@article{oai:tobunken.repo.nii.ac.jp:00006203,
 author = {皿井, 舞 and Sarai, Mai},
 issue = {398},
 journal = {美術研究, The bijutsu kenkyu : the journal of art studies},
 month = {Aug},
 note = {This is the third section of a three-part discussion of the construction of Daigoji temple, ordered by Emperor Daigo in Engi 7 (907). As the final section of the article, this section clarifies the meaning of the temple construct at Kami-Daigo.
     The unusual feature of the Kami-Daigo temple complex is the parallel display of the exoteric Buddhist deity Yakushi with the esoteric Buddhist deities known as the Godaimyoo. This article focuses on this point and begins with an examination of the role and function of Yakushi and the Godaimyoo from the latter half of the 9th century onwards.
     This examination revealed that prior to the latter half of the 9th century, Yakushi and the Godaimyôô were both thought to be able to protect the country and ward off calamity. Thus it was deemed that they should be enshrined in the focal points of national protection, namely the Kokubunji temples and other such sites. Thus, the KamiDaigo temple complex commissioned by Emperor Daigo was fitted with not one but two central worship images that had powerful anti-calamity functions. This was not, however, a normal state of affairs.
     It is thought that this unusual situation was brought about by the domestic and international dangers and political unrest that occurred from the end of the 9th century through the beginning of the 10th century. Internally, unrest continued in the Kanto region, with the so-called “ôgoku no ran” riots occurring at the beginning of the 10th century proving a considerable threat to the imperial court. From offshore, pirates from Silla were sporadically raiding Japan. These extremely heightened political tensions provided the impetus for the creation of the Yakushi and Godaimyos images for Kami-Daigo.
     At first glance this combination of Yakushi and Godaimyôô appears to be a mixed gathering of different types. This “mélange” that supercedes the framework of exoteric/esoteric had not previously been seen in temples. However, this “mélange” appears to be the major characteristic of the imperially commissioned Daigoji, including both Kami-Daigo structures and the Shimo-Daigo structures. At the same time, this “mélange” could only have emerged because of the changes in national policy and culture that began in the early years of the 10th century. Indeed, the period changes are fully etched into this KamiDaigo temple complex.},
 pages = {1--30},
 title = {醍醐寺薬師三尊像と平安前期の造寺組織（下）},
 year = {2009}
}