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"records": [ [1,252018,1,"滋賀県","大津市","紙本著色近江名所図　六曲屏風","しほんちゃくしょくおうみめいしょず　ろっきょくびょうぶ","","","重要文化財","美術工芸品","","大津市京町4-1-1","",null,null,"","",1,"双","","滋賀県","1987-06-06 00:00:00","","","","","","","","","琵琶湖西岸の名所を、四季のうつりかわりの中に描く。堅田や坂本の町並を中心に、右隻は湖中の鳥居で知られる白鬚神社から雪をいただいた比良山・堅田まで、左隻は日吉大社・坂本から唐崎の松・三井寺までを描く。堅田では、湖中に突き出た切妻造の浮御堂、竹矢来で囲まれた関所が目につく。琵琶湖には数多くの舟が行きかい、漁をする姿も見られる。全体に数多くの人物が描かれ、その表現は上杉本の洛中洛外図に極めて近い。","","https://kunishitei.bunka.go.jp/heritage/detail/201/2597",""], [2,252018,2,"滋賀県","大津市","紙本墨画叡山図　曾我蕭白筆","しほんぼくがえいざんず　そがしょうはくひつ","","","県指定有形文化財","美術工芸品","","大津市京町4-1-1","",null,null,"","",1,"幅","","滋賀県","2011-03-24 00:00:00","","","","","","","","","琵琶湖の東岸から比叡山を望んだ図で、画面中央に比叡山と延暦寺の堂舎を描く。麓には大津や坂本の町並みに、唐崎には松、堅田には雁の群れなど、名所絵的な要素も備える。画面上部の余白には、西教寺の真如上人による讃文が記される。独創的な画風で注目を集める曾我蕭白が、唯一現実の風景を描いた作品として、高く評価される。","","https://www.rekihaku.otsu.shiga.jp/db/bunka/detail.html?624",""], [3,252018,3,"滋賀県","大津市","紙本墨画楼閣山水図　高田敬輔筆\n紙本墨画琴棋書画図　高田敬輔筆","しほんぼくがろうかくさんすいず　たかだけいほひつ\nしほんぼくがきんきしょがず　たかだけいほひつ","","","県指定有形文化財","美術工芸品","","大津市京町4-1-1","",null,null,"","",8,"面","","滋賀県","2017-03-19 00:00:00","","","","","","","","","本図は近江出身の画人である高田敬輔によるもので、４枚からなる襖の表裏８面に描かれた墨画。画題は片面が楼閣山水画、もう片面が琴棋書画図である。琴棋書画図は、教養ある士大夫が嗜むべきとされた四芸（琴・棋・書・画）に興じている７人の高士、その背後には竹林が描かれる。戦乱の俗世を離れ、竹林で清談を楽しんだという中国の故事「竹林の七賢」をあらわす。伝統的な画題である「琴棋書画」と「竹林七賢」が意図的に重ね合わせられている。","","https://www.rekihaku.otsu.shiga.jp/db/bunka/detail.html?691",""], [4,252018,4,"滋賀県","大津市","信楽 矢筈口水指","しがらき　やはずくちみずさし","","","県指定有形文化財","美術工芸品","","大津市京町4-1-1","",null,null,"","",1,"口","","滋賀県","1990-03-24 00:00:00","","","","","","","","","甲賀郡信楽町大字多羅尾字古谷で発見され、昭和29年（1954）滋賀県に寄贈された。その形が、矢の上端の弦を受ける矢筈に似ているところから、矢筈口水指と呼ばれる。成形は粘土紐を巻き上げる紐土造で、轆轤で仕上げを行い、釉薬をかけずに焼き締めている。口辺に幅の広い縁帯があり、口縁部には蓋を置くための落とし縁を設けている。胴は切立ちに近いが、成形後に両手で押えてへこませている。このほか、箆削りで形を整えた痕跡も残っている。","","https://www.rekihaku.otsu.shiga.jp/db/bunka/detail.html?313",""], [5,252018,5,"滋賀県","大津市","東寺文書（百七通）","とうじもんじょ（ひゃくななつう）","","","重要文化財","美術工芸品","","大津市京町4-1-1","",null,null,"","",null,"","","滋賀県","2009-07-10 00:00:00","","","","","","","","","本文書は、京都の教王護国寺（東寺）に伝来した寺院文書の一部で、御上神社（野洲市）の社家大谷家に伝来した文書群である。荘園文書や寺内諸職補任にかかわる請文等が豊富で、流出文書のなかでもまとまった古文書群として、平安時代から江戸時代までの１０７点を数える。荘園史研究・寺史研究上の一級史料である既指定の東寺文書を補うものとして貴重である。","","https://kunishitei.bunka.go.jp/heritage/detail/201/00011342",""], [6,252018,6,"滋賀県","大津市","滋賀県西河原遺跡群出土木簡","しがけんにしがわらいせきぐんしゅつどもっかん","","","重要文化財","美術工芸品","","大津市京町4-1-1","",null,null,"","",64,"点","","滋賀県","2011-06-27 00:00:00","","","","","","","","","","","https://kunishitei.bunka.go.jp/heritage/detail/201/00011496",""], [7,252018,7,"滋賀県","大津市","東寺文書（滋賀県所有本）","とうじもんじょ（しがけんしょゆうぼん）","","","県指定有形文化財","美術工芸品","","大津市京町4-1-1","",null,null,"","",72,"点","","滋賀県","2007-06-01 00:00:00","","","","","","","","","東寺文書は、京都の教王護国寺（東寺）が作成・集積して保存していた約３万点の中世文書群で、江戸時代以降散逸し、京都府立総合資料館所蔵「東寺百合文書」（国宝）をはじめとして、各所に別れて所在している。滋賀県所有本も江戸時代に東寺から流出したものと考えられ、近世文書７２点を数える。日本中世史、宗教史を研究するための一級史料である東寺文書の一部として、貴重である。","","https://www.rekihaku.otsu.shiga.jp/db/bunka/detail.html?710",""], [8,252018,8,"滋賀県","大津市","近江国絵図","おうみのくにえず","","","県指定有形文化財","美術工芸品","","大津市京町4-1-1","",null,null,"","",1115,"枚","","滋賀県","1967-04-24 00:00:00","","","","","","","","","廃藩置県によって旧幕旧藩から滋賀県に引き継がれた絵図類。近江一国の絵図・郡絵図・村絵図・相論絵図・明治の地券図作成関連絵図などからなる。江戸幕府が全国の大名に三度にわたって作らせた正保・元禄・天保の国絵図、元禄8年（1695）の大津各町の絵図、寛文2年（1662）・天和4年（1684）・元文2年（1737）の膳所城に関する絵図などが含まれ、豊富な内容は近江の歴史を研究する上で貴重な資料となっている。","","https://www.rekihaku.otsu.shiga.jp/db/bunka/detail.html?355",""], [9,252018,9,"滋賀県","大津市","鴨田遺跡出土巡礼札","かもたいせきしゅつどじゅんれいふだ","","","県指定有形文化財","美術工芸品","","大津市京町4-1-1","",null,null,"","",54,"点","","滋賀県","2005-04-20 00:00:00","","","","","","","","","","","https://www.rekihaku.otsu.shiga.jp/db/bunka/detail.html?533",""], [10,252018,10,"滋賀県","大津市","東光寺遺跡出土呪符木簡","とうこうじいせきしゅつどじゅふもっかん","","","県指定有形文化財","美術工芸品","","大津市京町4-1-1","",null,null,"","",2,"点","","滋賀県","2005-04-20 00:00:00","","","","","","","","","昭和５８年（1983）に大津市大萱二丁目の東光寺遺跡の発掘調査で発見された。８間×６間の総柱の南北棟建物の北東隅（丑寅＝鬼門）の柱穴からみつかり、１号木簡は柱穴下部に直立し、２号木簡はその上で二つ折れの状態で出土した。ともに、道教系の呪符の文言が見られるところから、建物建立に際し呪符木簡を使用した何らかの道教系の祭祀が行われたと考えられる。","","https://www.rekihaku.otsu.shiga.jp/db/bunka/detail.html?534",""], [11,252018,11,"滋賀県","大津市","近江輿地志略（寒川辰清自筆本）","おうみよちしりゃく（さむかわとききよじひつぼん）","","","県指定有形文化財","美術工芸品","","大津市京町4-1-1","",null,null,"","",null,"","","滋賀県","2006-03-17 00:00:00","","","","","","","","","「近江輿地志略」は、享保８年（1723）膳所藩主本多康敏の命をうけて藩士の寒川辰清が編纂に着手し、享保１９年に完成した近江国の地誌。全体で１０１巻１００冊からなり、近江国の概観からはじまり、次いで村毎に名所旧跡・寺社等を紹介し、最後に「人物」や「土産」などのテーマ別の内容を盛り込む。１００巻の内６巻を欠くが、蔵書印から藩庫にあったことが知られる。滋賀県の基本地誌の原本として、極めて貴重である。","","https://www.rekihaku.otsu.shiga.jp/db/bunka/detail.html?604",""], [12,252018,12,"滋賀県","大津市","滋賀県行政文書","しがけんぎょうせいぶんしょ","","","県指定有形文化財","美術工芸品","","大津市京町4-1-1","",null,null,"","",9068,"冊","","滋賀県","2013-03-19 00:00:00","","","","","","","","","滋賀県が地方行政を行うために作成または受理し、永年保存文書として管理保管してきた公文書のうち、おおむね慶応4年（1868）から昭和20年（1945）までのもので、総点数は9068冊を数える。大津県、滋賀県の公文書を中心に、旧藩・旧県引継ぎ文書を含め、明治初期の史料がよく保存されている。明治中期では、琵琶湖疏水の建設や大津事件に関わる文書も含まれ、戦災や自然災害等にあうこともなく、保存状態も良好である。","","https://www.rekihaku.otsu.shiga.jp/db/bunka/detail.html?685",""], [13,252018,13,"滋賀県","大津市","袈裟襷文銅鐸\n突線袈裟襷文銅鐸\n流水文銅鐸","けさだすきもんどうたく\nとっせんけさだすきもんどうたく\nりゅうすいもんどうたく","","","重要文化財","美術工芸品","","大津市京町4-1-1","",null,null,"","",10,"口","","滋賀県","1987-06-06 00:00:00","","","","","","","","","野洲町大岩山では、明治14年（1881）に14口、昭和37年（1962）に10口の銅鐸が発見されているが、滋賀県の所有となって重要文化財の指定をうけているのが後者である。10口の内、流水文銅鐸が山頂付近で単独で発見された以外は、大・中・小の3個が入れ子状態の3箇体として、山腹の土坑中で発見された。袈裟襷文銅鐸と突線袈裟襷文銅鐸は全体として共通した文様をとるが、一部に個別の特色が見られる。大岩山のように、一カ所に集中して銅鐸が埋納されている例は、極めて稀である。","","https://kunishitei.bunka.go.jp/heritage/detail/201/10041",""], [14,252018,14,"滋賀県","大津市","近江新開古墳出土品","おうみしんがいこふんしゅつどひん","","","重要文化財","美術工芸品","","大津市京町4-1-1","",null,null,"","",null,"","","滋賀県","1987-06-06 00:00:00","","","","","","","","","栗東市安養寺所在の安養寺古墳群中の新開古墳からの出土品。新開古墳は五世紀後半に築造された直径35mの円墳で、墳頂部に南北に並列した木棺直葬の二基の主体部が確認された。副葬品としては、鏡類・装身具類のほかに実用的な武器・武具類・馬具類などが発見された。鉄眉庇付冑・頸甲・肩甲・革綴短甲などの武具類、初期の馬具類の遺品の好例とされる精巧な轡などの多彩な内容と、遺存度の高さから注目されている。","","https://kunishitei.bunka.go.jp/heritage/detail/201/10043",""], [15,252018,15,"滋賀県","大津市","松原内湖遺跡出土箆状木製品","まつばらないこいせきしゅつどへらじょうもくせいひん","","","県指定有形文化財","美術工芸品","","大津市京町4-1-1","",null,null,"","",2,"点","","滋賀県","2003-04-16 00:00:00","","","","","","","","","","","https://www.rekihaku.otsu.shiga.jp/db/bunka/detail.html?525",""], [16,252018,16,"滋賀県","大津市","史跡大中の湖南遺跡出土木製品","しせきだいなかのこみなみいせきしゅつどもくせいひん","","","県指定有形文化財","美術工芸品","","大津市京町4-1-1","",null,null,"","",366,"点","","滋賀県","2003-04-16 00:00:00","","","","","","","","","","","https://www.rekihaku.otsu.shiga.jp/db/bunka/detail.html?526",""], [17,252018,17,"滋賀県","大津市","烏丸崎遺跡出土木偶","からすまざきいせきしゅつどもくぐう","","","県指定有形文化財","美術工芸品","","大津市京町4-1-1","",null,null,"","",1,"点","","滋賀県","2003-04-16 00:00:00","","","","","","","","","","","https://www.rekihaku.otsu.shiga.jp/db/bunka/detail.html?527",""], [18,252018,18,"滋賀県","大津市","湯ノ部遺跡出土木偶","ゆのべいせきしゅつどもくぐう","","","県指定有形文化財","美術工芸品","","大津市京町4-1-1","",null,null,"","",4,"点","","滋賀県","2003-04-16 00:00:00","","","","","","","","","","","https://www.rekihaku.otsu.shiga.jp/db/bunka/detail.html?528",""], [19,252018,19,"滋賀県","大津市","供養塚古墳出土形象埴輪","くようづかこふんしゅつどけいしょうはにわ","","","県指定有形文化財","美術工芸品","","大津市京町4-1-1","",null,null,"","",142,"点","","滋賀県","2004-04-16 00:00:00","","","","","","","","","","","https://www.rekihaku.otsu.shiga.jp/db/bunka/detail.html?532",""], [20,252018,20,"滋賀県","大津市","鍛冶屋敷遺跡出土遺物","かじやしきいせきしゅつどいぶつ","","","県指定有形文化財","美術工芸品","","大津市京町4-1-1","",null,null,"","",32,"点","","滋賀県","2007-06-01 00:00:00","","","","","","","","","","","https://www.rekihaku.otsu.shiga.jp/db/bunka/detail.html?611",""], [21,252018,21,"滋賀県","大津市","相谷熊原遺跡出土品","あいたにくまはらいせきしゅつどひん","","","県指定有形文化財","美術工芸品","","大津市京町4-1-1","",null,null,"","",535,"点","","滋賀県","2015-12-18 00:00:00","","","","","","","","","","","https://www.rekihaku.otsu.shiga.jp/db/bunka/detail.html?689",""], [22,252018,22,"滋賀県","大津市","上御殿遺跡出土短剣鋳型","かみごてんいせきしゅつどたんけんいがた","","","県指定有形文化財","美術工芸品","","大津市京町4-1-1","",null,null,"","",1,"対","","滋賀県","2019-12-24 00:00:00","","","","","","","","","高島市安曇川町の上御殿遺跡から出土した双環柄頭短剣を彫り込んだ鋳型で、鋳造の痕跡はない。彫り込まれた短剣の特徴から弥生時代中期から後期のものと見られる。中国北方地域の春秋戦国時代のオルドス青銅短剣に類似する。国内、国外ともに同種の銅剣は出土していない。朝鮮半島を通じて九州地方に伝わった銅剣とは別系統の銅剣の存在を示すとともに、その系譜が日本海経由で伝わった可能性を示唆し、石製鋳型の実態や銅剣の鋳造技術を知る上でも極めて資料価値が高い。","","https://www.rekihaku.otsu.shiga.jp/db/bunka/detail.html?729",""], [23,252018,23,"滋賀県","大津市","桜生七号墳出土品","さくらばさましちごうふんしゅつどひん","","","県指定有形文化財","美術工芸品","","大津市京町4-1-1","",null,null,"","",35,"点","","滋賀県","2021-02-16 00:00:00","","","","","","","","","桜生古墳群は野洲市小篠原に所在し、直径10～20m程度の円墳16基から構成される古墳群である。桜生七号墳出土品は、古墳墳丘の盛土内から出土した築造過程の儀礼を示す一群と、石室内部から前庭部周辺にかけて出土した副葬品の一群に大別できる。なかでも「此者□□首□□」の7文字が刻まれた7世紀中葉頃の須恵器短頸壷は、滋賀県における文字文化の普及を考える上で貴重な古墳出土資料であり、日本国家の形成期における中央政権と地方豪族との関わりを考えるための資料として価値が高い。","","https://www.rekihaku.otsu.shiga.jp/db/bunka/detail.html?732",""], [24,252018,24,"滋賀県","大津市","春日北窯跡出土品","かすがきたようせきしゅつどひん","","","県指定有形文化財","美術工芸品","","大津市京町4-1-1","",null,null,"","",1627,"点","","滋賀県","2024-03-19 00:00:00","","","","","","","","","春日北窯跡は甲賀市水口町春日に所在する10世紀初頭から後葉にかけての窯跡で、灰釉陶器、緑釉陶器、窯詰めの際に使用された窯道具と少量の須恵器が出土している。春日北窯跡出土品は近江における平安時代中期の施釉陶器の生産と実態と変遷を示す重要な窯跡出土品である。施釉陶器生産地として著名な東海地方などの他地域との技術系譜と変遷を考えるうえでも極めて重要で、資料的価値が高い。","","https://www.rekihaku.otsu.shiga.jp/db/bunka/detail.html?738",""], [25,252018,25,"滋賀県","大津市","大津事件関係資料","おおつじけんかんけいしりょう","","","県指定有形文化財","美術工芸品","","大津市京町4-1-1","",null,null,"","",99,"点","","滋賀県","2004-04-16 00:00:00","","","","","","","","","明治２４年（１８９１）５月１１日ロシア皇太子が沿道で警備にあたっていた巡査・津田三蔵に斬りつけられて負傷した大津事件にかかる資料群。事件直後に滋賀県が作成した事件顛末書、負傷した皇太子を介抱した永井家の買収に関する資料、凶器のサーベル・血染めのハンカチ・座布団等の記念品類からなる。これら資料は、保存箱に収納され、県庁倉庫内で管理されていた。","","https://www.rekihaku.otsu.shiga.jp/db/bunka/detail.html?531",""], [26,252018,26,"滋賀県","大津市","紙本金地著色檜図　海北友松筆六曲屏風","しほんきんじちゃくしょくひのきず　かいほうゆうしょうひつ　ろっきょくびょうぶ","","","県指定有形文化財","美術工芸品","","大津市京町4-1-1","",null,null,"","",1,"隻","","滋賀県","2023-03-17 00:00:00","","","","","","","","","海北友松（１５３３～１６１５）は、湖北小谷城主浅井家の重臣海北綱親の三男として生まれた。作品は、池畔の周囲に直立する檜の林をあらわし、背景はすべて金地とする、まことに簡素な図様構成を見せ、檜の葉に濃い緑青を、幹枝や土坡（どは：小高く盛り上がった地面）などにそれぞれ淡く代赭（たいしゃ：赤褐色の顔料）や淡藍色を施す彩色法を含め、基本的な技法は狩野派を踏襲している。現存する友松の金碧画中、最も早い時期に位置づけられ、力強くも重厚な雰囲気を備えた金碧画の名品として注目される。","","https://www.rekihaku.otsu.shiga.jp/db/bunka/detail.html?737",""], [27,252018,27,"滋賀県","大津市","貫井の木地屋用具と製品","ぬくいのきじやようぐとせいひん","","","県指定有形民俗文化財","","","大津市京町4-1-1","",null,null,"","",25,"点","","滋賀県","1984-03-30 00:00:00","","","","","","","","","木地屋とは、各地の山林を移動しながらろくろを使って木碗や盆を作った工人の事で、葛川の貫井は木地屋の村として、天保3年（1832）以後史料に見られる。木地屋道具としては、基本となるロクロとキザミ・カンナ・キザマ・ウマ・カタ・ミントと呼ばれる独特の道具類、製品としては壺椀二揃・平椀二揃・四つ重ね二揃である。道具自体は新しく作られたものであっても、その技法は近世以前にさかのぼれるものである。","","https://www.rekihaku.otsu.shiga.jp/db/bunka/detail.html?409",""], [28,252018,28,"滋賀県","大津市","八日市の柄屋用具及び製品","ようかいちのからやようぐおよびせいひん","","","県指定有形民俗文化財","","","大津市京町4-1-1","",null,null,"","",137,"点","","滋賀県","1986-03-28 00:00:00","","","","","","","","","柄屋とは棒屋とも呼ばれ、江戸時代の『人倫訓蒙図彙』に「鋤鍬柄師」と記されたように、カシやケヤキなどの堅木を加工して、鋤鍬の柄などの木製品を作る職人のことである。刃先は野鍛冶が作る分業体制となっていた。この柄屋用具及び製品は、八日市の屋号「柄藤」に伝わった、チョンナ・ノミ・木型などの原木伐採用具と柄木製作用具に、加工の工程を示す製品からなっている。農具の変化が進んでいくなかで、一括して保存がはかられたものである。","","https://www.rekihaku.otsu.shiga.jp/db/bunka/detail.html?410",""], [29,252018,29,"滋賀県","大津市","北比良の石屋用具","きたひらのいしやようぐ","","","県指定有形民俗文化財","","","大津市京町4-1-1","",null,null,"","",1112,"点","","滋賀県","2023-03-17 00:00:00","","","","","","","","","本資料は、昭和２０年代まで大津市北比良で行われていた石材業に関わる資料群１，１１２点である。比良山麓の丁場から切り出された比良石は琵琶湖岸の小屋で加工され、船で各地に運ばれた。これは花崗岩を長尺に加工したもので、鳥居や石段などに用いられている。本資料群は、鑿と槌を中心とした石工の伝統的技術を知る上でも貴重であり、近世以来、当地で盛んに活動した石工の全体像を今に伝えるものとなっている。","","https://www.rekihaku.otsu.shiga.jp/db/bunka/detail.html?735",""], [30,252018,30,"滋賀県","大津市","大津百艘船関係資料","おおつひゃくそうせんかんけいしりょう","","","重要文化財","美術工芸品","","大津市御陵町3-1","",null,null,"","",1237,"点","","大津市","2018-10-31 00:00:00","","","","","","","","","大津百艘船とは、天正１５年（１５８７）に、大津城主浅野長吉が大津に集めた船持の集団を指し、大津からの人と物資輸送の独占という特権を与えられ、公用輸送を担った。江戸時代には、幕府の公用船として琵琶湖水運において中心的な役割を果たした。本資料群は、大津百艘船船持仲間に伝来した資料群で、文書・記録類、高札類、器物類から構成される。江戸時代の琵琶湖水運の歴史を知るための基礎資料であり、交通史、経済史等研究上に価値が高い。","","https://kunishitei.bunka.go.jp/heritage/detail/201/00011828",""], [31,252018,31,"滋賀県","大津市","鴟尾","しび","","","重要文化財","美術工芸品","","大津市御陵町3-1","",null,null,"","",4,"箇","","大津市","2013-06-19 00:00:00","","","","","","","","","鴟尾とは、粘土を焼いて作られ、古代の宮殿や寺院の大棟の両端に据えられたもの。