their social status had dropped. The early-modern phenomena described in Version B, such as the emergence of decorative helmets, the wide variety of vertical flags and banners, and the spread of the chonmage knot hair style, imply that it was painted later than Version A. With regard to the date of the painting, this analysis finds no evidence against our assumption that Version B dates back to the 1580s under the rule of Toyotomi Hideyoshi.},
 pages = {123--155},
 title = {洛中洛外図屏風「歴博甲本」と「歴博乙本」の人物データベースによる比較},
 volume = {209},
 year = {2018},
 yomi = {コジマ, ミチヒロ and モリシタ, カナ and オオヤブ, ウミ}
}