@article{oai:tobunken.repo.nii.ac.jp:00006038,
 author = {津田, 徹英 and Tsuda, Tetsuei},
 issue = {406},
 journal = {美術研究, The bijutsu kenkyu : the journal of art studies},
 month = {Mar},
 note = {Interest in and research about Japanese medieval portrait sculpture has focused on portraits made in the Zen and Jishů (Ippen school) sects. Conversely, there has been little scholarly attention paid to the portrait sculpture of the Shinshû (Shinran school) sect. However, as it has become known that quite a few of these Shinshû sect sculptures remain extant, it is clear that they constitute one aspect of medieval portrait sculpture. Thus, as a person interested in medieval Shinshû sect portrait sculpture, I present an overview and outline of medieval Shinshû sect portrait sculpture with the hope that it will become the starting point for future discussion of this subject.
     The following two points were clarified. First, examples of the production of portrait paintings during the life of the sitter can be confirmed from the time of the foundingpatriarch Shinran (1173–1262), but portrait sculpture production all occurred after the death of the subject. This differs from the portrait sculptures created by the Zen and Jishû sects, which were juzó, or “from life” portraits. Further, there are many instances of the enshrinement of the crematory remains of the subjects inside the sculptures, and it is thought that such a purpose was the impetus for the creation of the sculptures. Second, the trend towards the creation of portrait sculpture amongst the Shinshû faithful did not spread from Kyoto to regional parts of Japan, rather, Kantô-based worshippers supervised Kyoto-based sculptors in the creation of their images. This is a noteworthy exception to the general rule that cultural phenomena spread from Kyoto to regional areas.},
 pages = {27--47},
 title = {中世真宗の祖師先徳彫像の制作をめぐって},
 year = {2012}
}