この鴟尾は、平成１３年度に大津市一里山三丁目・五丁目の山ノ神遺跡（現在、国指定史跡瀬田丘陵生産遺跡群の内）の窯跡で、４基まとまって発見された。鰭の構造から初唐様式のものであることがわかるが、頂部の突起をはじめとして類例がない。２基で一対となる鴟尾が４基見つかるなど多くの謎を含み、鴟尾の歴史を考える上で貴重な遺物である。なお、平成１６年度から１８年度にかけて、国庫補助事業として修理を実施し、全国で初めて３基は完全な形に、１基は内部の状況がわかるような形で復元した。","","https://kunishitei.bunka.go.jp/heritage/detail/201/00011595",""], [32,252018,32,"滋賀県","大津市","絹本著色山王垂迹曼荼羅図","けんぽんちゃくしょくさんのうすいじゃくまんだらず","","","市指定有形文化財","美術工芸品","","大津市御陵町3-1","",null,null,"","",1,"幅","","大津市","1977-02-01 00:00:00","","","","","","","","","画面全体を社殿の正面観に見立て、殿内に日吉大社の上七社と中七社の諸神を描く。中央に大きくあらわした僧形像は大宮で、その左右の同形像は二宮と聖真子、上方の男神・女神は八王子と三宮で、下方の僧形は十禅師、女神は客人である。この山王垂迹曼荼羅図は、安土町浄厳院本の系譜に入るが、中七社として四神が描かれ、中央の二神が女神であるところに特徴がある。裏書に「蓋伝楞厳先徳所写云」とあるように、浄厳院系の別本に属すものであろうか。","","https://www.rekihaku.otsu.shiga.jp/db/bunka/detail.html?151",""], [33,252018,33,"滋賀県","大津市","紙本著色近江名所図","しほんちゃくしょくおうみめいしょず","","","市指定有形文化財","美術工芸品","","大津市御陵町3-1","",null,null,"","",1,"双","","大津市","2004-04-01 00:00:00","","","","","","","","","６曲１双の屏風仕立てで、四季の変化の中で、年中行事、稲作、陸路と湖上を行き交う人々、遊興などを、瀬田の唐橋、膳所城、田上の里、琵琶湖などの景観をまじえて描く。特に注目されるのが、移り行く自然の中でいきいきと描かれている人々の姿で、瀬田川に架かる唐橋周辺の軽妙な表現は、この図の特徴といえる。後に蒔かれたと考えられる金砂子の金雲はこの図を損なっているが、１７世紀中頃に製作されたものと考えられる。","","https://www.rekihaku.otsu.shiga.jp/db/bunka/detail.html?550",""], [34,252018,34,"滋賀県","大津市","居初家中世文書","いそめけちゅうせいもんじょ","","","市指定有形文化財","美術工芸品","","大津市御陵町3-1","",null,null,"","",21,"通","","大津市","1973-11-01 00:00:00","","","","","","","","","居初家は中世の堅田諸侍の系譜に連なり、近世には船道郷士として村政の中枢に位置していた。明応8年（1499）の室町幕府奉行人奉書から、慶長5年（1600）の徳川家康禁制までのこの文書群は、室町将軍家・守護大名・戦国武将・統一政権などによる、湖上交通を支配した堅田の掌握過程を示している。近世湖上交通の出発点となった天正19年（1591）の秀吉朱印状や、文禄元年（1592）の唐入り水夫の徴発を命じる秀吉朱印状など、その内容は興味深い。","","https://www.rekihaku.otsu.shiga.jp/db/bunka/detail.html?323",""], [35,252018,35,"滋賀県","大津市","真野古墳出土品","まのこふんしゅつどひん","","","県指定有形文化財","美術工芸品","","大津市御陵町3-1","",null,null,"","",162,"点","","大津市","2023-03-17 00:00:00","","","","","","","","","真野六丁目で発見された真野古墳(4世紀末〜5世紀初)の出土品。墳丘中央部の割竹形木棺内から発見された、銅鏡(捩文鏡)１面と玉類、埴製舟形容器、埴製樋形容器と鉄製品からなる。捩文鏡は大津市内では初、二つの埴製容器も県内では出土例が無い。これらを含め、真野古墳の出土品は、大津市内所在の古墳の中では、他に類を見ない豊富かつ貴重な資料である。","","https://www.rekihaku.otsu.shiga.jp/db/bunka/detail.html?598",""], [36,252018,36,"滋賀県","大津市","上仰木遺跡出土品","かみおおぎいせきしゅつどひん","","","市指定有形文化財","美術工芸品","","大津市御陵町3-1","",null,null,"","",7,"点","","大津市","2010-03-15 00:00:00","","","","","","","","","上仰木遺跡の壕跡から見つかったもの。緑釉白地掻落牡丹唐草文梅瓶片は、中国北宋後期の「磁州窯系」の民窯で生産された。磁州窯系の掻落文陶器は、無色透明釉を施したものが多く、緑釉を掛けた例は極めて珍しい。類品は大英博物館や出光美術館などの蔵品が少数知られるが、国内ではこれが最初の出土品となる。墨画土器は、土師器皿の内面に僧侶・女性・長刀が、外面にも女性の姿等が、墨画で描かれる。全体で一つの場面を構成するものではないが、墨画土器は希少であり、平安時代末期の風俗画としても貴重である。","","https://www.rekihaku.otsu.shiga.jp/db/bunka/detail.html?622",""], [37,252018,37,"滋賀県","大津市","石山国分遺跡（森瓦窯）出土瓦","いしやまこくぶいせき（もりがよう）しゅつどがわら","","","市指定有形文化財","美術工芸品","","大津市御陵町3-1","",null,null,"","",25,"点","","大津市","2017-03-15 00:00:00","","","","","","","","","石山国分遺跡（森瓦窯）は藤原宮へ供給することを目的に7世紀後半に開窯されたと考えられる。丸瓦4点、隅切平瓦２点、軒丸瓦4点、軒平瓦8点、丸瓦2点、平瓦5点が指定された。軒丸瓦の文様は複弁八弁蓮華文で、中房に１＋５＋９の蓮子を、外縁には線鋸歯文を巡らす。また軒平瓦は、内区に5単位の半パルメットを流れるように飾る偏行変形忍冬唐草文であるが、2種類に細分できる。これらは藤原宮跡から同笵の瓦が出土している。","","https://www.rekihaku.otsu.shiga.jp/db/bunka/detail.html?696",""], [38,252018,38,"滋賀県","大津市","瀬田国民学校絵日記　昭和十九年五年智組","せたこくみんがっこうえにっき　しょうわじゅうくねんごねんちぐみ","","","市指定有形文化財","美術工芸品","","大津市御陵町3-1","",null,null,"","",1,"件","","大津市","2016-03-15 00:00:00","","","","","","","","","戦時下の昭和１９年（１９４４）度に瀬田国民学校（現、瀬田小学校）五年智組（女子学級）の生徒が描いた絵日記。絵日記は全１９７枚、１８８日分あり、和紙に墨と水彩で日々の学校生活が記録される。その中には戦時下の深刻な状況を書いたところもあるが、大半は日々の学習内容、学校や村でのさまざまなできごとによって占められており、戦時下にあって、子供たちがどのような学校生活を送っていたか窺い知ることができる。","","https://www.rekihaku.otsu.shiga.jp/db/bunka/detail.html?694",""], [39,252018,39,"滋賀県","大津市","津田三蔵関係資料","つださんぞうかんけいしりょう","","","市指定有形文化財","美術工芸品","","大津市御陵町3-1","",null,null,"","",294,"点","","大津市","2018-04-01 00:00:00","","","","","","","","","大津事件を起こした津田三蔵の履歴に係わる資料、津田三蔵が義弟などに送った自筆の書簡、津田三蔵宛に送られた書簡、津田三蔵及び親族関係資料、藤堂藩の御典医であった津田家の歴史をたどれる資料、その他からなる資料群である。従前、大津事件関係の資料としては、「大津事件関係資料」（県指定）、「永井家大津事件関係資料」（市指定）があり、本資料は当事者である津田三蔵に直接関わる資料として極めて貴重なものである。","","https://www.rekihaku.otsu.shiga.jp/db/bunka/detail.html?708",""], [40,252018,40,"滋賀県","大津市","大般若波羅蜜多経（崇永版）","だいはんにゃはらみったきょう（すうえいばん)","","","県指定有形文化財","美術工芸品","","大津市北小松","",null,null,"","",600,"帖","","樹下神社","2000-03-10 00:00:00","","","","","","","","","本経典は600巻が一揃いの大部なもので、すべて南北朝時代に木版で摺られた版本。巻第六百の巻末に近江守護六角氏頼（法名崇永）が願主であることが記されているため、崇永版と呼ばれている。600巻が1巻も欠けることなく揃っているだけでなく、経典10巻を納める経帙や、経帙10帙を納める経箱、本経を転読する際に本尊とする「釈迦十六善神像」など中世のものが備わっている。もと、長命寺の什物だったが、15世紀に現在の地に移された。","","https://www.rekihaku.otsu.shiga.jp/db/bunka/detail.html?591",""], [41,252018,41,"滋賀県","大津市","石造宝塔（北塔）","せきぞうほうとう（ほくとう）","","","市指定有形文化財","建造物","","大津市北小松914","",135.9699423,35.25148089,"","",1,"基","","樹下神社","2011-03-15 00:00:00","","","","","","","","","北小松の樹下神社境内に所在する二基の宝塔のうちの北塔。基礎は四面とも輪郭をまき、格狭間を配して内部に蓮華等を彫る。塔身は正面（現背面）に鳥居形を、他の三面は扉形を配す。屋根は軒裏に二段の階を設け、降り棟の表現は二段である。基礎の高さと幅の比率は大略1：1.6とやや高く、新しい傾向を示し、南北朝期の作と考えられる。","","https://www.rekihaku.otsu.shiga.jp/db/bunka/detail.html?625",""], [42,252018,42,"滋賀県","大津市","石造宝塔（南塔）","せきぞうほうとう（なんとう）","","","市指定有形文化財","建造物","","大津市北小松914","",135.9699423,35.25148089,"","",1,"基","","樹下神社","2011-03-15 00:00:00","","","","","","","","","北小松の樹下神社境内に所在する二基の宝塔のうちの南塔。基礎は四面とも素面で、屋根は軒裏に二段の低い垂木を配する。基礎の高さと幅の比率が1：2である事、相輪の九輪の溝が深いところから、古い様相を示し、鎌倉時代後期の作と考えられる。","","https://www.rekihaku.otsu.shiga.jp/db/bunka/detail.html?626",""], [43,252018,43,"滋賀県","大津市","近江国比良庄絵図","おうみのくにひらしょうえず","","","重要文化財","美術工芸品","","大津市北比良","",null,null,"","",1,"鋪","","北比良財産保存会","2023-06-27 00:00:00","","","","","","","","","滋賀県大津市と高島市に所在した中世庄園・比良庄とその周辺を描いた絵図。鎌倉時代後期に作成された原図をもとに、室町時代に写したものである。画面の下部は、平地部の庄園と河川、上部は、比良庄、安曇川、比良山系を描き、南部に葛川明王院が描かれる。比良庄の庄域は墨線で表され、庄園の内部には寺社の堂舎や鳥居、樹木などが詳細に描かれる。また、鎌倉時代後期と南北朝期の裏書が存在し、本絵図が周辺庄園との境相論に際して作成されたことがわかる。本絵図は、豊富な注記に加え、裏書により作成された背景も判明するため、中世社会経済史研究上、極めて貴重である。","","https://kunishitei.bunka.go.jp/bsys/maindetails/201/00012007",""], [44,252018,44,"滋賀県","大津市","木造天王立像","もくぞうてんのうりゅうぞう","","","重要文化財","美術工芸品","","大津市北比良","",null,null,"","",1,"躯","","天満神社","2013-06-19 00:00:00","","","","","","","","","総高約１７０㎝を測る等身の天部形立像であるが、尊名は確定できない。表面にノミ痕を残す「鉈彫」（なたぼり）と呼ばれる像で、右腕が腹前を横切り左手を振り上げる、特徴的な姿勢をとる。一木造の構造や誇張された表情と重量感のある全体の姿から、１０世紀半ばから後半にかけての制作と考えられ、保存状態も良好である。","","https://kunishitei.bunka.go.jp/heritage/detail/201/00011564",""], [45,252018,45,"滋賀県","大津市","金銅装神輿","こんどうそうしんよ","","","市指定有形文化財","美術工芸品","","大津市木戸","",null,null,"","",1,"基","","木戸共有者会","2007-02-15 00:00:00","","","","","","","","","木戸の樹下神社の春祭に集まる五基の神輿の内の一基。安政五年（1858）に、坂本の日吉大社二宮神輿が木戸村に譲渡されたもの。江戸時代前期に遡る日吉大社二宮神輿を前身とする点で、重要文化財の日吉大社神輿七基に準ずる価値を持つ。附指定となっている譲渡文書からは、樹下神社に渡った経緯や改修の状況まで知る事ができる。現在は収蔵庫に保管され、新しい神輿が巡幸している。","","https://www.rekihaku.otsu.shiga.jp/db/bunka/detail.html?599",""], [46,252018,46,"滋賀県","大津市","木工芸","もっこうげい","","","国指定重要無形文化財","工芸","","大津市大物","",null,null,"","",null,"","","宮本貞治","2023-10-18 00:00:00","","","","","","","","","木工芸は、木材を用いて造形する多様な技法の総称である。宮本氏はそのうち、刳物の技法による作品で受賞を重ねている。また、指物と刳物の技法を併用した幅広い作品においても高い評価を得ており、箱等の器にとどまらず、机や棚等といった家具を製作する技術を高度に体得していることは、同人の技術において特筆すべき点である。平成１６年に滋賀県指定無形文化財「木工芸」の保持者に認定され、同２５年には紫綬褒章を受章した。","","https://kunishitei.bunka.go.jp/heritage/detail/303/89",""], [47,252018,47,"滋賀県","大津市","懸仏","かけぼとけ","","","市指定有形文化財","美術工芸品","","大津市栗原","",null,null,"","",9,"点","","水分神社","2007-02-15 00:00:00","","","","","","","","","栗原の水分神社の所蔵になる、鎌倉時代から室町時代にかけて制作された９点の懸仏。内、８点が馬頭観音像を表し、最古の馬頭観音坐像は鋳造技術も優れ、彫像表現も的確である。破損の著しい４点は木製で、内２点は像のみが残されている。唯一の如来坐像は裏面に墨書があり、室町時代の延徳二年（1490）と読める。","","https://www.rekihaku.otsu.shiga.jp/db/bunka/detail.html?597",""], [48,252018,48,"滋賀県","大津市","栗原の八朔踊りと水分神社の祭り行事","くりはらのはっさくおどりとみくまりじんじゃのまつりぎょうじ","","","県選択無形民俗文化財","","","大津市栗原","",null,null,"","",null,"","","栗原区","2000-03-10 00:00:00","","","","","","","","","栗原は、氏神である水分神社とその末社の祭りが年間16回行われている。祭りは村の長老組織である十人衆と1年ごとに村人が交代でつとめる神主とが必ず参加して執り行われる。神主が檜扇をあおぐ日迎祭、田植え歌が残る御田植祭、放生会の相撲がある豊穣祭など古い村の信仰生活を伝えているが、とりわけ九月の八朔祭は、青年会の若い衆が中心となり、奴行列や尉と姥、囃子物など種々の芸能が混在して残されている。とくに八朔踊りでは、湖西で唯一の典型的な風流踊り歌が伝承されていて貴重である。","","https://www.rekihaku.otsu.shiga.jp/db/bunka/detail.html?593",""], [49,252018,49,"滋賀県","大津市","栗原の太鼓念仏","くりはらのたいこねんぶつ","","","県選択無形民俗文化財","","","大津市栗原","",null,null,"","",null,"","","大念仏講","1998-06-19 00:00:00","","","","","","","","","この念仏は、毎年8月14日のお盆と24日の地蔵盆に各家へ戻ってくる精霊への供養に奉納される。講員の野辺の送りや三七日（みなぬか）の逮夜にも唱えられ、地元では、太鼓念仏と呼んでいるが、伝承曲や六斎太鼓を使用していることから、念仏を主体とした六斎念仏である。講が保持する鉦の中に、元禄8年（1695）の銘で「大念仏中（仲）間の鐘」とあり、古くは大念仏と称していたことがわかる。","","https://www.rekihaku.otsu.shiga.jp/db/bunka/detail.html?594",""], [50,252018,50,"滋賀県","大津市","天皇神社本殿","てんのうじんじゃほんでん","","","重要文化財","建造物","","大津市和邇中146","",135.9159802,35.15588207,"","",1,"棟","","天皇神社","1907-08-28 00:00:00","","","","","","","","","正中元年(1332)建立。素戔鳴尊（すさのおのみこと）を祭神とする。檜皮葺の屋根を持つ鎌倉時代の建築物で、切妻造平入の本殿である。","","https://kunishitei.bunka.go.jp/heritage/detail/102/1429",""], [51,252018,51,"滋賀県","大津市","石造宝塔（北塔）","せきぞうほうとう（ほくとう）","","","市指定有形文化財","建造物","","大津市和邇中146","",135.9159802,35.15588207,"","",1,"基","","天皇神社","2011-03-15 00:00:00","","","","","","","","","和邇中の天皇神社の境内に所在する二基ある宝塔のうちの北塔。基礎正面は輪郭内に格狭間と宝瓶三茎蓮を配するが、左右は輪郭と格狭間、背面は素面である。塔身正面に開花蓮台上に線刻の月輪を配し、内部に梵字アを薬研彫りする。基礎の高さと幅の比率は１：2.05で古い様式を示し、鎌倉時代後期の作と考えられる。","","https://www.rekihaku.otsu.shiga.jp/db/bunka/detail.html?627",""], [52,252018,52,"滋賀県","大津市","石造宝塔（南塔）","せきぞうほうとう（なんとう）","","","市指定有形文化財","建造物","","大津市和邇中146","",135.9159802,35.15588207,"","",1,"基","","天皇神社","2011-03-15 00:00:00","","","","","","","","","和邇中の天皇神社の境内に所在する二基の宝塔のうちの南塔。基礎は四面とも素面で、基礎の一部を埋設部分とすれば、高さと幅の比率は1：2.2程度になる。塔身は上下にすぼまり、正面に鳥居形を刻む。塔身の頸部が別石であるところから、他の事例から鎌倉時代後期の作と考えられる。","","https://www.rekihaku.otsu.shiga.jp/db/bunka/detail.html?628",""], [53,252018,53,"滋賀県","大津市","木造阿弥陀如来立像","もくぞうあみだにょらいりゅうぞう","","","重要文化財","美術工芸品","","大津市和邇中","",null,null,"","",1,"躯","","西岸寺","1901-03-27 00:00:00","","","","","","","","","浄土宗鎮西派の西岸寺に安置されている木造阿弥陀如来立像。鎌倉時代の作で、仏師快慶の作風に近いとされている。一般公開はされていない。","","https://kunishitei.bunka.go.jp/heritage/detail/201/3189",""], [54,252018,54,"滋賀県","大津市","青磁","せいじ","","","国指定重要無形文化財","工芸","","大津市和邇北浜","",null,null,"","",null,"","","神農巌","2025-10-09 00:00:00","","","","","","","","","青磁は、中国で生まれ発達した、東洋独特の、釉薬を用いる伝統的陶芸技法の代表的なものである。還元焔焼成による、素地と釉薬に含まれる微量の鉄分のはたらきで、青磁色が得られる。中国では、三世紀、漢末三国時代から本格的に焼造され、宋時代に隆盛期を迎えた。その製品はわが国にも数多く請来されて、日本の文化に大きな影響を及ぼした。わが国においては、江戸時代初期に肥前地方で制作が開始され、以後その技法は京都や兵庫県三田【さんだ】等に伝わった。近代以降、今日においても、青磁技法を駆使する多くの陶芸家による作陶活動が行われており、わが国の工芸史上重要な地位を占め、芸術上価値の高い工芸技術である。","","https://kunishitei.bunka.go.jp/heritage/detail/303/270",""], [55,252018,55,"滋賀県","大津市","和邇今宿自治会中世文書","わにいまじゅくじちかいちゅうせいもんじょ","","","市指定有形文化財","美術工芸品","","大津市和邇今宿","",null,null,"","",2,"通","","和邇今宿自治会","2009-02-16 00:00:00","","","","","","","","","永仁五年（１２９７）七月二十一日付けの「和邇庄・龍花庄堺実検注進状案」と、弘治二年（１５５６）八月十日付けの「和邇庄安養坊等連署置文」の二点。前者は、和邇荘と龍花荘が境を争った時に作成されたものの写し。何度かの書写を経たため書式・文言に混乱が見られるが、相論の実態を伝えている。後者は、近江守護六角定頼による裁定と、その後の経過を記したもので、九人の荘民が連署する。この二点は、惣荘に伝来した文書として江戸時代には正確な写が作られており、大切に伝えられてきたことが伺える。","","https://www.rekihaku.otsu.shiga.jp/db/bunka/detail.html?618",""], [56,252018,56,"滋賀県","大津市","小野神社境内社篁神社本殿","おのじんじゃけいだいしゃたかむらじんじゃほんでん","","","重要文化財","建造物","","大津市小野1961","",135.9204438,35.15348566,"","",1,"棟","","小野神社","1907-08-28 00:00:00","","","","","","","","","漢詩文で名を挙げ、「令義解」の撰集に参画した小野篁を祀っている。小野神社境内にあり、小野道風神社と同様、数少ない切妻造平入の本殿である。","","https://kunishitei.bunka.go.jp/heritage/detail/102/1430",""], [57,252018,57,"滋賀県","大津市","小野神社飛地境内社道風神社本殿","おのじんじゃとびちけいだいしゃとうふうじんじゃほんでん","","","重要文化財","建造物","","大津市小野1213","",135.9213536,35.15003492,"","",1,"棟","","小野神社","1907-08-28 00:00:00","","","","","","","","","小野神社南側の竹林に囲まれた石段を登ったところにある。平安時代の書家小野道風を祀る神社で、数少ない切妻造平入の本殿である。","","https://kunishitei.bunka.go.jp/heritage/detail/102/1431",""], [58,252018,58,"滋賀県","大津市","石造宝塔","せきぞうほうとう","","","市指定有形文化財","建造物","","大津市小野1961","",135.9204438,35.15348566,"","",1,"基","","小野神社","2011-03-15 00:00:00","","","","","","","","","小野の小野神社境内に所在する宝塔。基礎は正面と左右が格狭間で、蓮華等を配す。背後は素面で、康永四年(1345)三月の銘があるところから、作成年代が知られる。屋根の下は二軒風に作り、隅木も二段に表現される。相輪は宝珠と伏鉢が失われている。地元では小野小町供養塔と伝える。","","https://www.rekihaku.otsu.shiga.jp/db/bunka/detail.html?629",""], [59,252018,59,"滋賀県","大津市","地主神社本殿","じしゅじんじゃほんでん","","","重要文化財","建造物","","大津市葛川坊村町116","",135.869297,35.24690964,"","",1,"棟","","地主神社","1903-04-15 00:00:00","","","","","","","","","地主神社は葛川の鎮守で、思古淵大明神を祀る。社殿は安曇川沿いの旧街道が東へ折れた突き当たり正面の一段高い所に、西面して拝殿・幣殿・本殿の三棟が一列に並んでいる。本殿は、棟札の写しから文亀２年（1502）の建築になる。県内で唯一の春日造の本殿で、正面と両側面には見事な蟇股の彫刻がほどこされている。","","https://kunishitei.bunka.go.jp/heritage/detail/102/1371",""], [60,252018,60,"滋賀県","大津市","地主神社幣殿","じしゅじんじゃへいでん","","","重要文化財","建造物","","大津市葛川坊村町116","",135.869297,35.24690964,"","",1,"棟","","地主神社","1903-04-15 00:00:00","","","","","","","","","地主神社本殿の向拝下に入り込む形でその前に建つのが、桁行一間・梁間一間の幤殿である。建築年代を示す直接の資料はないが、本殿と同じ頃の建築と考えられ、中世でも数少ない幣殿建築である。","","https://kunishitei.bunka.go.jp/heritage/detail/102/1372",""], [61,252018,61,"滋賀県","大津市","木造国常立尊坐像","もくぞうくにとこたちのみことざぞう","","","重要文化財","美術工芸品","","大津市葛川坊村町","",null,null,"","",1,"躯","","地主神社","1904-02-18 00:00:00","","","","","","","","","葛川明王院の鎮守地主神社の本殿内にまつられる。像高一尺半で、一木から大半を丸彫する単純な構造はいかにも神像らしい。作風から平安時代後期の作と考えられ、葛川谷の地主神思子渕明神する説がある。","","https://kunishitei.bunka.go.jp/heritage/detail/201/3187",""], [62,252018,62,"滋賀県","大津市","木造男神坐像\n木造女神坐像\n木造僧形坐像","もくぞうだんしんざぞう\nもくぞうじょしんざぞう\nもくぞうそうぎょうざぞう","","","重要文化財","美術工芸品","","大津市葛川坊村町","",null,null,"","",7,"躯","","地主神社","1904-02-18 00:00:00","","","","","","","","","葛川明王院の鎮守地主神社の本殿内にまつられる計八躯の神像群の内、国常立尊坐像を除く七躯。僧形坐像のみ像高一尺半と大きく、他は一尺程度のもの。いずれも一木から大半を丸彫する単純な構造はいかにも神像らしい。作風から平安後期の作と考えられる。僧形坐像は主神である山王大宮、他の六躯は当社に勧請された賀茂・平野・松尾・三輪・鹿島・江文（女神）の諸神にあたるのではないかとする説がある。","","https://kunishitei.bunka.go.jp/heritage/detail/201/3188",""], [63,252018,63,"滋賀県","大津市","金銅八角形釣燈籠","こんどうはっかくがたつりどうろう","","","県指定有形文化財","美術工芸品","","大津市葛川坊村町","",null,null,"","",1,"基","","地主神社","1965-08-09 00:00:00","","","","","","","","","釣燈籠は、燈籠の登頂に釣鐶をつけ、社寺の軒先に釣り下げるようにしたもの。この燈籠は八角形の釣燈籠としては大形で、元は全面に鍍金をほどこしていたが、今はそのあとをとどめるにすぎない。反りの深い八弁花形の笠に、猪目と蓮弁の透かしで煙出しをつくり、火袋の上の欄間に唐草文、下の腰板には雲文と宝珠文を飾った格狭間を入れる。底裏に、「葛川明王院御前灯呂」「大永六年（1526）九月日作者安治」の陰刻銘があり、制作年と制作者がわかる。","","https://www.rekihaku.otsu.shiga.jp/db/bunka/detail.html?280",""], [64,252018,64,"滋賀県","大津市","明王院　本堂、護摩堂、庵室、政所表門","みょうおういん ほんどう、ごまどう、あんしつ、まんどころおもてもん","","","重要文化財","建造物","","大津市葛川坊村町155","",135.8684975,35.24799276,"","",4,"棟","","明王院","1993-12-09 00:00:00","","","","","","","","","明王院は、貞観年間（859〜77）相応和尚によって、天台修験の道場として創建された。明王谷川を渡った旧街道に面して、西に政所表門、東に斜面を二段に切り開いて、上段に本堂、下段に護摩堂・庵室を配置している。この三棟はいずれも棟札があり、本堂が正徳5年（1715）、護摩堂が宝暦5年（1755）、庵室が天保5年（1834）の建築になる。政所表門は、直接の資料はないが境内で最も古い建物で、17世紀初期と考えられている。","","https://kunishitei.bunka.go.jp/bsys/maindetails/102/1382",""], [65,252018,65,"滋賀県","大津市","紙本著色光明真言功徳絵詞","しほんちゃくしょくこうみょうしんごんくどくえことば","","","重要文化財","美術工芸品","","大津市葛川坊村町","",null,null,"","",3,"巻","","明王院","1920-04-15 00:00:00","","","","","","","","","大日如来の真言である光明真言を唱えれば一切の罪業が除かれるという説に基づいて、様々な利益の場面を絵と詞で綴った絵巻物。上巻が詞九段・絵九段、中巻が詞六段・絵六段、下巻が詞五段・絵五段の三巻からなり、鎌倉時代以来の伝統的な大和絵の技法によって描かれている。奥書によれば、応永5年（1398）2月京都東山吉祥園院の什物であったことがわかり、各巻には「高山寺」の印がある。","","https://kunishitei.bunka.go.jp/heritage/detail/201/1262",""], [66,252018,66,"滋賀県","大津市","絹本著色不動明王二童子像","けんぽんちゃくしょくふどうみょうおうにどうじぞう","","","重要文化財","美術工芸品","","大津市葛川坊村町","",null,null,"","",1,"幅","","明王院","1998-06-30 00:00:00","","","","","","","","","火焔光背を背負って瑟々座に趺坐する不動明王を中央に、向かって左に棍棒を支えに頬杖をついて立つ制吒迦童子、右に合掌して立つ矜羯羅童子を配す。不動明王は、顔を右に向け、髪を巻毛とし、右目を開き左目を細め、口は固く結び右牙を上、左牙を下にむきだす怒りの形相である。大画面にのびやかに、彩色あざやかに描かれている。瑟々座に坐し、二童子を配した不動明王像としては、最古のものとされる。","","https://kunishitei.bunka.go.jp/heritage/detail/201/10242",""], [67,252018,67,"滋賀県","大津市","木造千手観音立像・木造不動明王立像・木造毘沙門天立像(本堂安置)","もくぞうせんじゅかんのんりゅうぞう・もくぞうふどうみょうおうりゅうぞう・もくぞうびしゃもんてんりゅうぞう（ほんどうあんち）","","","重要文化財","美術工芸品","","大津市葛川坊村町","",null,null,"","",3,"躯","","明王院","1904-02-18 00:00:00","","","","","","","","","葛川明王院の本尊。中尊千手観音像は漆箔仕上げ、不動・毘沙門は彩色に截金をほどこす像で、作風にも若干の相違が認められるが、制作期はいずれも12世紀と考えられる。明王院は平安時代前期の僧相応によって開かれたが、当初の本尊は不動明王であったはずで、本三尊像がいついかなる理由で本尊とされるにいたったかは不明というほかない。ただし不動・毘沙門を脇侍とする三尊構成は天台宗にはしばしば見られる。","","https://kunishitei.bunka.go.jp/heritage/detail/201/4975",""], [68,252018,68,"滋賀県","大津市","梵鐘","ぼんしょう","","","県指定有形文化財","美術工芸品","","大津市葛川坊村町","",null,null,"","",1,"口","","明王院","1959-02-10 00:00:00","","","","","","","","","明王院本堂に釣られる小型の梵鐘である。均衡のとれた姿を見せ、上下帯とも無文である。乳は一区内四段四列。八葉蓮華文を鋳出した撞座が四方に設けられ、撞座の位置が低いところに特徴がみられる。池の間四区にはそれぞれ銘文が刻まれており、貞治2年（1363）橘末安によって鋳造され、明王院に奉納されたことが知られる。また、口縁部には、文化2年（1805）の修理銘も刻まれている。","","https://www.rekihaku.otsu.shiga.jp/db/bunka/detail.html?281",""], [69,252018,69,"滋賀県","大津市","葛川明王院御正体","かつらがわみょうおういんみしょうたい","","","重要文化財","美術工芸品","","大津市葛川坊村町","",null,null,"","",6,"面","","明王院","2013-06-19 00:00:00","","","","","","","","","明王院本堂に安置される、６面の御正体。内、５面は不動明王を本尊とし、裏面の墨書や表の刻銘から、明徳３年（1392）から応永１３年（1406）のものである。残りの１面は文安３年（1446）の宝塔御正体で、最大径をはかる。時代を経過するにつれて装飾性・荘厳性が増す一方で、鏡胎が大型化・過飾化していく様子が伺える。","","https://kunishitei.bunka.go.jp/heritage/detail/201/00011574",""], [70,252018,70,"滋賀県","大津市","銅鉢","どうばち","","","県指定有形文化財","美術工芸品","","大津市葛川坊村町","",null,null,"","",1,"口","","明王院","2006-03-17 00:00:00","","","","","","","","","鉢（仏鉢）は僧侶が必携すべき仏具で、当初は托鉢に用いられたり食器として使用されていたが、その後仏前に供物を盛るための供養具としても活用されるようになった。本品は、鋳型に銅を流し込む鋳銅仕上げで、鉢部と台脚部からなる。台脚部に建武２年（1335）以下の銘があり、同年覚実が願主となって作成されたことがわかる。紀年銘がある西日本の基準作として貴重である。","","https://www.rekihaku.otsu.shiga.jp/db/bunka/detail.html?603",""], [71,252018,71,"滋賀県","大津市","香盤","こうばん","","","市指定有形文化財","美術工芸品","","大津市葛川坊村町","",null,null,"","",1,"基","","明王院","2005-03-15 00:00:00","","","","","","","","","線状に蛇行させた香を長時間にわたって焚きつめるための、木製・黒漆塗りで仕上げた大型の香盤。引出し付きの方形の基台を下にしてその上に束を造り、その上に箱状の香炉をのせる。香炉は身と蓋状の覆いからなっていたと推定されるが、現在は身を亡失している。覆い蓋の側面に長文の刻銘があり、永正１０年（1513）９月の作成になることがわかる。また、基台引出し底面にも墨書があり、宝暦３年（1753）には破損して蓋と台のみとなって使用されていなかったものの不足分を再造したとしている。","","https://www.rekihaku.otsu.shiga.jp/db/bunka/detail.html?555",""], [72,252018,72,"滋賀県","大津市","葛川明王院文書","かつらがわみょうおういんもんじょ","","","重要文化財","美術工芸品","","大津市葛川坊村町","",null,null,"","",4336,"通","","明王院","1991-06-21 00:00:00","","","","","","","","","天台修験の道場、葛川明王院に伝わった、永久5年（1117）から江戸時代後期に至る文書群で、中世文書980通余を含む。大きく、綸旨・令旨・住人等申状・幕府御教書などの支配・訴訟に関する文書、年貢算用状・請取状など寺の経済状態を示す文書、法会や行者参籠の次第などに分けられる。葛川の中世から近世への歴史的変遷を伝えており、なかでも鎌倉時代中期から南北朝時代にかけての隣郷伊香立庄との境相論に関する史料は著名である。","","https://kunishitei.bunka.go.jp/heritage/detail/201/9120",""], [73,252018,73,"滋賀県","大津市","葛川与伊香立庄相論絵図","かつらがわといかだちしょうそうろんえず","","","重要文化財","美術工芸品","","大津市葛川坊村町","",null,null,"","",null,"","","明王院","1991-06-21 00:00:00","","","","","","","","","鎌倉時代後期、隣郷伊香立庄との境相論の中で作成された絵図。簡略絵図は文保元年（1317）の作成で、花折谷付近から明王院境内に至る谷々を墨線で描いたもの。彩色絵図は、その翌年伊香立庄の主張する杉尾山の権利に対し、葛川がこの地が葛川の領域内であることを主張したもの。大川（安曇川）と大道（若狭街道）を中心に、明王院の建物や周囲の景観を色鮮やかに描き、朱書による注記も加えられている。","","https://kunishitei.bunka.go.jp/heritage/detail/201/9121",""], [74,252018,74,"滋賀県","大津市","葛川明王院参籠札","かつらがわみょうおういんさんろうふだ","","","重要文化財","美術工芸品","","大津市葛川坊村町","",null,null,"","",501,"枚","","明王院","1991-06-21 00:00:00","","","","","","","","","天台修験の道場である葛川明王院に行者が参籠した時には、それを示す木製の参籠札を納めている。参籠札には「大聖明王」の本尊名を墨書し、その下に日付・名前・参籠日を書く。指定となっているものは、鎌倉6枚・南北朝4枚・室町54枚・桃山4枚・江戸433枚の合計501枚で、形も五輪塔型・板碑型・祈祷札型などに分けられる。室町時代には将軍の参籠も多く、足利義満・足利義尚・日野富子の納めた札もある。これほど多くの参籠札を残している例は、他に見られない。","","https://kunishitei.bunka.go.jp/heritage/detail/201/10204",""], [75,252018,75,"滋賀県","大津市","参籠札","さんろうふだ","","","県指定有形民俗文化財","","","大津市葛川坊村町","",null,null,"","",58,"本","","明王院","1965-08-09 00:00:00","","","","","","","","","天台修験の道場である葛川明王院に行者が参籠した時には、それを示す木製の参籠札を納めている。参籠札には「大聖明王」の本尊名を墨書し、その下に日付・名前・参籠日を書く。指定となっているものは、鎌倉六枚・南北朝四枚・室町五四枚・桃山四枚・江戸四三三枚の合計五〇一枚で、形も五輪塔型・板碑型・祈祷札型などに分けられる。室町時代には将軍の参籠も多く、足利義満・足利義尚・日野富子の納めた札もある。これほど多くの参籠札を残している例は、他に見られない。","","https://www.rekihaku.otsu.shiga.jp/db/bunka/detail.html?402",""], [76,252018,76,"滋賀県","大津市","木造仏像(寺伝聖観音立像)","もくぞうぶつぞう（じでんしょうかんのんりゅうぞう）","","","重要文化財","美術工芸品","","大津市伊香立北在地町","",null,null,"","",1,"躯","","慈眼庵","1904-02-18 00:00:00","","","","","","","","","伊香立北在地町の通称「高観音」の本尊で、地元では観音として信仰されるが、甲冑を身につけ、左手に独鈷杵をもつ姿は、明らかに帝釈天像のものである。江戸時代に比叡山横川東麓の飯室谷から移されたといわれ、天台系の遺品と考えられる。幹部を一材から造って内刳は行なわない。作風から11世紀初頭の作かと思われる。宝髻の前にあらわす三山形の大きな宝冠は独特のもので、西教寺聖観音立像をはじめ、やはり天台系と思われる作品に類例をみる。","","https://kunishitei.bunka.go.jp/heritage/detail/201/3186",""], [77,252018,77,"滋賀県","大津市","絹本著色阿弥陀二十五菩薩来迎図","けんぽんちゃくしょくあみだにじゅうごぼさつらいごうず","","","重要文化財","美術工芸品","","大津市伊香立下在地町","",null,null,"","",1,"幅","","新知恩院","1897-12-28","","","","","","","","","阿弥陀如来を中心に、二十五菩薩が往生者を極楽浄土へと迎える姿を描く。阿弥陀如来をはじめとする諸菩薩は立像の形であらわされ、地蔵・龍樹二菩薩を除きすべて金色で描く。来迎の早さは見られないものの、楽器を奏でる諸菩薩がいずれも動きのある姿でいきいきと描かれているのが、本図の最大の特徴である。右下の館には往生者が描かれているが、武士の姿をとるのも珍しい。","","https://kunishitei.bunka.go.jp/heritage/detail/201/1261",""], [78,252018,78,"滋賀県","大津市","絹本著色六道絵","けんぽんちゃくしょくろくどうえ","","","重要文化財","美術工芸品","","大津市伊香立下在地町","",null,null,"","",6,"幅","","新知恩院","1899-4-5","","","","","","","","","「六道絵」といえば、聖衆来迎寺の「六道絵」に代表されるように、源信の『往生要集』の所説に基づく六道輪廻の様を思い浮かべるが、本図は「天道」「人道」「阿修羅道」「畜生道」「餓鬼道」「地獄道」の六道の様を、一幅ずつに表現したものである。作風には、中国・南宋の陸氏一派の影響が見られ、中国から知恩院に伝来した後、応仁の乱に際して知恩院が京都から伊香立に避難したときにもたらされたと考えられる。","","https://kunishitei.bunka.go.jp/heritage/detail/201/2307",""], [79,252018,79,"滋賀県","大津市","絹本著色十六羅漢図","けんぽんちゃくしょくじゅうろくらかんず","","","市指定有形文化財","美術工芸品","","大津市伊香立下在地町","",null,null,"","",16,"幅","","新知恩院","1899-4-5","","","","","","","","","応仁の乱を避けて京都の知恩院から運ばれてきた什物の一つと考えられる。本図は、一羅漢を一幅に描きだしたもので、十六幅からなる。我が国の羅漢図は、唐代仏画を基本にした大和絵十六羅漢図と呼ばれるものと、宋画の影響をうけた水墨画的表現をみせるものとの二つの系統があるが、本図は後者に属す。肥痩のある墨線を巧みに用いており、描写も明確である。","","https://www.rekihaku.otsu.shiga.jp/db/bunka/detail.html?89",""], [80,252018,80,"滋賀県","大津市","木造釈迦涅槃像","もくぞうしゃかねはんぞう","","","市指定有形文化財","美術工芸品","","大津市伊香立下在地町","",null,null,"","",1,"躯","","新知恩院","1897-12-28","","","","","","","","","釈迦涅槃の姿を立体化したもので、彫像として表される古例はきわめて少ない。胸に水晶を嵌入するという特異な仕様となっており、頬の肉取りなどに見られる質感、衣文表現の明快さやいわゆる松葉状衣文の多用、精緻な地文を布置する文様表現など、鎌倉時代に至っての作とみられる。保存状態については、螺髪の一部や左裳裾端を失い、白毫や右手首以下を亡失する。枕の蓮台、寝台や宝牀、桐箱や包布などは後世のものである。","","https://www.rekihaku.otsu.shiga.jp/db/bunka/detail.html?695",""], [81,252018,81,"滋賀県","大津市","八所神社文書","はっしょじんじゃもんじょ","","","市指定有形文化財","美術工芸品","","大津市伊香立下在地町","",null,null,"","",13,"点","","八所神社","1897-12-28","","","","","","","","","伊香立庄の総鎮守として信仰を集めている八所神社に伝わった文書の内、鎌倉時代末期から江戸時代前期にかけての隣郷葛川との境相論に関する文書群である。この13通は、延宝6年（1678）葛川との対立の中で伊香立側の証拠文書として、元応2年（1032）を最古に整理されたものである。葛川と伊香立の相論について従来知られていなかった内容を含み、しかも地域の人々によって現在まで大切に保存されてきたものである。","","https://www.rekihaku.otsu.shiga.jp/db/bunka/detail.html?320",""], [82,252018,82,"滋賀県","大津市","表装建具制作","ひょうそうたてぐせいさく","","","国選定保存技術","","","大津市伊香立北在地町","",null,null,"","",null,"","","臼井浩明","2023-10-18 00:00:00","","","","","","","","","表装建具は、絵画や書跡等の装丁のうち屏風装、額装、襖貼付、壁貼付等に用いられる木製の下地骨組及び縁木を指す。\n臼井氏は、茶道指物制作、調度指物制作などをはじめ、指物技術を幅広く体得後、黒田俊介（平成２９年選定保存技術「表装建具制作」補助者認定）に師事するようになってからは、表装建具制作を中心に従事してきた。臼井氏の表装建具制作は伝統的な技術を基礎にしつつ、材料の吟味と正確な加工及び組立の技術において高い評価を得ている。","","https://kunishitei.bunka.go.jp/heritage/detail/304/16",""], [83,252018,83,"滋賀県","大津市","絹本著色阿弥陀三尊来迎図","けんぽんちゃくしょくあみださんぞんらいごうず","","","県指定有形文化財","美術工芸品","","大津市伊香立南庄町","",null,null,"","",1,"幅","","光明寺","1897-12-28","","","","","","","","","画面向って左上方から右下方へ向って虚空を飛来する阿弥陀如来と、脇侍の観音菩薩・勢至菩薩が描かれた、阿弥陀三尊来迎図。仏菩薩の面相表現や、截金文様の種類の多さや多様さ、細密さなどを考慮すると、鎌倉時代後期の作と推定される。往生者が観音菩薩の捧げ持つ蓮台に乗るという、現存唯一の図様が描かれており、阿弥陀来迎図の歴史的展開を考察する上で、重要な作品である。","","https://www.rekihaku.otsu.shiga.jp/db/bunka/detail.html?688",""], [84,252018,84,"滋賀県","大津市","文化元年南庄村出土龍骨関係資料","ぶんかがんねんみなみしょうむらしゅつどりゅうこつかんけいしりょう","","","市指定有形文化財","美術工芸品","","大津市伊香立南庄町","",null,null,"","",31,"点","","個人","1897-12-28","","","","","","","","","文化元年（1804）、伊香立南庄村で丘を開墾していた市郎兵衛という百姓が発見した化石（「龍骨」）に関わる資料群。発見された化石は膳所藩主本多康完に献上され、その後、識者によって「龍骨」と判定された。発見者の市郎兵衛は膳所藩より「龍」の姓を与えられ、発見場所には「伏龍祠」が建てられた。「龍骨図」など絵画3点、「膳所藩達書」など文書28点から構成され、当時の人びとが未知の出土物に対してどのような対応をとったかをうかがうことができる、きわめて貴重な資料群である。","","https://www.rekihaku.otsu.shiga.jp/db/bunka/detail.html?719",""], [85,252018,85,"滋賀県","大津市","神田神社本殿","かんだじんじゃほんでん","","","重要文化財","建造物","","大津市真野普門3-8-1","",135.9066047,35.13639328,"","",1,"棟","","神田神社","1897-12-28","","","","","","","","","堅田から葛川へ向かう国道の北の、こんもりとした森の中に所在する。本殿は宮池を前にして東南面を向いて建つ。祭神は、彦国葺命。正面庇の下に建具を備えて前室とする、滋賀県内でよく見られる三間社流造の構造。屋根の曲線が美しく、棟木に取り付けられた懸魚が目を引く。建築年代は、棟札の写しから明徳元年（1309）と考えられる。","","https://kunishitei.bunka.go.jp/heritage/detail/102/1374",""], [86,252018,86,"滋賀県","大津市","木造狛犬","もくぞうこまいぬ","","","市指定有形文化財","美術工芸品","","大津市真野普門3丁目","",null,null,"","",1,"対","","神田神社","1898-12-28","","","","","","","","","明徳元年（1390）の建立とされる重要文化財の本殿に伝えられた一対の狛犬。いずれも、目を見開いて前方を凝視し、歯列や牙を表し、たてがみを体に沿って垂らし、喉元には鈴を表す。阿形像は両耳を折って開口し、吽形は頭上に一角を表す。構造は、いずれもケヤキ材製の一木造で、内刳はない。表面には後補の彩色を掻き落した際のけば立ちが認められ、別材は全て後補と思われるが、幹部は造像当初の姿を伺わせ、阿形の舌などには当初の彩色も残る。","","https://www.rekihaku.otsu.shiga.jp/db/bunka/detail.html?551",""], [87,252018,87,"滋賀県","大津市","梵鐘","ぼんしょう","","","県指定有形文化財","美術工芸品","","大津市真野5丁目","",null,null,"","",1,"口","","正源寺","1899-4-5","","","","","","","","","鐘身は、肩からやや張りのある曲線が裾広がりになり、下縁寄りの中帯から垂直に下がっている。上下帯とも無文で、袈裟襷文を鋳出す。乳の間四区にはそれぞれ四段四列の乳を配す。撞座は、八葉蓮華文を鋳出している。池の間の刻銘から、作者は矢田部宗次で、正応3年（1209）真野庄住人が願主となって神田神社へ奉納したことが知られる。また、天文2年（1533）の追刻や寺伝から野洲郡の兵主大社、同郡の西得寺と移動が知られ、明治34年（1901）正源寺に戻されたという。","","https://www.rekihaku.otsu.shiga.jp/db/bunka/detail.html?283",""], [88,252018,88,"滋賀県","大津市","真野の六斎念仏","まののろくさいねんぶつ","","","県選択無形民俗文化財","","","大津市真野","",null,null,"","",null,"","","中村会、沢六斎念仏保存会","1897-12-28","","","","","","","","","県指定無形民俗文化財(選択)。","","https://www.rekihaku.otsu.shiga.jp/db/bunka/detail.html?692",""], [89,252018,89,"滋賀県","大津市","木造阿弥陀如来立像","もくぞうあみだにょらいりゅうぞう","","","重要文化財","美術工芸品","","大津市真野谷口町","",null,null,"","",1,"躯","","西勝寺","1897-12-28","","","","","","","","","当寺本尊。来迎印を結ぶ三尺立像で、平安時代後期の作風を基調にしながら、玉眼の嵌入や衣のひだの流麗な彫法には鎌倉時代の気分が感じられる。像内から建仁3年（1203）の年記をともなう納入品（木札および巻子）が発見され、制作期が確定された。造像願主は三善為清という下級官人であることも判明したが、作者については知ることができない。ただし京都を中心に活躍した当代一流の仏師の手になることはまちがいない。","","https://kunishitei.bunka.go.jp/heritage/detail/201/00010624",""], [90,252018,90,"滋賀県","大津市","絹本著色矢嶋加兵衛尉像","けんぽんちゃくしょくやじまかへいのじょうぞう","","","市指定有形文化財","美術工芸品","","大津市真野谷口町","",null,null,"","",1,"幅","","西勝寺","1897-12-28","","","","","","","","","黒色の着物を着て、薄緑色の裃と袴をつけ、右手は扇頭を握って手先を支え、左手は膝上におき、脇差を腰にして畳座の上に端座する肖像画である。画面上部には、中央・向かって左に色紙形が、右には色紙形をほどこさずにそれぞれ墨書がなされている。左方には「慶長十七年（1612）二月十一日、梅芶院殿心岳春叟居士肖像」と記されており、同寺所蔵の過去帳の「梅芶院殿心岳春叟居士、慶長十七年二月、矢嶋加兵衛尉」から、矢嶋加兵衛尉の像であることが知られる。","","https://www.rekihaku.otsu.shiga.jp/db/bunka/detail.html?90",""], [91,252018,91,"滋賀県","大津市","春日山古墳群","かすがやまこふんぐん","","","国指定史跡","","","大津市真野谷口町","",135.9043984,35.12352162,"","",null,"","","","1897-12-28","","","","","","","","","ＪＲ湖西線堅田駅西方の小高い丘陵地に、6世紀から7世紀前半をピークに営まれた湖西南部屈指の群集墳。総数200基強が分布し、その状況と地形などから大きく六支群に分けられる。東端に立地する10数基ほどで構成される一支群（Ｅ支群）が国の史跡に指定され、5世紀の築造で地域首長墓である全長65mの前方後円墳（春日山古墳）や、次世代の首長墓である直径25mの円墳を含んでいる。","","https://kunishitei.bunka.go.jp/heritage/detail/401/1602",""], [92,252018,92,"滋賀県","大津市","木造聖観音坐像","もくぞうしょうかんのんざぞう","","","重要文化財","美術工芸品","","大津市本堅田１丁目","",null,null,"","",1,"躯","","満月寺","1901-03-27 00:00:00","","","","","","","","","満月寺の本尊として安置される。両手首先を除き、大半を一材から彫成する像で、堅固な構造も幸いしてか、保存状態はきわめて良好である。しもぶくれの独特の風貌を示す個性豊かな尊像で、当初の彩色も一部に残る。左手に未開の蓮華の茎をとり、右手は掌を前に向けて立てる。この印相は天台系とされる金剛界八十一尊曼荼羅に描かれる金剛法菩薩のそれに一致し、さらに常行三昧堂に安置される阿弥陀五尊中の同菩薩にも一致しており、本像の系譜を暗示する。10世紀後半の作か。","","https://kunishitei.bunka.go.jp/heritage/detail/201/3182",""], [93,252018,93,"滋賀県","大津市","堅田本福寺中世記録","かたたほんぷくじちゅうせいきろく","","","市指定有形文化財","美術工芸品","","大津市本堅田１丁目","",null,null,"","",null,"","","本福寺","1976-03-15 00:00:00","","","","","","","","","本福寺は浄土真宗本願寺派の寺院で、真宗中興の祖蓮如に第三代住持法住が帰依したところから、蓮如による布教活動の拠点となった。第四代明宗と第五代明誓の手になるこれらの記録は、室町時代後期の堅田や近江における真宗教団の動きは勿論の事、堅田による湖上交通の掌握や、遠く因幡や伯耆などの門徒の商業活動、村落をめぐる政治・経済・文化・宗教・庶民生活をうかがう上での根本史料として、全国的にも著名である。","","https://www.rekihaku.otsu.shiga.jp/db/bunka/detail.html?322",""], [94,252018,94,"滋賀県","大津市","居初家天然図画亭","いそめけてんねんずえてい","","","県指定有形文化財","建造物","","大津市本堅田2-12-5","",135.9223841,35.11380224,"","",1,"棟","","個人","1993-03-31 00:00:00","","","","","","","","","居初家は中世の堅田諸侍の系譜に連なり、近世には船道郷士・大庄屋として村政の中枢に位置していた。国指定名勝居初氏庭園の中に所在する天然図画亭は、茶室と離座敷の性格を持つ建物で、建築年代を示す資料はないが、天和元年（1681）には庭とともに完成していたと考えられる。藤村庸軒と北村幽安との合作になり、町家に数奇屋造を採り入れた初期の遺構として貴重なものである。建物の東面と北面には、琵琶湖と対岸の山並みを借景とした庭が広がっている。","","https://www.rekihaku.otsu.shiga.jp/db/bunka/detail.html?6",""], [95,252018,95,"滋賀県","大津市","居初氏庭園","いそめしていえん","","","国指定名勝","","","大津市本堅田2-12-5","",135.9223841,35.11380224,"","",null,"","","個人","1981-06-11 00:00:00","","","","","","","","","中世以来湖上交通を支配した堅田の船道郷士の一人で、江戸時代には庄屋をつとめた居初氏の庭園。天和元年（1681）頃には出来上っていた。天然図画亭と名付けられた茶室と、その北と東に広がる庭園からなる。茶室の北部から東部にかけて延段を主軸に構成された庭が展開し、東部の庭は琵琶湖と対岸の三上山を借景とする。茶室は町屋に数寄屋造が普及する初期の作で、庭園は座敷と湖面を直結しながら、書院庭と露地を融合した優れた構成となっている。","","https://kunishitei.bunka.go.jp/heritage/detail/401/1606",""], [96,252018,96,"滋賀県","大津市","出島の灯台","でけじまのとうだい","","","市指定有形民俗文化財","","","大津市今堅田町274-1","",135.9251434,35.11966487,"","",1,"基","","今堅田自治会","1991-02-01 00:00:00","","","","","","","","","琵琶湖の最狭部に位置する今堅田の岬の先端に、明治8年（1875）に建てられた。高床形式で、四隅の柱と中心の支柱の計五本の柱で支え、支柱の頂部に火袋を取り付ける。光源は大正7年（1918）まではランプを使用し、それ以後は電灯に切り換えた。昭和36年（1961）第二室戸台風で倒壊寸前となったが、地元の熱心な保存運動により、昭和48年今日見る姿に復旧された。琵琶湖岸で他にこのような形式の灯台の例は無く、全国的に見ても珍しい遺構である。","","https://www.rekihaku.otsu.shiga.jp/db/bunka/detail.html?403",""], [97,252018,97,"滋賀県","大津市","今堅田船大工仲間文書","いまかたたふなだいくなかまもんじょ","","","市指定有形文化財","美術工芸品","","大津市今堅田１丁目","",null,null,"","",2,"通","","今堅田船大工仲間","1981-01-16 00:00:00","","","","","","","","","秀吉による全国統一の過程で、琵琶湖の船の支配と合わせて船大工の編成が行われたが、この二通の文書はその過程を示している。天正12年（1584）の秀吉朱印状は、大津と堅田の船大工40人に対し、諸役免除の特権を与えて船大工を組織した内容となっている。他の一通の宛先となっている三郎左衛門は、棟梁として船大工を統括していた人物で、徳川家康に朱印状の更新を求めている。","","https://www.rekihaku.otsu.shiga.jp/db/bunka/detail.html?324",""], [98,252018,98,"滋賀県","大津市","衣川廃寺跡","きぬがわはいじあと","","","国指定史跡","","","大津市衣川2丁目","",135.906249,35.11207709,"","",null,"","","大津市","1977-03-08 00:00:00","","","","","","","","","衣川集落の背後、堅田丘陵の南東端に造営された近江で最古級の寺院跡。昭和50年（1975）以来数回にわたる発掘調査によって、北に金堂跡・東南に塔跡などの主要伽藍が、その西南部の斜面で瓦窯跡一基が確認された。金堂は東西18m×南北15mの版築基壇の上に東西五間×南北四間の建物が推定され、塔は一辺14m、高さ1.25mの版築基壇が検出されたが、心礎はみられなかった。瓦窯跡は斜面をトンネル浄に彫り抜いた登窯で、この寺院に使用した瓦を焼成したものである。","","https://kunishitei.bunka.go.jp/heritage/detail/401/1603",""], [99,252018,99,"滋賀県","大津市","西羅一号古墳","にしらいちごうこふん","","","市指定史跡","","","大津市衣川2丁目","",135.906249,35.11207709,"","",1,"基","","大津市","1977-02-01 00:00:00","","","","","","","","","堅田丘陵の東部、天神川と御呂戸川で区画された入り組んだ丘陵地のやや北側で、平野部が眼前にせまる丘陵先端部に立地。前方部を東に向けた帆立貝形古墳で、主軸はほぼ東西をとる。低丘陵の稜線高所に後円部、その裾部に短小な前方部を構築。古墳の規模は、全長46m、後円部径32m、同高さ3.5m、前方部12mを測る。内部構造は不詳であるが、墳丘には20〜30cm程度の葺石が全面に見られる。築造年代は、5世紀後半頃と推定。","","https://www.rekihaku.otsu.shiga.jp/db/bunka/detail.html?418",""], [100,252018,100,"滋賀県","大津市","木造薬師如来坐像(薬師堂安置)","もくぞうやくしにょらいざぞう（やくしどうあんち）","","","重要文化財","美術工芸品","","大津市仰木2丁目","",null,null,"","",1,"躯","","専念寺","1901-03-27 00:00:00","","","","","","","","","樟かと思われる材を用い、幹部は竪一材製で、背中と像底および後頭部から内刳を行っている。残念ながら脚部の前半部が後補のものに変わって像容を損ねるが、腹部の出も大きく、側面観にはゆったりとした重量感がただよう。幅の狭い眼や奥行の深い面奥の表現も、10世紀彫刻の気分をのこす。制作期は11世紀前半をくだるものではあるまい。専念寺の飛地境内薬師堂に安置される秘仏で、高日山星林院の旧仏という。","","https://kunishitei.bunka.go.jp/heritage/detail/201/3184",""], [101,252018,101,"滋賀県","大津市","木造阿弥陀如来坐像","もくぞうあみだにょらいざぞう","","","市指定有形文化財","美術工芸品","","大津市仰木4丁目","",null,null,"","",1,"躯","","華開寺","1984-04-02 00:00:00","","","","","","","","","当寺脇壇に伝来。来迎印の阿弥陀如来坐像で、後補の漆箔および像底の底板のため構造はよくわからない。平安時代後期に通有の定朝様にのっとった像だが、数の多くなった衣文に動きが感じられるところから、鎌倉時代に近づいた平安時代も末の制作かとみられる。","","https://www.rekihaku.otsu.shiga.jp/db/bunka/detail.html?170",""], [102,252018,102,"滋賀県","大津市","木造虚空蔵菩薩立像","もくぞうこくぞうぼさつりゅうぞう","","","市指定有形文化財","美術工芸品","","大津市仰木4丁目","",null,null,"","",1,"躯","","華開寺","1984-04-02 00:00:00","","","","","","","","","当寺の飛地境内仏堂に主尊として安置される。寺伝では、もと高日山星林院の本尊という。しかし作風からは12世紀をさかのぼる制作ではなく、伝承にいう星林院の創建より新しい。両前膊及び持物は後補だが、左手は宝珠を乗せた蓮華の茎を握り、右手は垂下して掌を前に向ける。これは求聞持法という行法の本尊となる虚空蔵菩薩の形制である。ただし立像の虚空蔵は、とくに平安時代以前には珍しい。","","https://www.rekihaku.otsu.shiga.jp/db/bunka/detail.html?171",""], [103,252018,103,"滋賀県","大津市","仰木太鼓","おおぎだいこ","","","市指定無形民俗文化財","","","大津市仰木4丁目","",null,null,"","",null,"","","仰木太鼓保存会","1991-02-01 00:00:00","","","","","","","","","仰木太鼓の歴史は、平安時代中期の武将源満仲が小椋神社を深く信仰し、五社の神輿を奉納して盛大に仰木祭を始めたときにまでさかのぼるという。この仰木祭の進行に重要な役割を果すのが仰木太鼓で、人々を集める「集来打ち」、五基の神輿が小椋神社から御旅所へ渡御する合図となる「宮立ち」などが代表的なリズムである。現在、地元では「仰木太鼓保存会」が結成され、若者・子供達も加わって保存と伝承の活動が続けられている。","","https://www.rekihaku.otsu.shiga.jp/db/bunka/detail.html?411",""], [104,252018,104,"滋賀県","大津市","木造千手観音立像(観音堂安置)","もくぞうせんじゅかんのんりゅうぞう（かんのうどうあんち）","","","重要文化財","美術工芸品","","大津市仰木5丁目","",null,null,"","",1,"躯","","東光寺","1901-03-27 00:00:00","","","","","","","","","東光寺飛地境内の観音堂の本尊。比叡山横川の北方2キロ余の地にあった高日山星林院から移されたといわれる。秘仏であり他見が許されないが、図版によれば、浅く流麗に刻まれた衣のひだの彫法や、丸い顔に伏目がちの目をきざむなど、典型的な平安時代後期の作風をしめす。","","https://kunishitei.bunka.go.jp/heritage/detail/201/3183",""], [105,252018,105,"滋賀県","大津市","木造地蔵菩薩立像(地蔵堂安置)","もくぞうじぞうぼさつりゅうぞう（じぞうどうあんち）","","","重要文化財","美術工芸品","","大津市仰木2丁目","",null,null,"","",1,"躯","","真迎寺","1901-03-27 00:00:00","","","","","","","","","専念寺の薬師如来像、華開寺の虚空蔵菩薩像、東光寺の千手観音像と同じく、高日山星林院にかつて安置されていたといい、現在は真迎寺の飛地境内の一堂に祀られる。等身大の堂々とした像で、内刳はあまり深くない。胸飾は別材（木製）で造って矧ぎつけており、そのやや下方には地蔵菩薩の種子を浮彫りする。構造は古様ながら、写実的な衣のひだの形式などを見ると、平安時代後期の余風を残した鎌倉時代前期の作かと思われる。","","https://kunishitei.bunka.go.jp/heritage/detail/201/3185",""], [106,252018,106,"滋賀県","大津市","木造阿弥陀如来坐像","もくぞうあみだにょらいざぞう","","","重要文化財","美術工芸品","","大津市雄琴2丁目","",null,null,"","",1,"躯","","福領寺","1901-03-27 00:00:00","","","","","","","","","福領寺の本尊。像の幹部は正中線で左右に二材を矧ぐ構造で、像内には黒漆を塗る丁寧な仕上げである。ほぼ等間隔に並ぶ流麗な衣のひだや、整然と配される小粒の螺髪、碗形の肉髻など、平安時代後期の作風にのっとっているが、明快さを増した表情、抑揚のある写実的な体部の造形などを見ると、実年代は鎌倉時代に入る可能性も考えられる。京都を活動の基盤とした名のある仏師の作であろう。","","https://kunishitei.bunka.go.jp/heritage/detail/201/3168",""], [107,252018,107,"滋賀県","大津市","和田家文書","わだけもんじょ","","","市指定有形文化財","美術工芸品","","大津市雄琴2丁目","",null,null,"","",3,"通","","個人","1988-11-11 00:00:00","","","","","","","","","和田家は雄琴に勢力をはった土豪で、室町時代近江守護六角家に仕えた家柄というが、詳細は不明である。明智光秀が和田秀純に宛てたこの三通の書状は、山門焼き討ちに関る内容から、元亀2年（1571）・同3年のものと考えられる。なかでも、9月2日付けの書状からは、山門焼き討ちを前に光秀が行った雄琴の和田氏や仰木の八木氏への工作が知られ、『信長公記』や『言継卿記』など記録や伝聞資料でしか知られていなかった山門焼き討ちを伝える一次資料である。","","https://www.rekihaku.otsu.shiga.jp/db/bunka/detail.html?325",""], [108,252018,108,"滋賀県","大津市","木造男神・女神坐像","もくぞうだんしん・じょしんざぞう","","","市指定有形文化財","美術工芸品","","大津市苗鹿2丁目","",null,null,"","",2,"躯","","法光寺","1976-03-15 00:00:00","","","","","","","","","男神像の持物などを除いてほぼ全体を丸彫りする。二躯ともに像底に墨書銘がある。それによると、いずれも応永3年（1396）の作で、苗鹿大明神の森木を用いて造られている。作者は女神像にのみ仏師大進法眼の名が認められるが、作風からみて男神像も同じ作者である。また同じく銘文から、男神像が天神像であることがわかるが、女神像の神名は不明。","","https://www.rekihaku.otsu.shiga.jp/db/bunka/detail.html?174",""], [109,252018,109,"滋賀県","大津市","紙本著色法光寺境内絵図","しほんちゃくしょくほうこうじけいだいえず","","","市指定有形文化財","美術工芸品","","大津市苗鹿2丁目","",null,null,"","",1,"幅","","法光寺","1991-02-01 00:00:00","","","","","","","","","法光寺は天台宗延暦寺の末寺で、最澄の創建になるという。往時は堂舎24宇支院僧坊30余寺と伝えるが、元亀2年（1571）の兵火で焼失し、延享3年（1746）再興が図られた。彩色の絵図には、「五重塔」「釈迦堂」「大堂」「桜本多宝院」「こもしき元三大師行場」などの境内堂舎に、周囲の山や田、西近江路沿いの民家までが描かれる。法光寺が再興された頃に同寺の盛時の様子を描いたと考えられ、周辺の小字に「こもしき」「大堂」「桜本」「釈迦堂」といった地名が残る。","","https://www.rekihaku.otsu.shiga.jp/db/bunka/detail.html?395",""], [110,252018,110,"滋賀県","大津市","延暦寺根本中堂","えんりゃくじこんぽんちゅうどう","","","国宝","建造物","","大津市坂本本町4220","",135.8380624,35.06820393,"","",1,"棟","","延暦寺","1899-4-5","","","","","","","","","延暦7年（788）伝教大師最澄が比叡山に草庵を開いたことにはじまる延暦寺は、天台宗の総本山として発展してきた。現在の根本中堂は、徳川三代将軍家光の手で再建され、寛永17年（1604）にほぼ完成し、同19年に造営を完了した。県内最大の木造建築で、桁行十一間、梁間六間の規模は平安時代以来のもの。天台宗の仏堂の特色をよく示しており、平面構成は後方四間を内陣、中一間を中陣、前方一間を外陣とする。外陣と一段高い中陣を板敷とするのに対し、3m程低い内陣は石敷の土間で、基礎の上に須弥壇と宮殿を置く。","","https://kunishitei.bunka.go.jp/heritage/detail/102/1320",""], [111,252018,111,"滋賀県","大津市","延暦寺根本中堂廻廊","えんりゃくじこんぽんちゅうどうかいろう","","","重要文化財","建造物","","大津市坂本本町4220","",135.8380624,35.06820393,"","",1,"棟","","延暦寺","1899-4-5","","","","","","","","","根本中堂の前面に、中庭を囲んで「凹」字形に建てられた廻廊。現在の建物は、根本中堂と同じく寛永19年（1642）に完成したもので（『天台座主記』）、柱を三列にならべ、内側を床敷、外側を石敷とする。正面中央と両端の車寄に唐破風を設け、中央唐破風下の門から廻廊の床を通り、根本中堂の縁に登る。各間の蟇股には、花鳥の彫刻に極彩色がほどこされている。根本中堂の屋根は瓦棒銅板葺に改められたが、廻廊は当初の姿を残すとち葺である。","","https://kunishitei.bunka.go.jp/heritage/detail/102/1321",""], [112,252018,112,"滋賀県","大津市","延暦寺転法輪堂","えんりゃくじてんぽうりんどう","","","重要文化財","建造物","","大津市坂本本町4220","",135.8380624,35.06820393,"","",1,"棟","","延暦寺","1900-04-07 00:00:00","","","","","","","","","延暦寺の西塔の中心となる建物で、南面して建つ。本尊に釈迦如来を祀るところから、釈迦堂とも呼ばれている。信長による山門焼き討ち後の復興で、闕所となった園城寺の弥勒堂（金堂）を文禄4年（1595）に移築したもの（『天台座主記』）。貞和3年（1347）頃の建築になり、延暦寺の現存建物では最も古い。前方二間の外陣の床は板張とし、内陣は一段低い土間となっている。天台宗本堂の基本的平面構成をとる、純和様の建物である。","","https://kunishitei.bunka.go.jp/heritage/detail/102/1322",""], [113,252018,113,"滋賀県","大津市","延暦寺戒壇院","えんりゃくじかいだんいん","","","重要文化財","建造物","","大津市坂本本町4220","",135.8380624,35.06820393,"","",1,"棟","","延暦寺","1901-08-02 00:00:00","","","","","","","","","大講堂から阿弥陀堂へ向かう道の北側に南面して建つ。円頓戒灌頂を授けるための道場として創建されたもので、現在の建物は延宝6年（1678）の建築になる。石積み基壇の上に建つ桁行三間・梁間三間・一重の建物であるが、もこしをつけているところから、外観は方五間で二重の建物のように見える。内部は石敷とし、中央三間に石壇を築き、釈迦如来・文殊菩薩・弥勒菩薩を安置する。","","https://kunishitei.bunka.go.jp/heritage/detail/102/1323",""], [114,252018,114,"滋賀県","大津市","延暦寺瑠璃堂","えんりゃくじるりどう","","","重要文化財","建造物","","大津市坂本本町4220","",135.8380624,35.06820393,"","",1,"棟","","延暦寺","1912-02-08 00:00:00","","","","","","","","","西塔の中心、転法輪堂の西北の谷を降ったところに、西面して建つ。江戸時代の記録によると、元禄6年（1693）現在地に移築されたことが考えられる。建築年代は確定できないが、正面の桟唐戸・花頭窓、内部の海老虹梁や須弥壇などに禅宗様の特徴がよくあらわれ、室町時代後期の様式をみせているところから、元亀2年（1571）の信長による山門焼き討ちを免れた唯一の建物と言われている。須弥壇には、薬師如来が安置されている。","","https://kunishitei.bunka.go.jp/heritage/detail/102/1324",""], [115,252018,115,"滋賀県","大津市","延暦寺相輪橖","えんりゃくじそうりんとう","","","重要文化財","建造物","","大津市坂本本町4220","",135.8380624,35.06820393,"","",1,"基","","延暦寺","1917-08-13 00:00:00","","","","","","","","","西塔の転法輪堂背後の山道を登った上に立つ、高さ11.65mの塔。正しくは「浄菩提心無垢浄光摩尼幢相輪橖」と呼び、弘仁11年（802）最澄が創建し、中に妙法蓮華経や毘盧遮那経を納めたと伝える。一般の塔の最上層に取り付けられている相輪を幢柱に取り付けたもので、現在の塔は明治28年（1895）の再建になる。礎石の上に木製の心柱を立て、とう管・受花・九輪・火焔付宝珠を順番にかぶせて組み立て、四本の支柱で支えている。","","https://kunishitei.bunka.go.jp/heritage/detail/102/1325",""], [116,252018,116,"滋賀県","大津市","延暦寺常行堂及び法華堂","えんりゃくじじょうぎょうどうおよびほっけどう","","","重要文化財","建造物","","大津市坂本本町4220","",135.8380624,35.06820393,"","",2,"棟","","延暦寺","1955-06-22 00:00:00","","","","","","","","","西塔の転法輪堂前の高い位置に、東に法華堂、西に常行堂が、渡り廊下によって結ばれて南面して建つ。『山門堂舎記』によれば、転法輪堂が移築された文禄4年（1595）の建築になる。五間四方の建物で、背面出入口を除いて左右対称に造られ、外観は蔀戸と桟唐戸を用いた和様の建物である。内部は板張で、柱列全てに柱を建てている。法華堂は普賢菩薩、常行堂は阿弥陀如来を本尊とし、それぞれ法華三昧、常行三昧の修行の堂である。渡り廊下をにない棒に見立て、両堂を合わせて「にない堂」と呼んでいる。","","https://kunishitei.bunka.go.jp/bsys/maindetails/102/1326",""], [117,252018,117,"滋賀県","大津市","延暦寺大講堂(旧東照宮本地堂)","えんりゃくじだいこうどう（きゅうとうしょうぐうほんちどう）","","","重要文化財","建造物","","大津市坂本本町4220","",135.8380624,35.06820393,"","",1,"棟","","延暦寺","1987-06-03 00:00:00","","","","","","","","","根本中堂の西に、南面して建つ。昭和31年（1956）焼失した大講堂にかわって、麓の坂本にあった東照宮の讃仏堂を移築して、昭和38年に竣工した。移築に際して寛永11年（1634）の年記のある墨書が発見され、『天台座主記』の記載通り同年の建築になることが明らかとなった。内部は床張とし、前方三間を外陣、後方三間を内陣とし、内陣には大日如来を本尊に、各宗派の師祖を祀っている。大講堂では、現在も重要な法儀が営まれている。","","https://kunishitei.bunka.go.jp/heritage/detail/102/1328",""], [118,252018,118,"滋賀県","大津市","延暦寺　文殊楼、山王社、浄土院伝教大師御廟、浄土院唐門、浄土院拝殿、阿弥陀堂鐘楼、西塔鐘楼、四季講堂、元三大師御廟拝殿、横川鐘楼、慈眼堂","えんりゃくじ　もんじゅろう、さんのうしゃ、じょうどいんでんぎょうだいしごびょう、じょうどいんからもん、じょうどいんはいでん、あみだどうしょうろう、さいとうしょうろう、しきこうどう、がんざんだいしみみょうはいでん、よかわしょうろう、じげんどう","","","重要文化財","建造物","","大津市坂本本町","",135.8537888,35.06377257,"","",11,"棟","","延暦寺","2016-07-25 00:00:00","","","","","","","","","比叡山延暦寺で江戸時代前期に再興された堂舎群。元亀２年（１５７１）の織田信長による焼き討ち後、豊臣秀吉からの寄進を契機に諸堂が再建された。文殊楼、山王社、浄土院伝教大師御廟、浄土院唐門、浄土院拝殿、阿弥陀堂鐘楼、西塔鐘楼、四季講堂、元三大師御廟拝殿、横川鐘楼と山麓の慈眼堂、１１棟からなる。これらの堂舎群は、いずれも優秀かつ特徴的な意匠を備えており、比叡山全域における江戸時代前期の再興の様相を示す。","","https://kunishitei.bunka.go.jp/bsys/maindetails/102/00004892",""], [119,252018,119,"滋賀県","大津市","絹本著色天台大師像　有賛","けんぽんちゃくしょくてんだいだいしぞう　ありさん","","","重要文化財","美術工芸品","","大津市坂本本町","",null,null,"","",1,"幅","","延暦寺","1900-04-07 00:00:00","","","","","","","","","中国天台宗の第三世で、実質的な開祖にあたる天台大師智顗の画像。斜め左を向いて椅子に坐して瞑目し、両手は膝前で印を結ぶ。頭には頭巾をかぶり、上に禅鎮をのせている。下方には天台大師の高弟灌頂の弟子法銑の賛があり、その末尾の文章から唐の貞元二十一年（805）正月三十日、最澄の帰朝にあたって贈られたものであることがわかる。本図は鎌倉時代前期の写本であるが、天台大師の根本像ともいえる優れた画像である。","","https://kunishitei.bunka.go.jp/heritage/detail/201/1233",""], [120,252018,120,"滋賀県","大津市","絹本著色天台大師像","けんぽんちゃくしょくてんだいだいしぞう","","","重要文化財","美術工芸品","","大津市坂本本町","",null,null,"","",1,"幅","","延暦寺","1900-04-07 00:00:00","","","","","","","","","天台大師の画像で、斜め左を向いて椅子に坐して瞑目し、両手は膝前で印を結び、頭には頭巾をかぶって禅鎮をのせる姿は有賛の画像とほぼ同じであるが、法銑の賛は上部の二色の色紙形の中に、「大師真影一躯天台沙門恒巽奉澄和上願帰本国永充供養大唐貞元廿一年正月卅日」の文章は下段の牡丹唐草の上に記す。本図も最澄請来の原画像を写したものであるが、有賛画像よりは下って鎌倉時代後期の作と推定される。","","https://kunishitei.bunka.go.jp/heritage/detail/201/1234",""], [121,252018,121,"滋賀県","大津市","絹本著色文殊菩薩像","けんぽんちゃくしょくもんじゅぼさつぞう","","","重要文化財","美術工芸品","","大津市坂本本町","",null,null,"","",1,"幅","","延暦寺","1908-04-23 00:00:00","","","","","","","","","文殊菩薩は普賢菩薩とともに釈迦如来の脇侍となるが、独尊の場合は知恵を司る仏として信仰を集めた。本図は、頭に五髻を頂いた童子相で、右手に金剛剣、左手に梵筴をのせた青蓮華茎を持ち、大円相を負って斜め右を向き、獅子の上に坐す。左脚が踏下げの形をとるところに特徴があり、文殊と獅子の姿は醍醐寺蔵『請文殊図像』中の「五台山文殊」に似通っている。円仁は五台山で文殊菩薩を拝しており、本図にもその影響が考えられる。","","https://kunishitei.bunka.go.jp/heritage/detail/201/1235",""], [122,252018,122,"滋賀県","大津市","紙本著色山王霊験記","しほんちゃくしょくさんのうれいげんき","","","重要文化財","美術工芸品","","大津市坂本本町","",null,null,"","",1,"巻","","延暦寺","1938-07-04 00:00:00","","","","","","","","","延暦寺の鎮守である日吉山王（日吉大社）の霊験を描いた絵巻物で、最澄生誕の地といわれる生源寺に伝わった。同時代の記録によると『山王霊験記』は十五巻からなり、本巻はその一部である。絵四段・詞四段に三話の霊験をのせ、詞は青蓮院殿尊応准后・下冷泉殿持為・青蓮院宮尊伝親王の三名、絵は寂済の手になるという。『山王霊験記』は他に重要文化財が三カ所に伝わっているが、和泉市久保惣記念美術館の二巻・西宮市頴川美術館の一巻とは、元は一具であったと思われる。","","https://kunishitei.bunka.go.jp/heritage/detail/201/1238",""], [123,252018,123,"滋賀県","大津市","絹本著色相応和尚像","けんぽんちゃくしょくそうおうかしょうぞう","","","重要文化財","美術工芸品","","大津市坂本本町","",null,null,"","",1,"幅","","延暦寺","1964-05-26 00:00:00","","","","","","","","","相応和尚は、天長8年（831）近江国浅井郡に生まれ、比叡山に登って円仁に師事し、山中で厳しい修行を積んだ。葛川谷では不動明王を感得して葛川明王院を創建し、延暦寺では無動寺を開き、千日回峰行の創始者として知られる。本像は、無動寺谷明王堂に伝来したもので、礼盤上に横向きに坐し、手には念珠をとる。傍らの高坏には五鈷鈴と独鈷杵が置かれ、礼盤の前には草履が描かれている。鎌倉時代も早い時期の作になると推定される。","","https://kunishitei.bunka.go.jp/heritage/detail/201/2306",""], [124,252018,124,"滋賀県","大津市","絹本著色不動明王三大童子五部使者像","けんぽんちゃくしょくふどうみょうおうさんだいどうじごぶししゃぞう","","","重要文化財","美術工芸品","","大津市坂本本町","",null,null,"","",1,"幅","","延暦寺","1971-06-22 00:00:00","","","","","","","","","岩座に坐す不動明王を中央にして、左に矜羯羅童子と慧光童子、右に制吒迦童子を従え、下辺には不動明王を礼拝する五人の使者を描く。本図は円珍が唐から将来した図像に基づき、同様のものとして園城寺蔵の「不動明王八大童子像」があるが、園城寺本では不動明王が瑟々座に坐すのに対して本図では岩座であり、写実的な炎や、岩座の前にも炎を描き水波の前景を加えるところなどに相違点が見られる。","","https://kunishitei.bunka.go.jp/heritage/detail/201/2390",""], [125,252018,125,"滋賀県","大津市","絹本著色山王本地仏像","けんぽんちゃくしょくさんのうほんちぶつぞう","","","重要文化財","美術工芸品","","大津市坂本本町","",null,null,"","",1,"幅","","延暦寺","1900-04-07 00:00:00","","","","","","","","","画面全体を社殿に見立てて、延暦寺の護法神日吉大社の上七社の本地仏を描く。山王権現の信仰から生まれた垂迹画で、中央に大宮の本地仏釈迦如来を描きそのまわりに六尊を配するが、本地仏はいずれも三曲屏風を背にして礼盤上の蓮華座に坐す。外陣には向かって右に不動明王、左に毘沙門天を配し、図上には山王二十一社の本地仏の梵字を七社ずつ三つの円相内に描く。時代的に新しいため、やや形式的な構図となっている。","","https://kunishitei.bunka.go.jp/heritage/detail/201/1263",""], [126,252018,126,"滋賀県","大津市","絹本著色山王本地仏曼荼羅図","けんぽんちゃくしょくさんのうほんちぶつまんだらず","","","県指定有形文化財","美術工芸品","","大津市坂本本町","",null,null,"","",1,"幅","","延暦寺","1981-04-24 00:00:00","","","","","","","","","延暦寺の護法神日吉大社の上七社の本地仏を、曼荼羅風にあらわしたもの。中央に上から釈迦（大宮）・薬師（二宮）・地蔵（十禅師）、向かって左に普賢（三宮）・十一面（客人）、右に千手（八王子）・阿弥陀（聖真子）を、さらに下方には毘沙門と不動を描く。色彩が豊かで、衣文線や蓮華には、截金を巧みに用いている。背景に社殿などを描かず、古い形式を示している。","","https://www.rekihaku.otsu.shiga.jp/db/bunka/detail.html?112",""], [127,252018,127,"滋賀県","大津市","絹本著色慈恵大師像","けんぽんちゃくしょくじえだいしぞう","","","県指定有形文化財","美術工芸品","","大津市坂本本町","",null,null,"","",1,"幅","","延暦寺","2013-03-19 00:00:00","","","","","","","","","比叡山中興の祖とたたえられる慈恵大師良源の肖像画で、延暦寺山内の無動寺に伝来した。両手で数珠をまさぐり、左手に密法具の独鈷杵を持つ通例の姿である。保存状態は良好で、鎌倉時代後期（１４世紀）の作と考えられる。慈恵大師の彫刻は数多く残されているが、肖像画は極めて少なく、現存最古級の作例といえる。","","https://www.rekihaku.otsu.shiga.jp/db/bunka/detail.html?678",""], [128,252018,128,"滋賀県","大津市","絹本著色阿弥陀八大菩薩像","けんぽんちゃくしょくあみだはちだいぼさつぞう","","","県指定有形文化財","美術工芸品","","大津市坂本本町","",null,null,"","",1,"幅","","延暦寺","2022-03-11 00:00:00","","","","","","","","","本図は画面中央の阿弥陀如来を八体の菩薩が取り囲む阿弥陀八大菩薩像の一例である。これは高麗仏画でしかみられない特殊な図像で、高麗独自の浄土信仰が反映しているとの説が有力である。製作は高麗時代末期の14世紀半ば頃と考えられる。本図は高麗時代の優れた仏教文化を物語る貴重な資料であり、伝教大師最澄が描いた薬師如来として天台宗内において大切に扱われ、延暦寺の本願講の本尊として用いられた特殊な伝来を有するものとして高く評価される。","","https://www.rekihaku.otsu.shiga.jp/db/bunka/detail.html?733",""], [129,252018,129,"滋賀県","大津市","紙本著色日吉山王社古図","しほんちゃくしょくひえさんのうしゃこず","","","市指定有形文化財","美術工芸品","","大津市坂本本町","",null,null,"","",1,"幅","","延暦寺","2002-03-15 00:00:00","","","","","","","","","延暦寺一山の鎮守と伽藍の守護神として崇敬を集めた、日吉山王社を描く。中央上部に日吉社信仰の始まりとなった八王子山を配し、山王七社の社殿をはじめ彼岸所・多宝塔・鐘楼・石塔など元亀２年（1571）９月の織田信長による山門焼討以前の景観を描いている。八王子山の右空中に北斗七星が描かれるのは、山王七社に対応した天台密教の法儀に基づくと考えられる。表具の裏面に墨書銘が貼られ作成の経緯が知られるが、時期を確定することはできず、室町時代（１６世紀前半）の作成と判断される。","","https://www.rekihaku.otsu.shiga.jp/db/bunka/detail.html?548",""], [130,252018,130,"滋賀県","大津市","木造不動明王二童子像","もくぞうふどうみょうおうにどうじぞう","","","重要文化財","美術工芸品","","大津市坂本本町","",null,null,"","",3,"躯","","延暦寺","1900-04-07 00:00:00","","","","","","","","","無動寺明王堂に伝来した不動明王および矜羯羅・制吒迦童子坐像。中尊不動明王像は左手に羂索、右手に利剣をもって坐す通形相だが、二童子像は図像の規定にとらわれない自由な姿勢をとる。制作年代については、鎌倉時代と江戸時代の二説がある。","","https://kunishitei.bunka.go.jp/heritage/detail/201/3134",""], [131,252018,131,"滋賀県","大津市","木造千手観音立像","もくぞうせんじゅかんのんりゅうぞう","","","重要文化財","美術工芸品","","大津市坂本本町","",null,null,"","",1,"躯","","延暦寺","1900-04-07 00:00:00","","","","","","","","","度重なる火災により、平安時代前期にさかのぼる遺品の多くを失った比叡山にあって、現存する最古の木彫像のひとつ。東塔西谷山王院伝来という。台座の蓮肉部までを含めて像の根幹部を一材から造る。平安時代前期密教像に特有なインド風を感じさせる目鼻だち、深く鋭い衣のひだの彫法は、檀像彫刻の系譜に属することを物語り、像高50cm余の小像とは思えない気宇の大きさがある。平安時代初期の作とする説と、中国・唐の制作とする説がある。","","https://kunishitei.bunka.go.jp/heritage/detail/201/3135",""], [132,252018,132,"滋賀県","大津市","木造釈迦如来立像","もくぞうしゃかにょらいりゅうぞう","","","重要文化財","美術工芸品","","大津市坂本本町","",null,null,"","",1,"躯","","延暦寺","1900-04-07 00:00:00","","","","","","","","","比叡山西塔釈迦堂（転法輪堂）の本尊像。縄目状に渦を巻く頭髪の表現や、首までおおう通肩の服制、そこに刻まれた流水状の衣のひだなどから、京都・嵯峨清凉寺の本尊釈迦如来像の模刻像、いわゆる清凉寺式釈迦の一例と知られる。表面にあらわされた文様も原像に従っている。平安時代末期から鎌倉時代初期頃の作といわれる。","","https://kunishitei.bunka.go.jp/heritage/detail/201/3136",""], [133,252018,133,"滋賀県","大津市","木造光定大師立像","もくぞうこうじょうだいしりゅうぞう","","","重要文化財","美術工芸品","","大津市坂本本町","",null,null,"","",1,"躯","","延暦寺","1900-04-07 00:00:00","","","","","","","","","寺伝では別当大師（光定）の像というが、頭巾をかぶり、袋を肩にかつぐ像容は、明らかに大黒天像のそれである。比叡山では大黒天があつく信仰されて各所に遺例があるが、意外に古像は少なく、その意味で本像の存在は貴重である。南北朝から室町時代にかけての作とされる。","","https://kunishitei.bunka.go.jp/heritage/detail/201/3137",""], [134,252018,134,"滋賀県","大津市","木造不動明王立像","もくぞうふどうみょうおうりゅうぞう","","","重要文化財","美術工芸品","","大津市坂本本町","",null,null,"","",1,"躯","","延暦寺","1900-04-07 00:00:00","","","","","","","","","横川の東麓に所在する飯室不動堂の本尊。飯室谷は10世紀に尋禅（藤原師輔の子、のち天台座主）によって開かれたと考えられる。このときに不動明王像を安置したという記録もあるが、この像はいつしか失われたもようで、本像は作風からみて鎌倉時代前期のものといわれる。","","https://kunishitei.bunka.go.jp/heritage/detail/201/3138",""], [135,252018,135,"滋賀県","大津市","木造大威徳明王像","もくぞうだいいとくみょうおうぞう","","","重要文化財","美術工芸品","","大津市坂本本町","",null,null,"","",1,"躯","","延暦寺","1900-04-07 00:00:00","","","","","","","","","無動寺明王堂に伝来した。不動明王二童子像とともに五大明王として安置されるが、作風を異にしている。木造大威徳明王像・木造金剛夜叉明王立像・木造隆三世明王立像・木造軍荼利夜叉明王立像の四躯は一具の作。もとの中尊不動明王像はいつしか失われたのであろうか。鎌倉時代末期から南北朝時代頃の作といわれる。","","https://kunishitei.bunka.go.jp/heritage/detail/201/3139",""], [136,252018,136,"滋賀県","大津市","木造金剛夜叉明王立像","もくぞうこんごうやしゃみょうおうりゅうぞう","","","重要文化財","美術工芸品","","大津市坂本本町","",null,null,"","",1,"躯","","延暦寺","1900-04-07 00:00:00","","","","","","","","","無動寺明王堂に伝来した。不動明王二童子像とともに五大明王として安置されるが、作風を異にしている。木造大威徳明王像・木造金剛夜叉明王立像・木造隆三世明王立像・木造軍荼利夜叉明王立像の四躯は一具の作。もとの中尊不動明王像はいつしか失われたのであろうか。鎌倉時代末期から南北朝時代頃の作といわれる。","","https://kunishitei.bunka.go.jp/heritage/detail/201/3140",""], [137,252018,137,"滋賀県","大津市","木造隆三世明王立像","もくぞうごうざんぜみょうおうりゅうぞう","","","重要文化財","美術工芸品","","大津市坂本本町","",null,null,"","",1,"躯","","延暦寺","1900-04-07 00:00:00","","","","","","","","","無動寺明王堂に伝来した。不動明王二童子像とともに五大明王として安置されるが、作風を異にしている。木造大威徳明王像・木造金剛夜叉明王立像・木造隆三世明王立像・木造軍荼利夜叉明王立像の四躯は一具の作。もとの中尊不動明王像はいつしか失われたのであろうか。鎌倉時代末期から南北朝時代頃の作といわれる。","","https://kunishitei.bunka.go.jp/heritage/detail/201/3141",""], [138,252018,138,"滋賀県","大津市","木造軍荼利夜叉明王立像","もくぞうぐんだりやしゃみょうおうりゅうぞう","","","重要文化財","美術工芸品","","大津市坂本本町","",null,null,"","",1,"躯","","延暦寺","1900-04-07 00:00:00","","","","","","","","","無動寺明王堂に伝来した。不動明王二童子像とともに五大明王として安置されるが、作風を異にしている。木造大威徳明王像・木造金剛夜叉明王立像・木造隆三世明王立像・木造軍荼利夜叉明王立像の四躯は一具の作。もとの中尊不動明王像はいつしか失われたのであろうか。鎌倉時代末期から南北朝時代頃の作といわれる。","","https://kunishitei.bunka.go.jp/heritage/detail/201/3142",""], [139,252018,139,"滋賀県","大津市","木造四天王立像","もくぞうしてんのうりゅうぞう","","","重要文化財","美術工芸品","","大津市坂本本町","",null,null,"","",4,"躯","","延暦寺","1900-04-07 00:00:00","","","","","","","","","根本中堂に伝来したが、『叡岳要記』や『山門堂舎記』などの文献に記録のある四天王像とは図像・制作年代が一致せず、当初の安置場所は不明である。四躯それぞれに異なった姿態をバランスよくまとめた技量は高く評価され、当時有数の名のある仏師の作であろう。平安時代後期も11世紀後半にさかのぼりうる可能性を感じさせる。当該期の四天王像中、屈指の美作といえよう。現在の像表面の彩色は大半後補。","","https://kunishitei.bunka.go.jp/heritage/detail/201/3143",""], [140,252018,140,"滋賀県","大津市","木造阿弥陀如来立像","もくぞうあみだにょらいりゅうぞう","","","重要文化財","美術工芸品","","大津市坂本本町","",null,null,"","",1,"躯","","延暦寺","1900-04-07 00:00:00","","","","","","","","","滋賀院伝来。来迎印を結ぶ像高三尺余りの立像で、このスタイルの阿弥陀如来像は鎌倉時代以降にとくに流行した。金泥塗りの上に細緻な截金文様をほどこす。大粒の旋毛形の螺髪を刻み、髪際線が額中央でややかぶさるなど、典型的な鎌倉時代の作風をしめすが、着衣のひだの彫法に硬さがあり、制作期は鎌倉時代後期にくだるだろう。","","https://kunishitei.bunka.go.jp/heritage/detail/201/3150",""], [141,252018,141,"滋賀県","大津市","木造聖観音立像(横川中堂安置)","もくぞうしょうかんのんりゅうぞう（よかわちゅうどうあんち）","","","重要文化財","美術工芸品","","大津市坂本本町","",null,null,"","",1,"躯","","延暦寺","1941-11-06 00:00:00","","","","","","","","","横川首楞厳院（通称横川中堂）の本尊像。等身大の立像で、榧材を用い、像表面は素地に銀截金仕上げとしている。藤原風の丸みを帯びたやわらかな肉取りに特徴がある。不動明王と毘沙門天を脇侍とする三尊形式はこの横川中堂に始まり、その後天台寺院に通有の形式として広まった。横川中堂は仁安4年（1169）に全焼したが、このときに本尊は救い出されたという記録があり、本像の制作期を考える際、これをどう解釈するかが論点となる。","","https://kunishitei.bunka.go.jp/heritage/detail/201/3144",""], [142,252018,142,"滋賀県","大津市","木造吉祥天立像","もくぞうきちじょうてんりゅうぞう","","","重要文化財","美術工芸品","","大津市坂本本町","",null,null,"","",1,"躯","","延暦寺","1941-11-06 00:00:00","","","","","","","","","滋賀院に伝来した。冠をかぶり、唐服を着、沓をはいて、左手に宝珠を捧げる吉祥天に通有の形制をしめす。着衣には彩色、冠正面には華麗な装飾がほどこされていたようで、もとはあでやかな姿であったろう。一木造の像だが、なで肩で抑揚を抑えた造形から、平安時代も後期の作と考えられる。","","https://kunishitei.bunka.go.jp/heritage/detail/201/3151",""], [143,252018,143,"滋賀県","大津市","木造維摩居士坐像","もくぞうゆいまこじざぞう","","","重要文化財","美術工芸品","","大津市坂本本町","",null,null,"","",1,"躯","","延暦寺","1941-11-06 00:00:00","","","","","","","","","西塔の別所黒谷の青竜寺に伝わった維摩像。比叡山に現存する木彫のうちでも最古の部類に属する。像本体はもとより、臂をつく曲机までも同材から彫り出し、内刳はない。着衣には翻波式衣文と呼ばれるリズミカルなひだを刻み、平安時代前期の作風をしめす。卵形の頭部の造形に特徴があり、この点、常人ならざる様を表現したものと解釈する立場もある。青竜寺にはかつて維摩堂があり、この他にも維摩居士の像を伝える。","","https://kunishitei.bunka.go.jp/heritage/detail/201/3152",""], [144,252018,144,"滋賀県","大津市","木造慈恵大師坐像","もくぞうじえだいしざぞう","","","重要文化財","美術工芸品","","大津市坂本本町","",null,null,"","",1,"躯","","延暦寺","1941-11-06 00:00:00","","","","","","","","","天台宗では、最澄や円仁らの高僧を凌駕して、慈恵大師良源に対する後世の尊崇が厚く、その肖像を各地に残している。比叡山中興の傑僧であると同時に、死後も浄土へ赴かず叡山を守護することを誓ったとか、不動明王の化身であったなどとする信仰が、鎌倉時代を中心に浸透したことの反映であろう。本像は青竜寺に伝来した像だが、像内銘文には「飯室（谷）」の文字もみえる。同じく銘文から、弘安9年（1286）の作とわかる。","","https://kunishitei.bunka.go.jp/heritage/detail/201/3153",""], [145,252018,145,"滋賀県","大津市","木造慈恵大師坐像 文永2年銘","もくぞうじえだいしざぞう　ぶんえいにねんめい","","","重要文化財","美術工芸品","","大津市坂本本町","",null,null,"","",1,"躯","","延暦寺","1941-11-06 00:00:00","","","","","","","","","鎌倉時代に数多く制作された慈恵大師の彫像の中で最古の銘文を有する。像内脚部に記されたその長文の墨書によると、僧栄盛が弘長元年（1261）に、33体の慈恵大師像を毎年一体ずつ造立することを発願したが、本像はその第5度の造立にあたる。やはり銘文から、当時の慈恵大師信仰が護法神に対するそれに類する性格のものであったことも知られる。複雑な衣のひだを写実的に表現し、慈恵大師彫像中の白眉といえる作品である。","","https://kunishitei.bunka.go.jp/heritage/detail/201/3161",""], [146,252018,146,"滋賀県","大津市","木造四天王立像(所在釈迦堂)","もくぞうしてんのうりゅうぞう（しょざいしゃかどう）","","","重要文化財","美術工芸品","","大津市坂本本町","",null,null,"","",2,"躯","","延暦寺","1964-05-26 00:00:00","","","","","","","","","西塔釈迦堂に伝来した二躯の天部像で、昭和31年（1956）に焼失した大講堂にあった二躯と、本来一具をなしていたのではないかとも推測される。幹部を一材から彫成し、内刳もしない古様な構造だが、腰を大きくひねった姿態はおおらかである。比叡山上には何組も四天王像が造立・安置されたが、記録に残る四天王像に一致すると思われるものはなく、当初の安置場所は不明である。遅くとも10世紀初頭はくだらない時期の制作であろう。なお現在の両腕のとりつけには疑問がある。","","https://kunishitei.bunka.go.jp/heritage/detail/201/4842",""], [147,252018,147,"滋賀県","大津市","木造大黒天立像","もくぞうだいこくてんりゅうぞう","","","重要文化財","美術工芸品","","大津市坂本本町","",null,null,"","",1,"躯","","延暦寺","1964-05-26 00:00:00","","","","","","","","","烏帽子・平服を身につけ、袋を背負う最もよく目にする姿の大黒天像。比叡山における大黒天信仰は宗祖最澄にさかのぼるといわれるが、本像はなかでも注目すべき作例である。像内に、正安3年（1301）に彩色を行なった旨の墨書が認められ、制作期が定かとなる。頭・体を通して前後に二材を矧ぐ寄木造の像で、袋の部分はさらに別材を矧ぐ。","","https://kunishitei.bunka.go.jp/heritage/detail/201/4843",""], [148,252018,148,"滋賀県","大津市","木造薬師如来坐像","もくぞうやくしにょらいざぞう","","","重要文化財","美術工芸品","","大津市坂本本町","",null,null,"","",1,"躯","","延暦寺","1944-09-05 00:00:00","","","","","","","","","いま延暦寺国宝殿に主尊として安置されるが、寄進を受けた像である。樟材を用いた一木造で、両脚部は別材製。背中から内刳を入れて背板を矧ぐ。ロープ状の衣文を平行に刻むところや、重量感を残しながらも起伏は穏やかになりつつあるところから、10世紀の制作であることを思わせる。左手には薬壺をもたないが、最澄が自ら刻んだという延暦寺の根本本尊薬師如来像（いわゆる根本薬師）も、記録から同じ印相であったことが知られ、天台の伝統に添ったものとみられる。","","https://kunishitei.bunka.go.jp/heritage/detail/201/3854",""], [149,252018,149,"滋賀県","大津市","石造弥勒仏坐像","せきぞうみろくぶつざぞう","","","市指定有形文化財","美術工芸品","","大津市坂本本町","",null,null,"","",1,"躯","","延暦寺","1965-05-06 00:00:00","","","","","","","","","比叡山西塔釈迦堂裏手の弥勒堂の旧跡に所在。台座の受花部および二重円相光背をふくめて大半を一石から造り、像本体はほとんど丸彫りに近い。光背は左上半部を欠失するが、前面には梵字を入れた月輪形を並べ、背面は釈迦三尊の種子をあらわしている。さらに背面下方部は方形に彫り込まれ、かつて納入品を納めたことを推測させる。平安時代末から鎌倉時代初めにかけての造像とみられ、わが国の石仏のなかでも屈指の作といえよう。","","https://www.rekihaku.otsu.shiga.jp/db/bunka/detail.html?200",""], [150,252018,150,"滋賀県","大津市","宝相華蒔絵経箱","ほうそうげまきえきょうばこ","","","国宝","美術工芸品","","大津市坂本本町","",null,null,"","",1,"合","","延暦寺","1900-04-07 00:00:00","","","","","","","","","長方形の合口造の経箱で、黒漆地に粗く金粉をまき、その上に金銀の蒔絵をほどこす。蓋の表に二つ、両側面に二つずつ、両小口に一つずつの、合わせて八つの円文を作り、その中央に花菱形の花芯を中心に、宝相華唐草を描いている。円輪は粗い金粉、花弁は密な金粉、葉・蔓は銀粉と使い分けている。さらに、蓋裏にも宝相華唐草文を銀蒔絵としている。平安時代の蒔絵経箱としては、屈指の優品である。","","https://kunishitei.bunka.go.jp/heritage/detail/201/506",""], [151,252018,151,"滋賀県","大津市","金銅経箱　叡山横川如法堂埋納","こんどうきょうばこ　えいざんよかわにょほうどうまいのう","","","国宝","美術工芸品","","大津市坂本本町","",null,null,"","",1,"合","","延暦寺","1926-04-19 00:00:00","","","","","","","","","大正12年（1923）比叡山横川如法堂跡に如法塔を再建するための基礎工事にかかったところ、出土した経箱。銅鍛製金銀鍍金で、角丸長方形の印籠蓋造。蓋の上面と側面に宝相華唐草文を毛彫であらわし、全体を鍍銀、宝相華の文様は鍍金とし、上面中央に「妙法蓮華経」の五文字を線刻している。長元4年（1301）延暦寺の僧覚超が、円仁の書写した如法経を横川の如法堂に埋納した際、藤原道長の女彰子が自ら書写した法華経をこの経箱に納めて結縁したと伝える。","","https://kunishitei.bunka.go.jp/heritage/detail/201/336",""], [152,252018,152,"滋賀県","大津市","尾長鳥繍縁花文錦打敷","おながどりしゅうえんかもんにしきうちしき","","","重要文化財","美術工芸品","","大津市坂本本町","",null,null,"","",1,"枚","","延暦寺","1964-05-26 00:00:00","","","","","","","","","この打敷は裏面にある墨書銘から、「天台大師御筆法華経」の打敷として、延慶3年（1301）に施入されたことが知られる。表裏二枚を縫い合わせたもので、表には幅広く縁を廻し、内側に檜扇文萌黄綾地に四隅にそれぞれ二羽（一隅は一羽が欠失している）ずつ、中央に三羽の合計十羽の尾長鳥を、刺繍して貼り付けている。縁の部分には、縹・緑・紫・萌黄・黄の色糸で、紅地牡丹唐草を織り出している。紀年銘のある基準作であり、錦・綾の時代的特色を知ることができる。","","https://kunishitei.bunka.go.jp/heritage/detail/201/6897",""], [153,252018,153,"滋賀県","大津市","七条刺納袈裟、刺納衣","しちじょうしのうけさ、.しのうえ","","","国宝","美術工芸品","","大津市坂本本町","",null,null,"","",2,"領","","延暦寺","1964-05-26 00:00:00","","","","","","","","","比叡山延暦寺を開いた最澄が、中国・唐から将来したもの。七条刺納袈裟は、麻地に白・紺・茶など各色の麻の繊維を並べ、刺子で押さえたもの。裏縁裂に、天台第六祖荊渓和尚湛然の料であったことを示す墨書が見られる。刺納衣は、天台大師智顗の料を将来したと伝え、全体で三重として刺子で押さえているが、両袖をはじめ多くが欠失している。伝世品の衣服としては、最古のものである。","","https://kunishitei.bunka.go.jp/heritage/detail/201/548",""], [154,252018,154,"滋賀県","大津市","木造厨子","もくぞうずし","","","県指定有形文化財","美術工芸品","","大津市坂本本町","",null,null,"","",1,"基","","延暦寺","1963-08-21 00:00:00","","","","","","","","","坂本の里坊律院に伝わった厨子で、摂津高槻（大阪府高槻市）の末寺からもたらされたという。平屋根の四方に庇が付き、全体を黒漆仕上げとする。正面中央は双折れ板唐戸とし、これを開くと内部奥の板壁に阿弥陀如来を中心とした来迎図が、板戸の内側の左右には観音・勢至の両菩薩が描かれる。阿弥陀如来の下に「権大僧都聖眞逆修」とみられるが、詳細は不明である。来迎図の筆致・技法から、室町時代の作と考えられる。","","https://www.rekihaku.otsu.shiga.jp/db/bunka/detail.html?293",""], [155,252018,155,"滋賀県","大津市","金銅独鈷杵","こんどうとっこしょ","","","県指定有形文化財","美術工芸品","","大津市坂本本町","",null,null,"","",1,"口","","延暦寺","1997-03-31 00:00:00","","","","","","","","","金剛杵は杵形の把の両端に鈷をつけたもので、古代印度の武器であったものが、人間の煩悩を打ち破る法具となった。鈷の数や形によって名称が異なるが、これは把の両端に各一本の鈷を付けた独鈷杵である。鋳銅製で、鍍金仕上げとなっている。全体に細身で、中央の把部と両端の鈷部の長さがほぼ等しいことや、鈷部に浅く匙面取りをほどこすところから平安時代後期の作と考えられる。寺伝では、恵亮和尚（802〜860）の所持と伝えられている","","https://www.rekihaku.otsu.shiga.jp/db/bunka/detail.html?294",""], [156,252018,156,"滋賀県","大津市","伝教大師将来目録　貞元二十一年五月三十日","でんぎょうだいししょうらいもくろく　じょうげんにじゅういちねんごがつさんじゅうにち","","","国宝","美術工芸品","","大津市坂本本町","",null,null,"","",1,"巻","","延暦寺","1897-12-28","","","","","","","","","伝教大師最澄は、延暦23年（804）から翌年にかけて唐に渡り、天台山・越州竜興寺などで修行に勤め、多くの経典を書写した。この目録は、最澄が明州刺史に書写した経典を日本に持ち帰るための許可を申請した書類で、百二部百十五巻の書名と入手にいたる勉学の状況を記し、貞元21年5月13日付で最澄・訳語僧義真・傔従丹福成が署名する。その後ろに、同15日付けの明州刺史鄭審則の許可を示す文書、さらに遣唐大師藤原葛野麻呂以下四名の署名がある。","","https://kunishitei.bunka.go.jp/heritage/detail/201/796",""], [157,252018,157,"滋賀県","大津市","羯磨金剛目録　伝教大師筆","かつまこんごうもくろく　でんぎょうだいしひつ","","","国宝","美術工芸品","","大津市坂本本町","",null,null,"","",1,"巻","","延暦寺","1897-12-28","","","","","","","","","弘仁2年（811）伝教大師最澄が唐から将来した品々を比叡山に納めた時の最澄自筆の目録。巻首・巻尾が失われているが、三種類の奉納品が記され、最後にいずれも「弘仁二年七月十七日最澄永納」と記されている。最澄45歳の筆跡として注目され、文面全体には「比叡寺印」の朱印が、紙背継目には「惣封最澄」と記されている。『羯磨金剛目録』という名称は、冒頭に書かれた密教法具「羯磨金剛」に由来している。","","https://kunishitei.bunka.go.jp/heritage/detail/201/797",""], [158,252018,158,"滋賀県","大津市","天台法華宗年分縁起　伝教大師筆","てんだいほっけしゅうねんぶんえんぎ　でんぎょうだいしひつ","","","国宝","美術工芸品","","大津市坂本本町","",null,null,"","",1,"巻","","延暦寺","1900-04-07 00:00:00","","","","","","","","","唐から天台宗を伝えた伝教大師最澄は、天台宗からも毎年二名の年分度者（得度者）が認められるよう朝廷に請願したが、『天台法華宗年分縁起』は延暦25年（806）から弘仁9年（818）までの年分度者に関する六通の文書を、最澄自らが書写したもの。第一通が最澄による請願で、第三通で太政官によってそれが認められ、第四通は年分度者の名簿となっている。第六通は天台宗の学生が守るべき規程を定めており、『山家学生式』の一部として知られる。","","https://kunishitei.bunka.go.jp/heritage/detail/201/798",""], [159,252018,159,"滋賀県","大津市","六祖恵能伝","ろくそえのうでん","","","国宝","美術工芸品","","大津市坂本本町","",null,null,"","",1,"巻","","延暦寺","1900-04-07 00:00:00","","","","","","","","","中国禅宗の興隆につとめ、六祖大師とも呼ばれて崇敬を集めた恵能の伝記。伝記は先天2年（713）恵能没後数十年をして成立したと伝えられ、本書の巻末に貞元十九年（803）二月十三日の奥書があるところから、伝記成立後間もない古写本であることがわかる。延暦寺を開いた最澄が唐から将来したもので、『伝教大師将来目録』の中に書名が見られる。料紙の継目の紙背には、最澄の自署になる「澄封」の墨書と、「比叡寺印」「延暦寺印」が押されている。","","https://kunishitei.bunka.go.jp/heritage/detail/201/682",""], [160,252018,160,"滋賀県","大津市","伝教大師入唐牒","でんぎょうだいしにっとうちょう","","","国宝","美術工芸品","","大津市坂本本町","",null,null,"","",1,"巻","","延暦寺","1900-04-07 00:00:00","","","","","","","","","延暦23年（804）遣唐船に乗って中国に渡った伝教大師最澄が、明州・台州を通過するために作成された証明書である。一通目は、貞元20年（804）9月12日付けで明州府史孫階が作成したもので、最澄一行の天台山への路次の便宜を図るよう命じたもの。二通目は、貞元21年2月帰途につこうとした最澄が、経論などを持ち帰る事の許可を申請したもので、これを認めた台州刺史陸淳の署名と「台州之印」が押されている。","","https://kunishitei.bunka.go.jp/heritage/detail/201/799",""], [161,252018,161,"滋賀県","大津市","嵯峨天皇宸翰光定戒牒（弘仁十四年四月十四日）","さがてんのうしんかんこうじょうかいちょう（こうにんじゅうよねんしがつじゅうよっか）","","","国宝","美術工芸品","","大津市坂本本町","",null,null,"","",1,"巻","","延暦寺","1953-11-14 00:00:00","","","","","","","","","最澄の悲願であった延暦寺の大乗戒壇設立は、没後の弘仁13年（822）6月11日に勅許を得、翌弘仁14年4月14日延暦寺の一乗止観院において十四名に対して最初の授戒が行なわれた。最澄の弟子であった光定もその中に含まれていたが、大乗戒壇設立にあたっての尽力により、嵯峨天皇が直筆で光定の戒牒（証明書）を認めた。本文は嵯峨天皇の筆になり、末尾に申請者光定と戒師などの署名があり、本文に三顆、末尾四行に八顆の「太政官印」が押されている。","","https://kunishitei.bunka.go.jp/heritage/detail/201/800",""], [162,252018,162,"滋賀県","大津市","紙本墨書道邃和尚伝道文","しほんぼくしょどうずいかしょうでんどうもん","","","重要文化財","美術工芸品","","大津市坂本本町","",null,null,"","",1,"巻","","延暦寺","1900-04-07 00:00:00","","","","","","","","","遣唐船に乗って中国に渡った最澄は、貞元20年（804）秋から翌年の春にかけて天台山に登り、中国天台七祖の道邃の下で修行を重ね、伝法を授けられた。本書は、最澄が師の許を去るにあたって道邃が自ら認めた伝道文の末尾とされ、紙背は唐の写経である。内容は、智者大師（天台大師智顗）が自分の入滅後二百余年にして東国に仏法を興隆する者があらわれると予言したが、それが最澄であるという。","","https://kunishitei.bunka.go.jp/heritage/detail/201/9320",""], [163,252018,163,"滋賀県","大津市","紙本墨書華厳要義問答 行福筆","しほんぼくしょけごんようぎもんどう　ぎょうふくひつ","","","重要文化財","美術工芸品","","大津市坂本本町","",null,null,"","",2,"巻","","延暦寺","1900-04-07 00:00:00","","","","","","","","","『華厳要義問答』は、『華厳経』の教義を18項目に分けて、名字の解釈、名字の教義的依り所、問答形式による内容解釈の三種について解説している。朝鮮・新羅の皇龍寺表員の撰で四巻からなるが、延暦寺には巻一と巻二が上下巻として伝わり、巻三・巻四はない。巻末の奥書から延暦18年（799）正月8日、行福によって書写されたことがわかる。","","https://kunishitei.bunka.go.jp/heritage/detail/201/7686",""], [164,252018,164,"滋賀県","大津市","紙本墨書山門再興文書","しほんぼくしょさんもんさいこうもんじょ","","","重要文化財","美術工芸品","","大津市坂本本町","",null,null,"","",4,"通","","延暦寺","1906-04-14 00:00:00","","","","","","","","","元亀2年（1571）織田信長の焼き討ちによって全山が焼亡した比叡山延暦寺の再興に関する一連の文書。天正12年（1584）5月朔日秀吉が正覚院豪盛、徳雲軒（施薬院）全宗に宛てて根本中堂と戒壇院の再興を認め、翌年の3月11日には正親町天皇が伊達正宗に綸旨を与え、分国中の奉加を命じている。さらに、徳川家康による山門再興を認める文書なども含まれている。","","https://kunishitei.bunka.go.jp/heritage/detail/201/9321",""], [165,252018,165,"滋賀県","大津市","伝述一心戒文　上中下","でんじゅついっしんかいもん　じょうちゅうげ","","","重要文化財","美術工芸品","","大津市坂本本町","",null,null,"","",3,"帖","","延暦寺","1949-05-30 00:00:00","","","","","","","","","延暦寺の戒壇院設立に関する文書を、最澄の弟子光定が上巻五章・中巻十四章・下巻一章の三巻二十章にまとめたもの。大同5年（810）光定の年分試験及第と得度から、承和元年（834）光定が円澄を天台座主としたことなどを記す。奥書から応徳元年（1804）9月良祐が光定の草稿本から書写、延応2年（1024）良快の訓点、天文22年（1553）覚如法親王の伝領、千光寺（茨城県）宝蔵の所蔵という経緯が知られる。『伝述一心戒文』の完本かつ最古の写本である。","","https://kunishitei.bunka.go.jp/heritage/detail/201/7689",""], [166,252018,166,"滋賀県","大津市","悉曇蔵","しったんぞう","","","重要文化財","美術工芸品","","大津市坂本本町","",null,null,"","",8,"帖","","延暦寺","1949-05-30 00:00:00","","","","","","","","","平安時代前期の天台僧で天台密教の大成者として知られる安然が、清和天皇の勅命によって編纂した梵字悉曇の解説書。梵字悉曇の由来・音韻・成字法・字義などを記し、悉曇研究上の最高文献とされている。各帖表紙には梵字の外題が記され、奥書から応徳二年（1805）六月書写され、第四帖を除いて翌3年5月から6月にかけて仁和寺浄光院の住僧賢尊によって朱訓点が加えられ、嘉吉3年（1443）実助が相伝したことがわかる。","","https://kunishitei.bunka.go.jp/heritage/detail/201/7690",""], [167,252018,167,"滋賀県","大津市","紺紙金銀交書法華経","こんしきんぎんこうしょほけきょう","","","重要文化財","美術工芸品","","大津市坂本本町","",null,null,"","",8,"巻","","延暦寺","1955-06-22 00:00:00","","","","","","","","","紺紙に銀泥で界を引き、金泥と銀泥で一行ごとに『法華経』八巻を書写した装飾経。『法華経』巻四に説く七宝の塔に七宝で飾った写経を納めれば成仏の功徳が得られるという説に基づき、七宝中の金・銀・瑠璃（紺紙）によって造られたと考えられている。表紙には金銀泥で宝相華唐草文が、見返しには金銀泥で釈迦説法図や経意絵が描かれる。金銀交書経としては、著名な『中尊寺経』に先行するものである。","","https://kunishitei.bunka.go.jp/heritage/detail/201/8337",""], [168,252018,168,"滋賀県","大津市","紺紙銀字法華経","こんしぎんじほけきょう","","","重要文化財","美術工芸品","","大津市坂本本町","",null,null,"","",8,"巻","","延暦寺","1955-06-22 00:00:00","","","","","","","","","紺紙に金泥で界を引き、銀泥で『法華経』八巻を書写した装飾経。表紙には金銀泥で宝相華唐草文を、見返しには銀泥もしくは金銀泥で経意絵を描く。寺伝では円珍の筆と伝えるが、その筆法から9世紀の朝鮮・新羅経と見る説と、平安時代に日本で書写されたという説がある。装飾経の中でも銀字だけで書写されたものは珍しいが、表紙や見返しの一部に破損の跡が見られる。","","https://kunishitei.bunka.go.jp/heritage/detail/201/8338",""], [169,252018,169,"滋賀県","大津市","延暦寺楞厳三昧院解　天禄三年正月十五日","えんりゃくじりょうごんざんまいいんのげ　てんろくさんねんしょうがつじゅうごにち","","","重要文化財","美術工芸品","","大津市坂本本町","",null,null,"","",1,"幅","","延暦寺","1979-06-06 00:00:00","","","","","","","","","天禄3年（972）正月15日付けで、横川の楞厳三昧院の住僧が西塔の例に准じて横川の独立を天台座主良源に請願したもの。延暦寺は、東塔・西塔・横川の三塔からなっているが、最北に位置する横川は天長8年（831）円仁が入籠することによって開かれ、この請願がなされた時には住僧が二百人に及んでいた。この解には別紙が継がれ、「准状座主権少僧都良源」の自署と延暦寺三綱の署判がなされ、請願に対する許可が与えられている。","","https://kunishitei.bunka.go.jp/heritage/detail/201/9039",""], [170,252018,170,"滋賀県","大津市","往生要集","おうじょうようしゅう","","","県指定有形文化財","美術工芸品","","大津市坂本本町","",null,null,"","",6,"冊","","延暦寺","1997-03-31 00:00:00","","","","","","","","","『往生要集』三巻は、恵心僧都源信が多くの経論を引いて念仏を勧め、その後の浄土教思想の発展に多くの影響を与えた著作である。本書は上中下三巻をそれぞれ本末に分け、全部で六冊からなっている。この内、四冊が版本、二冊が写本で、下末に建長五年（1253）の刊記がある。写本も版本と同じ字配りで書写されており、南北朝頃に版本の欠を補ったと考えられる。奥書から六冊揃って武州金蔵寺に寄進されていたものが、後に延暦寺に伝えられたことがわかる。","","https://www.rekihaku.otsu.shiga.jp/db/bunka/detail.html?344",""], [171,252018,171,"滋賀県","大津市","宗存版木活字（付属品共）","しゅうぞんばんもっかつじ（ふぞくひんとも）","","","重要文化財","美術工芸品","","大津市坂本本町","",null,null,"","",174261,"点","","延暦寺","2000-12-04 00:00:00","","","","","","","","","江戸時代前期に、伊勢国常明寺の天台僧宗存の発願によって行われた出版事業（宗存版）に用いられた木活字。１５万箇以上を数える活字の内、約１４万箇が経典本文の活字で、その他に頭注用の小型活字、割注や版心に使われる幅の狭い活字、連続活字等があり、多くはサクラ材である。付属品には、罫線材・字間材・行間材・板木等がある。現在、宗存版の刊本は、慶長１８年（1613）から寛永元年（1624）にかけて１４０種類が確認されるが、この木活字の一部は現存する宗存版刊本の本文と一致している。","","https://kunishitei.bunka.go.jp/heritage/detail/201/10391",""], [172,252018,172,"滋賀県","大津市","比叡山鳥類繁殖地","ひえいざんちょうるいはんしょくち","","","国指定天然記念物","","","大津市坂本本町","",135.8537888,35.06377257,"","",null,"","","延暦寺","1930-10-03 00:00:00","","","","","","","","","比叡山は、標高500m付近を境に暖林帯と温林帯の二つの林相に分れ、温和湿潤な気候と食餌の豊富さという鳥の繁殖にとっての恵まれた自然条件、延暦寺の境内地として殺生禁断の地であったという歴史的条件に加え、北方系・南方系の渡り鳥の通路にあたっているところから、国内でも小鳥類の有数の繁殖地となっている。鳥の種類は18科・80種類が知られ、夏期に営巣繁殖するものは約60種類におよんでいる。","","https://kunishitei.bunka.go.jp/heritage/detail/401/3082",""], [173,252018,173,"滋賀県","大津市","延暦寺境内","えんりゃくじけいだい","","","国指定史跡","","","大津市坂本本町","",135.8537888,35.06377257,"","",null,"","","延暦寺","1934-03-13 00:00:00","","","","","","","","","比叡山は、国家鎮護の霊山として著名であり、その東の中腹に天台宗総本山の延暦寺が所在。延暦寺は、延暦7年（788）最澄が一乗止観院を創建したのを契機に東塔・西塔・横川の三塔十六谷に諸堂が建立され発展した。織田信長の焼き討ちなど大火や受難を経験しつつも天皇家、貴族や武将など多くの信者により復興がくり返され宗教的権威を保ちつづけ、わが国の歴史に大きな影響を及ぼした。","","https://kunishitei.bunka.go.jp/heritage/detail/401/3084",""], [174,252018,174,"滋賀県","大津市","旧宝寿院宝篋印塔","きゅうほうじゅいんほうきょういんとう","","","重要文化財","建造物","","大津市坂本本町4220","",135.8380624,35.06820393,"","",1,"基","","個人","1961-03-23 00:00:00","","","","","","","","","","","https://kunishitei.bunka.go.jp/heritage/detail/102/1182",""], [175,252018,175,"滋賀県","大津市","木造菩薩立像","もくぞうぼさつりゅうぞう","","","県指定有形文化財","美術工芸品","","大津市坂本本町","",null,null,"","",1,"躯","","松禅院","2021-02-16 00:00:00","","","","","","","","","比叡山内の松禅院に伝えられた菩薩立像で、十数年前に存在が確認された。針葉樹の一材から、両腕の大半や蓮肉までを彫出し、内刳りしない構造は古様を示す。定型化されていない天衣の着衣形式や、胸下の特徴的な筋肉表現から、造像の時期は八世紀末から九世紀初期と見られる。後世の補修も認められるが、比叡山内では重要文化財の木造千手観音立像とともに、現存する最古級の木彫として注目される。","","https://www.rekihaku.otsu.shiga.jp/db/bunka/detail.html?616",""], [176,252018,176,"滋賀県","大津市","木造地蔵菩薩立像","もくぞうじぞうぼさつりゅうぞう","","","県指定有形文化財","美術工芸品","","大津市坂本本町","",null,null,"","",1,"躯","","松禅院","2021-02-16 00:00:00","","","","","","","","","松禅院に内仏として伝えられた僧形像。針葉樹の一材から像の大半を彫出し、内刳りしない古様な構造になる。衣文の表現や一部の省略からは、九世紀彫刻の古様を残しながらも十世紀に入ってからの作と考えられる。やや小像ではあるが、胸の左右の襟の折り返しや腹の括れを二条とするなど、天台系彫像としての特徴を持つ。保存状態も良好で、当初の姿をよく伺わせる古像である。","","https://www.rekihaku.otsu.shiga.jp/db/bunka/detail.html?617",""], [177,252018,177,"滋賀県","大津市","絹本著色不動二童子像","けんぽんちゃくしょくふどうにどうじぞう","","","重要文化財","美術工芸品","","大津市坂本5丁目","",null,null,"","",1,"幅","","恵光院","1908-04-23 00:00:00","","","","","","","","","海中の岩の上に斜め右を向いて立つ不動明王と、二童子の姿を描く。不動明王の尊容は牙を上下に出し、左目をやや眇たもので、肉身を青緑とし、右手に剣、左手に羂索をとる。矜羯羅童子は白肉身で、やや膝を曲げて合掌し独鈷杵をとって不動明王を仰ぎ見、制吒迦童子は赤肉身で、右手に棍棒を持つ。背後の海波や、截金を使うことなく彩色で描いた着衣の文様から、作者の力量を知ることができる。","","https://kunishitei.bunka.go.jp/heritage/detail/201/1239",""], [178,252018,178,"滋賀県","大津市","木造慈眼大師坐像","もくぞうじげんだいしざぞう","","","重要文化財","美術工芸品","","大津市坂本4丁目","",null,null,"","",1,"躯","","恵日院","1900-04-07 00:00:00","","","","","","","","","江戸時代初期に徳川家康をはじめ将軍家の帰依をえて、信長に焼かれた比叡山の再興や東叡山寛永寺の草創などに力を注いだ傑僧天海の肖像。胸前で金剛杵と数珠を握る姿は慈恵大師像にヒントをえたものか。寛永20年（1643）の入滅後まもない頃の作と推測されている。像表面にほどこされた極彩色が美しい。","","https://kunishitei.bunka.go.jp/heritage/detail/201/3148",""], [179,252018,179,"滋賀県","大津市","求法寺走井元三大師堂","ぐほうじはしりいがんざんだいしどう","","","県指定有形文化財","建造物","","大津市坂本5-2-33","",135.8651123,35.07151408,"","",1,"棟","","求法寺","1998-06-19 00:00:00","","","","","","","","","延暦寺登山口の本坂脇に所在し、日吉大社参道に南面して建つ。元三大師（慈恵大師）良源が初登山の時、ここで休憩し修行の決意をしたところから求法寺の名がおこり、慈恵大師像を本尊として祀っている。現在の建物は、正徳3年（1713）建築に着手し翌年上棟しており、大工として棟札に名前の見える次郎左衛門尉は、西教寺本堂の大工と同じ系統に属す。正面五間、側面三間の礼堂の背面に、正面三間、側面三間の正堂が「凸」字形に接続している。","","https://www.rekihaku.otsu.shiga.jp/db/bunka/detail.html?22",""], [180,252018,180,"滋賀県","大津市","木造慈恵大師坐像","もくぞうじえだいしざぞう","","","重要文化財","美術工芸品","","大津市坂本5丁目","",null,null,"","",1,"躯","","求法寺","1913-04-14 00:00:00","","","","","","","","","坂本の通称走井堂の本尊。像底の底板に朱漆で書かれた銘文があり、円暹を願主とし、仏師法橋院農および絵師法橋快円によって、文永4年（1267）に造立されたことが判明する。院農については他に知られないが、「院」字を用いることからみて、いわゆる院派に属する仏師であったかと思われる。像は意志に満ちた表情をみせ、大ぶりに刻まれた衣のひだの彫法も生気があり、慈恵大師の彫像のなかでも優作といえよう。","","https://kunishitei.bunka.go.jp/heritage/detail/201/3147",""], [181,252018,181,"滋賀県","大津市","木造不動明王二童子立像","もくぞうふどうみょうおうにどうじりゅうぞう","","","重要文化財","美術工芸品","","大津市坂本4丁目","",null,null,"","",3,"躯","","玉蓮院","1900-04-07 00:00:00","","","","","","","","","不動明王と矜羯羅・制吒迦両童子像の三尊が一具でそろう。三尊ともに動きのある姿態をみせるが、衣のひだの彫法にはやや重さがあり、鎌倉時代も前期にはさかのぼりえないとみられる。着衣には截金と盛上げ彩色によって文様をあらわすが、後者による鳳凰丸文や雲文などの具象文様も、鎌倉時代後期以降に流行するものである。","","https://kunishitei.bunka.go.jp/heritage/detail/201/3146",""], [182,252018,182,"滋賀県","大津市","絹本著色阿弥陀二十五菩薩来迎図","けんぽんちゃくしょくあみだにじゅうごぼさつらいごうず","","","県指定有形文化財","美術工芸品","","大津市坂本5丁目","",null,null,"","",1,"幅","","弘法寺","1993-03-31 00:00:00","","","","","","","","","阿弥陀如来が諸菩薩を従え、衆生を救うために人間界に降りて来る様を描く来迎図。右下の屋内で合掌する僧形の往生者のもとへ、阿弥陀如来と観音・勢至菩薩および楽器を手に奏楽する二十五菩薩が迎えに出向いている。阿弥陀如来の白毫から往生者のもとへ光明が達し、往生者の前には七体の讃嘆菩薩が、空中には十七体の化仏と二体の飛天が描かれる。上方には、阿弥陀如来と十一体の菩薩が、往生者の魂を極楽浄土へと連れて帰る「帰り来迎」の情景が描かれている。","","https://www.rekihaku.otsu.shiga.jp/db/bunka/detail.html?117",""], [183,252018,183,"滋賀県","大津市","金銀鍍水瓶","きんぎんとすいびょう","","","重要文化財","美術工芸品","","大津市坂本5丁目","",null,null,"","",1,"口","","弘法寺","1964-05-26 00:00:00","","","","","","","","","白銅鋳成、挽物仕上げで、全体を鍍金とし、頸は長めで胴に注口を付けた水瓶である。頸の中央と肩・胴に子持の三条の線をめぐらし、台脚の縁に二条の紐を付けている。注口の断面は菱形で、付根には胡桃形五葉蓮華座を設けている。蓋は印籠蓋造で、二重盛上の甲高頂上に蓮華座をつくり、上に円筒紐を立てる。付属の箱の墨書によれば、円仁の将来した品と伝えられていたことがわかる。聖衆来迎寺の建治2年（1276）の銅水瓶よりも年代的に古い形式とされる。","","https://kunishitei.bunka.go.jp/heritage/detail/201/6898",""], [184,252018,184,"滋賀県","大津市","法華経(装飾経)","ほけきょう（そうしょくきょう）","","","重要文化財","美術工芸品","","大津市坂本5丁目","",null,null,"","",8,"巻","","弘法寺","1964-05-26 00:00:00","","","","","","","","","斐紙の料紙に金銀で界を引き、天地に金銀の砂子・切箔などを配し、『法華経』八巻を書写する。八巻一筆となり、細身縦長の宋版の版経を模したような書風を見せている。巻八の奥書に、天正18年（1509）五月付けの天台座主尊朝親王の跋文があり、美濃国（岐阜県）多芸庄の伊藤某が延暦寺に寄進したとある。同じく跋文には源信の妹安養尼の真筆とあるが、確証はない。","","https://kunishitei.bunka.go.jp/heritage/detail/201/8689",""], [185,252018,185,"滋賀県","大津市","木造阿弥陀如来立像","もくぞうあみだにょらいりゅうぞう","","","重要文化財","美術工芸品","","大津市坂本5丁目","",null,null,"","",1,"躯","","乗実院","1900-04-07 00:00:00","","","","","","","","","鎌倉時代初期の著名な仏師快慶の創始した作風を安阿弥様と呼ぶが、本像もその流れに属する作例と考えられる。ただし表情はやや冷たく醒めたような面持ちとなり、衣のひだの彫法も型にはまったものである。この種の作例の形式化する鎌倉時代も末に近い頃の作かと思われる。","","https://kunishitei.bunka.go.jp/heritage/detail/201/3154",""], [186,252018,186,"滋賀県","大津市","絹本著色毘沙門天像","けんぽんちゃくしょくびしゃもんてんぞう","","","重要文化財","美術工芸品","","大津市坂本5丁目","",null,null,"","",1,"幅","","実蔵坊","1900-04-07 00:00:00","","","","","","","","","二匹の邪鬼を踏み、左手に宝塔、右手に如意棒を持って立つ甲冑姿の毘沙門天を中央に、下部には右手与願印、左手に青い如意宝珠を持つ吉祥天、両手で金篋を持つ善膩師童子を三尊形式で描く。両脇侍が持つ如意宝珠と金篋は、毘沙門天経にいう天王が行者を愍み童子形になってあらわれる時の持物である。全体に彩色を控えて、金箔・截金・金泥の使用が目立ち、鎌倉時代前期の作と推定される。裏面には「山門東塔南谷浄教房」の墨書がある。","","https://kunishitei.bunka.go.jp/heritage/detail/201/1240",""], [187,252018,187,"滋賀県","大津市","水晶舎利塔","すいしょうしゃりとう","","","重要文化財","美術工芸品","","大津市坂本5丁目","",null,null,"","",1,"基","","実蔵坊","1900-04-07 00:00:00","","","","","","","","","白水晶で作られた五輪塔で、地輪の上に球形の水輪、宝形式の火輪をはめこみ、その上に一体として作られた火風空輪をのせている。地輪の下半には金銅板金製の蓮華唐草透彫金具を巻き、その下には間弁をつけた複弁蓮華文の反花座を設けている。地輪・水輪・火輪は内部に空洞を作って、舎利を入れることができるようになっている。火風空輪は当初からのものではないようであるが、水晶の質感を生かした鎌倉時代の舎利塔である。","","https://kunishitei.bunka.go.jp/heritage/detail/201/9659",""], [188,252018,188,"滋賀県","大津市","木造阿弥陀如来坐像","もくぞうあみだにょらいざぞう","","","重要文化財","美術工芸品","","大津市坂本5丁目","",null,null,"","",1,"躯","","寿量院","1900-04-07 00:00:00","","","","","","","","","像高1m余の坐像で、来迎相の観音・勢至両菩薩像を脇侍とする。肉身は金泥塗、着衣には漆箔を押す。頬の張った若々しい相貌だが、全体としての作風には形式化がうかがえる。室町時代の作といわれる。","","https://kunishitei.bunka.go.jp/heritage/detail/201/3149",""], [189,252018,189,"滋賀県","大津市","絹本著色不動明王二童子像","けんぽんちゃくしょくふどうみょうおうにどうじぞう","","","重要文化財","美術工芸品","","大津市坂本5丁目","",null,null,"","",1,"幅","","大林院","1900-04-07 00:00:00","","","","","","","","","海中の岩の上に斜め左を向いて立つ不動明王と、二童子の姿を描く。不動明王は上半身半裸で、肉身は青緑色で、両牙は上下に出し、目は眇とする。右手に長剣を持つが、束ではなく抜身を握り、左手に羂索をとる。白肉身の矜羯羅童子はやや腰をかがめて合掌し、赤肉身の制吒迦童子は棍棒と三鈷杵を持ち、ともに不動明王を仰ぎ見る。恵光院本とともに、「海中の不動」の秀作である。","","https://kunishitei.bunka.go.jp/heritage/detail/201/1249",""], [190,252018,190,"滋賀県","大津市","木造不動明王坐像","もくぞうふどうみょうおうざぞう","","","重要文化財","美術工芸品","","大津市坂本5丁目","",null,null,"","",1,"躯","","大林院","1900-04-07 00:00:00","","","","","","","","","少し右に顔を向け、頭頂には蓮華をおく。眼を見ひらき、上歯で下唇を噛む。このような像容は東寺（教王護国寺）講堂像を最古の例とするいわゆる大師様（弘法大師様）の不動と呼ばれる。本来は真言系の図像が、天台にも流入したことをうかがわせる作例である。肉づけは穏やかで、衣のひだの彫りも比較的浅い。平安時代のちょうど中頃の制作かと推測される。","","https://kunishitei.bunka.go.jp/heritage/detail/201/3159",""], [191,252018,191,"滋賀県","大津市","木造地蔵菩薩立像","もくぞうじぞうぼさつりゅうぞう","","","重要文化財","美術工芸品","","大津市坂本4丁目","",null,null,"","",1,"躯","","妙行院","1900-04-07 00:00:00","","","","","","","","","もとは横川般若谷の荒堂にまつられていたが、地獄へ落ちた役夫賀能の身代わりとなってこれを救い、火傷をおったという伝説があり、頬焼地蔵の呼称をもつ。宝珠と錫杖をもつ通形の地蔵菩薩立像で、眼ざしの厳しい顔だちや写実的な着衣のひだの表現などに、鎌倉時代の特色をみせている。","","https://kunishitei.bunka.go.jp/heritage/detail/201/3145",""], [192,252018,192,"滋賀県","大津市","絹本著色地蔵菩薩像","けんぽんちゃくしょくじぞうぼさつぞう","","","重要文化財","美術工芸品","","大津市坂本4丁目","",null,null,"","",1,"幅","","明徳院","1900-04-07 00:00:00","","","","","","","","","地蔵菩薩は、釈迦入滅の後弥勒仏が出生するまでの間、衆生を導く菩薩である。僧形で、右手に錫杖、左手に宝珠をもち、袈裟を著け、踏割蓮華の上に正面を向いて立つ。阿弥陀来迎図と同じように、雲に乗って来迎する形をとっており、雲は背後にたなびいている。光背から放射状に放光がひろがっているのは、珍しい図柄である。鎌倉時代の写実的な傾向があらわれ、雲や衣文の描写も巧みである。","","https://kunishitei.bunka.go.jp/heritage/detail/201/1250",""], [193,252018,193,"滋賀県","大津市","延暦寺坂本里坊庭園　\n　　雙厳院庭園\n　　宝積院庭園\n　　滋賀院門跡庭園\n　　実蔵坊庭園\n　　寿量院庭園\n　　律院庭園\n　　旧白毫院庭園\n　　旧竹林院庭園\n　　蓮華院庭園\n　　佛乗院庭園","えんりゃくじさかもとさとぼうていえん\nそうごんいんていえん\nほうしゃくいんていえん\nしがいんもんぜきていえん\nじつぞうぼうていえん\nじゅりょういんていえん\nりついんていえん\nきゅうびゃくごういんていえん\nきゅうちくりんいんていえん\nれんげいんていえん\nぶつじょういんていえん","","","国指定名勝","","","大津市坂本","",135.8637728,35.0576893,"","",null,"","","","1998-12-08 00:00:00","","","","","","","","","比叡山の東麓、日吉大社の門前にひらけた坂本の里坊に、江戸時代から明治にかけ築かれた10カ所（雙厳院、宝積院、滋賀院門跡、実蔵坊、寿量院、律院、旧白毫院、旧竹林院、蓮華院、佛乗院）の庭園。里坊は延暦寺の僧侶が余生を過ごす生活の場で、庭園はいずれも豊かな水を利用した池や流れの庭園である。客殿や書院の主座敷から鑑賞ができるよう、建物と庭の空間構成に共通の様式が見られ、力強い石組みや繊細な水音をふんだんにつかっている。国の選定になる「大津市坂本伝統的建造物群保存地区」の環境物件ともなっている。","","https://kunishitei.bunka.go.jp/heritage/detail/401/3202",""], [194,252018,194,"滋賀県","大津市","旧竹林院　茶室(小間)、茶室(広間)、四阿","きゅうちくりんいん　ちゃしつ（こま）、ちゃしつ（ひろま）、あずまや","","","市指定有形文化財","建造物","","大津市坂本5-2-13","",135.8653866,35.07176668,"","",3,"棟","","大津市","1993-03-15 00:00:00","","","","","","","","","延暦寺の旧里坊竹林院の地に別荘を営んだ数奇者藪田氏により、現在の茶室などが大正年間に建てられたと考えられる。庭園の中に二棟の茶室と四阿が配置され、一連に使用することができるようになっている。三棟の内、茶室（小間）は千利休の縁につながる久田家の三代宗全の好みによって生み出された、点前座の一方に一畳他方に台目畳の客座を添えた、「天の川席」と呼ばれる間取りをとる。全国的にも他には、旧久米邸（現、武者小路千家東京道場）が知られるのみである。","","https://www.rekihaku.otsu.shiga.jp/db/bunka/detail.html?23",""], [195,252018,195,"滋賀県","大津市","絹本著色弥陀三尊二十五菩薩来迎図","けんぽんちゃくしょくみださんぞんにじゅうごぼさつらいごうず","","","重要文化財","美術工芸品","","大津市坂本本町","",null,null,"","",1,"幅","","安楽律院","1900-04-07 00:00:00","","","","","","","","","「二十五菩薩来迎図」の名称となっているが、阿弥陀如来は十五の菩薩を従える。通常の来迎図では向かって左から往生者の所へ向かうのに対し、本図は逆に右から向かっており、阿弥陀如来の来迎印も左右逆となっている。阿弥陀如来の前には観音・勢至など五菩薩が、後ろには楽器を手にした十の菩薩が従う。往生者の屋敷の周辺には、楓や萩など秋の風景が描かれている。","","https://kunishitei.bunka.go.jp/heritage/detail/201/1236",""], [196,252018,196,"滋賀県","大津市","絹本著色千手観音像","けんぽんちゃくしょくせんじゅかんのんぞう","","","重要文化財","美術工芸品","","大津市坂本本町","",null,null,"","",1,"幅","","安楽律院","1900-04-07 00:00:00","","","","","","","","","千手観音は顔や手をたくさん持ち、観音の救済能力を最大限に表現したものである。岩座の上に立つ千手観音立像は十一面四十二臂の通常の姿であらわされ、両脇に獣皮の上に立つ婆藪仙と毛氈座に立つ功徳天（吉祥天）を従える三尊形式をとっている。背景に自然景観をあらわすのは補陀落山中であることを示すもので、全体に截金が多用されている。","","https://kunishitei.bunka.go.jp/heritage/detail/201/1237",""], [197,252018,197,"滋賀県","大津市","木造阿弥陀如来立像","もくぞうあみだにょらいりゅうぞう","","","重要文化財","美術工芸品","","大津市坂本１丁目","",null,null,"","",1,"躯","","宝光寺","1900-04-07 00:00:00","","","","","","","","","鎌倉時代以降、数多く作例をみる来迎印を結ぶ阿弥陀如来立像の一例。髪際線の中央が少し額にかぶさり、やや面長な顔だちである。繁く刻まれた衣のひだの彫法がやや硬く、鎌倉時代も後期の制作かと推定される。","","https://kunishitei.bunka.go.jp/heritage/detail/201/3160",""], [198,252018,198,"滋賀県","大津市","盛安寺客殿","せいあんじきゃくでん","","","重要文化財","建造物","","大津市坂本1-17-1","",135.8683956,35.05815018,"","",1,"棟","","盛安寺","1993-08-17 00:00:00","","","","","","","","","大津から坂本へ通じる旧街道の西側に、本堂に隣接して東面して建ち、南側に庭園がある。平面は、前後二列に三室をならべて全体で六室とし、東側と南側に広縁、北側に縁を設け、南側広縁の先に濡縁がつく。庭に面する奥の間と二の間は、ともに長谷川派の手になると思われる障壁画が描かれ、奥の間には床と違棚を設けている。周辺の西教寺や聖衆来迎寺の客殿と障壁画から、17世紀前半の建築と考えられる。","","https://kunishitei.bunka.go.jp/heritage/detail/102/1381",""], [199,252018,199,"滋賀県","大津市","盛安寺本堂","せいあんじほんどう","","","市指定有形文化財","建造物","","大津市坂本1-17-1","",135.8683956,35.05815018,"","",1,"棟","","盛安寺","1993-12-15 00:00:00","","","","","","","","","境内には南面する本堂を中心に、西に客殿と庭園、北に庫裏があり、周囲に石垣を積み、東の道に面して門を構える。本堂の平面構成は、天台宗系の三間堂を基本とし、四天柱によって内陣・外陣・後陣・両脇陣に分けられる。内陣周りだけに装飾をほどこし、それ以外は素木の簡素な造りである。棟札及び板牌から、慶安5年（1652）の建築になり、宝暦7年（1757）こけら葺を桟瓦葺に修復したことがわかる。天台真盛宗寺院の古い遺構である。","","https://www.rekihaku.otsu.shiga.jp/db/bunka/detail.html?8",""], [200,252018,200,"滋賀県","大津市","紙本著色花卉図(襖貼付)","しほんちゃくしょくかきず（ふすまはりつけ）","","","市指定有形文化財","美術工芸品","","大津市坂本１丁目","",null,null,"","",8,"面","","盛安寺","1965-05-06 00:00:00","","","","","","","","","盛安寺客殿二之間貼付の襖絵で、一の間境の西側に四面、中の間境の北側に四面が描かれる。西側向かって左から第四面にはじまり北側第二面にまで及ぶ柴垣を中心に、西側第一面からは細竹にまとわりつく朝顔の蔓を延ばし、のかんぞうの花・はぎ・ゆり・笹・菊・水仙・芙蓉などの草花と、雀・うずらなどの小鳥を配す。同じ客殿一の間の障壁画に比べ、表現は伸びやかである。北側第二面の岩山の描き方にも特徴がある。","","https://www.rekihaku.otsu.shiga.jp/db/bunka/detail.html?91",""], [201,252018,201,"滋賀県","大津市","木造十一面観音立像","もくぞうじゅういちめんかんのんりゅうぞう","","","重要文化財","美術工芸品","","大津市坂本１丁目","",null,null,"","",1,"躯","","盛安寺","1900-04-07 00:00:00","","","","","","","","","盛安寺観音堂に安置される等身大の立像で、合掌手と、蓮華および錫杖をもつ二手の計四本の手をもつ。四臂の十一面観音は経軌にも説かれるが、本像はそれと合わず、図像的根拠は不明である。納入品の銘記により10世紀末の造立であることの判明する甲西町善水寺の諸像との比較から、10世紀最末から11世紀初頭の制作と考えられる。大津京の時代に天智天皇によって建立された崇福寺の旧仏ともいわれるが、当時の崇福寺は延暦寺の支配下にあった。おそらく天台系の遺品であろう。","","https://kunishitei.bunka.go.jp/heritage/detail/201/3158",""], [202,252018,202,"滋賀県","大津市","木造地蔵菩薩立像","もくぞうじぞうぼさつりゅうぞう","","","市指定有形文化財","美術工芸品","","大津市坂本１丁目","",null,null,"","",1,"躯","","盛安寺","1973-11-01 00:00:00","","","","","","","","","幹部を前後に二材を矧いで造る寄木造の像だが、胸から腹にかけて、さらに着衣の縁にそって割り矧いでいる。このような技法は平安時代にもあるが、流行をみるのは鎌倉時代からである。像内には紙背に地蔵印仏をおす消息類が納入されており、そのなかに文明18年（1486）や長享元年（1487）の年記をもつものもある。しかし本像の表現をながめると、生気のある表情やしなやかな衣文などから、鎌倉時代にさかのぼる造立とみられる。","","https://www.rekihaku.otsu.shiga.jp/db/bunka/detail.html?176",""], [203,252018,203,"滋賀県","大津市","盛安寺庭園","せいあんじていえん","","","県指定名勝","","","大津市坂本1-17-1","",135.8683956,35.05815018,"","",null,"","","盛安寺","1981-04-24 00:00:00","","","","","","","","","穴太衆積みの石垣に囲まれた境内の中で、客殿の南に広がる枯山水の庭である。墓地との境となる南側を築山とし、ツバキ・カシを主とする生垣で仕切っている。東部が広く西部がやや縮まった敷地には多くの石組を配しているが、西部には高さ約1mの立石を中心とした、枯滝風の石組がある。中央沓脱石から東部の庭門へと続く飛石は後世のものになる。客殿の建築が17世紀前半と考えられるから、庭園もその頃のものであろう。","","https://www.rekihaku.otsu.shiga.jp/db/bunka/detail.html?443",""], [204,252018,204,"滋賀県","大津市","絹本著色不動明王像","けんぽんちゃくしょくふどうみょうおうぞう","","","市指定有形文化財","美術工芸品","","大津市坂本4丁目","",null,null,"","",1,"幅","","個人","1998-04-15 00:00:00","","","","","","","","","火焔をあらわした円形の頭光をもち、岩座に立つ不動明王像を画面いっぱいに描く。上半身を露にした筋骨たくましい姿で、肉身は黄土で彩られた、いわゆる黄不動尊である。その遺品としては、平安時代前期の園城寺本が最古の作例である。園城寺本は台座をもたず不動が中空に浮かぶところに特徴があるが、岩座をともなう本図は平安時代後期の曼殊院本などと共通する。着衣のひだの描法や裳の鳳凰丸文などの文様を考慮すると、13世紀末から14世紀初頭頃の制作と思われる。","","https://www.rekihaku.otsu.shiga.jp/db/bunka/detail.html?92",""], [205,252018,205,"滋賀県","大津市","絹本著色日吉山王本地仏曼荼羅図","けんぽんちゃくしょくひえさんのうほんじぶつまんだらず","","","市指定有形文化財","美術工芸品","","大津市坂本１丁目ほか","",null,null,"","",1,"幅","","坂本山王講悪王子伴","2012-05-01 00:00:00","","","","","","","","","画面全体を社殿に見立て、日吉社の上七社の本地仏を描く。摩損がはげしく顔料の剥落が進んでいるが、各尊の像容は形式化がみられず、配置と社殿内空間のバランスもよい。制作時期は確定しないが、室町時代前期（１５世紀）までは遡るかと思われる。","","https://www.rekihaku.otsu.shiga.jp/db/bunka/detail.html?651",""], [206,252018,206,"滋賀県","大津市","絹本著色日吉山王本地仏曼荼羅図","けんぽんちゃくしょくひえさんのうほんじぶつまんだらず","","","市指定有形文化財","美術工芸品","","大津市坂本3丁目","",null,null,"","",1,"幅","","坂本山王講早尾伴","2012-05-01 00:00:00","","","","","","","","","社殿内に、日吉社の上七社、下部に早尾・大行事の本地仏を描くが、下部に匂欄や階は描かれていない。画絹は細かく上質で、尊像は丸顔で優しい微笑を浮かべる。裏面に、天正17年(1589)に早尾伴に寄進された経緯を、日吉社の復興に尽力されたことで知られる祝部行丸が記した小紙片が貼られているが、作品自体は16世紀末（天正期）の作とはとても考えられず、南北朝時代（１４世紀）の制作と思われる。","","https://www.rekihaku.otsu.shiga.jp/db/bunka/detail.html?652",""], [207,252018,207,"滋賀県","大津市","絹本著色日吉山王垂迹神曼荼羅図","けんぽんちゃくしょくひえさんのうすいじゃくしんまんだらず","","","市指定有形文化財","美術工芸品","","大津市坂本2丁目ほか","",null,null,"","",1,"幅","","坂本山王講蔵之辻伴","2012-05-01 00:00:00","","","","","","","","","社殿内陣に日吉社の上七社の垂迹神を、大床（縁）に赤山明神・早尾・大行事の三神を描く。内陣の七尊は御輿の屋根のようなものが付いた三曲の後屏を持ち、中でも中段中央の大宮の装飾は細かい。社殿全体を奥行きのある空間として立体的に表現するため、十尊のうち六尊が内側を向き、最上部の押障子が台形に開いて配置され、両側には社殿の柱を描いている。裏面には、宝永6年(1709)の寄進と修理の経緯が記される。あわせて、同図を収める絵筒を附指定する。","","https://www.rekihaku.otsu.shiga.jp/db/bunka/detail.html?653",""], [208,252018,208,"滋賀県","大津市","絹本著色日吉山王垂迹神曼荼羅図","けんぽんちゃくしょくひえさんのうすいじゃくしんまんだらず","","","市指定有形文化財","美術工芸品","","大津市坂本2丁目ほか","",null,null,"","",1,"幅","","坂本山王講生源寺伴","2012-05-01 00:00:00","","","","","","","","","山王二十一社（上七社・中七社・下七社）と、赤山明神・護因の合計二十三神を社殿内に描く。上半分に上七社、下半分に残り十六社を描くところから、下部分ではかなり小さくなっている。制作は、室町時代前期（１５世紀）と推定される。裏書から、元文5年(1740)に修理と表装替えが行われたようである。","","https://www.rekihaku.otsu.shiga.jp/db/bunka/detail.html?654",""], [209,252018,209,"滋賀県","大津市","文化財石垣保存技術","ぶんかざいいしがきほぞんぎじゅつ","","","国選定保存技術","","","大津市坂本3丁目","",null,null,"","",null,"","","粟田純司","2012-10-04 00:00:00","","","","","","","","","文化財石垣保存技術は、史跡等に指定された城跡等の石垣・石積遺構の解体・修理等を行う技術である。粟田氏は、父である粟田万喜三氏の石積みを見て育ち、大学卒業後に粟田建設に入社した。「野面積」の技法である「穴太積」について父の指導をうけ、特別史跡安土城跡、史跡篠山城跡を初めとして多くの石垣修理に従事した。氏は、文化財石垣の保存技術の正しく体得し、後進の育成にも大きく貢献している。","","https://kunishitei.bunka.go.jp/heritage/detail/304/00000099",""], [210,252018,210,"滋賀県","大津市","日吉大社西本宮本殿及び拝殿","ひよしたいしゃにしほんぐうほんでんおよびはいでん","","","国宝","建造物","","大津市坂本5-1-1","",135.8629102,35.07113674,"","",2,"棟","","日吉大社","1901-08-02 00:00:00","","","","","","","","","延暦寺の鎮守として全国に3800余の末社を持つ日吉大社は、西本宮と東本宮からなる。西本宮は大宮とも呼ばれ、天智天皇の時代に大和の大己貴神を勧請している。本殿は信長による焼き討ち後、天正14年（1586）に再建された。切妻造の母屋の前面と両側面に庇をめぐらすという全国でも日吉大社にしか見られない特殊な平面構成であるところから、日吉造・聖帝造と呼ばれている。拝殿も本殿と同じく天正14年の再建になり、方三間で四方吹放しとしている。","","https://kunishitei.bunka.go.jp/heritage/detail/102/1344",""], [211,252018,211,"滋賀県","大津市","日吉大社東本宮本殿及び拝殿","ひよしたいしゃひがしほんぐうほんでんおよびはいでん","","","国宝","建造物","","大津市坂本5-1-1","",135.8629102,35.07113674,"","",2,"棟","","日吉大社","1901-08-02 00:00:00","","","","","","","","","西本宮が大和から勧請した大己貴神を祀るのに対し、東本宮は地主神大山咋神を祀り二宮とも呼ばれている。西本宮の東、小比叡と呼ばれる八王子山の麓に鎮座し、本殿は信長による焼き討ち後、文録4年（1595）に再建された。西本宮本殿と同じく日吉造であるが、母屋背後の縁が少し高くなっている点や大棟が母屋中央に位置するなど、西本宮よりも古い形式を示している。拝殿は文禄5年の改造になり（旧天井格縁墨書）、構造は西本宮とほぼ同じである。","","https://kunishitei.bunka.go.jp/heritage/detail/102/1346",""], [212,252018,212,"滋賀県","大津市","日吉大社摂社宇佐宮本殿及び拝殿","ひよしたいしゃせっしゃうさぐうほんでんおよびはいでん","","","重要文化財","建造物","","大津市坂本5-1-1","",135.8629102,35.07113674,"","",2,"棟","","日吉大社","1901-08-02 00:00:00","","","","","","","","","西本宮本殿の東に南面して建つ。祭神は田心姫神。本殿は、西本宮・東本宮の本殿と同じく、三間二間の母屋に正面と両側面に庇が付くという日吉造で、柱間装置を除いて東本宮と同じ形式をとる。拝殿は方三間で、四方の柱間は吹放しとしている。ともに慶長3年（1598）の再建になる（『天台座主記』）。","","https://kunishitei.bunka.go.jp/bsys/maindetails/102/1348",""], [213,252018,213,"滋賀県","大津市","日吉大社摂社樹下神社本殿及び拝殿","ひよしたいしゃせっしゃじゅげじんじゃほんでんおよびはいでん","","","重要文化財","建造物","","大津市坂本5-1-1","",135.8629102,35.07113674,"","",2,"棟","","日吉大社","1906-04-14 00:00:00","","","","","","","","","東本宮楼門を入ると、左手に本殿、右手に拝殿が東面して建つ。祭神は鴨玉依姫神。一段高い所にある東本宮本殿・拝殿と樹下神社本殿・拝殿を結ぶ線が直交するという、珍しい位置関係にある。本殿は三間社流造で、内陣の床が一段高くなっている。拝殿は柱間が四方とも格子や格子戸になっている。ともに文禄4年（1595）の再建になる（『天台座主記』）。","","https://kunishitei.bunka.go.jp/bsys/maindetails/102/1350",""], [214,252018,214,"滋賀県","大津市","日吉大社摂社白山姫神社本殿及び拝殿","ひよしたいしゃせっしゃしらやまひめじんじゃほんでんおよびはいでん","","","重要文化財","建造物","","大津市坂本5-1-1","",135.8629102,35.07113674,"","",2,"棟","","日吉大社","1906-04-14 00:00:00","","","","","","","","","宇佐宮の東に南面して建つ。祭神は菊理姫神で、延暦寺・日吉大社の勢力の伸長にともない北陸白山から勧請されたと考えられている。本殿は三間社流造で床が高く、装飾金具の少ない簡素な造りとなっている。拝殿は方三間で、四方の柱間は吹放しとしている。本殿は慶長3年（1598）（『天台座主記』）、拝殿は慶長6年の再建になる（懸魚六葉墨書）。","","https://kunishitei.bunka.go.jp/bsys/maindetails/102/1352",""], [215,252018,215,"滋賀県","大津市","日吉大社摂社牛尾神社本殿及び拝殿","ひよしたいしゃせっしゃうしおじんじゃほんでんおよびはいでん","","","重要文化財","建造物","","大津市坂本5-1-1","",135.8629102,35.07113674,"","",2,"棟","","日吉大社","1907-08-28 00:00:00","","","","","","","","","日吉大社の信仰の始まりとなった神体山八王子山の頂上付近に、牛尾神社と三宮神社の本殿・拝殿が並んで東面して建つ。向かって右が牛尾神社で祭神は大山咋神荒魂。山上という地形に制約されて、三間社流造の本殿に、懸造の拝殿が本殿正面縁を取り込むようにして建てられている。拝殿は入母屋造の妻面を正面とするが、内側に軒唐破風を付けて入口としている。建築年代は、文禄4年（1595）（『日吉年譜』）となる。","","https://kunishitei.bunka.go.jp/bsys/maindetails/102/1354",""], [216,252018,216,"滋賀県","大津市","日吉大社摂社三宮神社本殿及び拝殿","ひよしたいしゃせっしゃさんのみやじんじゃほんでんおよびはいでん","","","重要文化財","建造物","","大津市坂本5-1-1","",135.8629102,35.07113674,"","",2,"棟","","日吉大社","1907-08-28 00:00:00","","","","","","","","","日吉大社の信仰の始まりとなった神体山八王子山の頂上付近に、牛尾神社と三宮神社の本殿・拝殿が並んで東面して建つ。向かって左が三宮神社で祭神は鴨玉依姫神荒魂。山上という地形に制約されて、三間社流造の本殿に、懸造の拝殿が本殿正面縁を取り込むようにして建てられている。拝殿は入母屋造の妻面を正面とするが、内側に軒唐破風を付けて入口としている。建築年代は、慶長4年（1599）（『天台座主記』）となる。","","https://kunishitei.bunka.go.jp/bsys/maindetails/102/1356",""], [217,252018,217,"滋賀県","大津市","日吉大社西本宮楼門","ひよしたいしゃにしほんぐうろうもん","","","重要文化財","建造物","","大津市坂本5-1-1","",135.8629102,35.07113674,"","",1,"棟","","日吉大社","1917-04-05 00:00:00","","","","","","","","","日吉大社西本宮の入口に、本殿・拝殿と一直線に並んで南を向いて建つ。三つの柱間の中央を戸口とし、一階と二階の間は屋根はなく回縁とする、上下の均整が美しい三間一戸の楼門である。四隅には日吉大社の神の使いである猿の彫刻を配し、前後には彩色をほどこした蟇股がある。本殿と同じく天正14年（1586）の再建になる（『天台座主記』）。","","https://kunishitei.bunka.go.jp/heritage/detail/102/1358",""], [218,252018,218,"滋賀県","大津市","日吉大社末社東照宮　本殿・石の間・拝殿、唐門、透塀","ひよしたいしゃまっしゃとうしょうぐう　ほんでん・いしのま・はいでん、からもん、すきべい","","","重要文化財","建造物","","大津市坂本4-2-12","",135.8644108,35.06835546,"","",3,"棟","","日吉大社","1917-04-05 00:00:00","","","","","","","","","日吉大社の社殿群の南、権現川を渡った丘陵部に東面して建つ。元和9年（1623）東照大権現・徳川家康を祭神として勧請され、現在の社殿は寛永11年（1634）に建てられた（『天台座主記』）。本殿と拝殿を石の間（相の間）でつなぐ「工」字形の平面をとる権現造の社殿で、拝殿正面には唐破風・千鳥破風が付き、内部・外部とも総漆塗の極彩色で彩られている。正面入口の唐門と透塀も、社殿とよく調和している。","","https://kunishitei.bunka.go.jp/bsys/maindetails/102/1359",""], [219,252018,219,"滋賀県","大津市","日吉大社日吉三橋","ひよしたいしゃひよしさんきょう","","","重要文化財","建造物","","大津市坂本5-1-1","",135.8629102,35.07113674,"","",3,"基","","日吉大社","1917-08-13 00:00:00","","","","","","","","","日吉大社境内を流れる大宮川に架かる三基の石橋。南から西本宮（大宮）の参道に架かる大宮橋。そのすぐ北に、「走井」という清めの泉から名付けられた走井橋。東本宮（二宮）の参道に架かる二宮橋。大宮橋は、川中に十二本の円柱の橋脚を立て、三列の桁石、橋石を渡し、格狭間を彫った高欄がつく。走井橋は最も簡素で、六本の方柱に橋板を架けるというものである。二宮橋は大宮橋とほぼ同じ規模だが、両側は擬宝珠柱としている。天正年間（1573〜92）秀吉が寄進したと伝えるが、木橋が現在の石橋に架け替えられたのは、寛文9年（1669）のことである。","","https://kunishitei.bunka.go.jp/bsys/maindetails/102/1362",""], [220,252018,220,"滋賀県","大津市","日吉大社東本宮楼門","ひよしたいしゃひがしほんぐうろうもん","","","重要文化財","建造物","","大津市坂本5-1-1","",135.8629102,35.07113674,"","",1,"棟","","日吉大社","1923-03-28 00:00:00","","","","","","","","","日吉三橋の一つ、二宮橋を渡った参道の正面、東本宮の入口に南を向いて建つ。西本宮楼門とほぼ同じ構造をとるが、一階部分が高く二階部分が低くなっている。『山王知新記』によると、延暦寺の復興に尽力した観音寺詮舜により、天正年中（1573〜92）に再建に着手され、文禄2年（1593）に完成したとする。","","https://kunishitei.bunka.go.jp/heritage/detail/102/1365",""], [221,252018,221,"滋賀県","大津市","日吉大社鳥居(山王鳥居)","ひよしたいしゃとりい（さんのうとりい）","","","県指定有形文化財","建造物","","大津市坂本5-1-1","",135.8629102,35.07113674,"","",1,"基","","日吉大社","1965-08-09 00:00:00","","","","","","","","","日吉三橋の大宮橋を渡り、西本宮へ向かう参道に建てられている木造の鳥居。形は二本の柱が八字形に内側に傾斜した明神鳥居の笠木の上に、山に見立てた合掌形の木を載せたもの。日吉大社が延暦寺の鎮守社であるところから神仏習合の象徴ともいわれ、他に類を見ないものである。現在の鳥居は昭和15年（1940）の建築になるが、細部や比例は江戸時代の伝統を受けついでいる。","","https://www.rekihaku.otsu.shiga.jp/db/bunka/detail.html?21",""], [222,252018,222,"滋賀県","大津市","日吉大社摂社大物忌神社本殿","ひよしたいしゃせっしゃおおものいみじんじゃほんでん","","","市指定有形文化財","建造物","","大津市坂本5-1-1","",135.8629102,35.07113674,"","",1,"棟","","日吉大社","1985-05-15 00:00:00","","","","","","","","","日吉大社東本宮本殿の左奥に、南面して建つ。明治以前は大行事社と称していた。信長の焼き討ちによって焼失するが、『天台座主記』などの記録によれば慶長16年（1611）に再建された。向拝宝珠間に立てた蔀型の格子や、床が高く床下が一室をなしている点に、日吉造系と言える特徴が見られる。細部においても、妻虹梁下の絵様大斗肘木は特に見事で、他の舟肘木や蔀・格子など材質ともに江戸時代初期を降らない建物と想像できる。","","https://www.rekihaku.otsu.shiga.jp/db/bunka/detail.html?20",""], [223,252018,223,"滋賀県","大津市","日吉山王金銅装神輿","ひよしさんのうこんどうそうしんよ","","","重要文化財","美術工芸品","","大津市坂本5丁目","",null,null,"","",7,"基","","日吉大社","1900-04-07 00:00:00","","","","","","","","","比叡山の山法師がこの神輿を担いで強訴したことで知られるが、現在の神輿は織田信長の山門焼き討ち後に再造されたものである。日吉大社の山王祭に渡御した神輿で、一基の重さは1.5トンから2トンといわれる。木製・黒漆塗・方形造（牛尾宮のみ八形造）で、屋根を金銅板で覆い、頂上に宝珠を置く。神輿にかざられた額・懸鏡・華鬘をはじめとする金具類には、制作年代や作者を示す銘がみられ、金工品としてもすぐれた技量を示している。","","https://kunishitei.bunka.go.jp/heritage/detail/201/5278",""], [224,252018,224,"滋賀県","大津市","山王まつり","さんのうまつり","","","市指定無形民俗文化財","","","大津市坂本5-1-1","",135.8629102,35.07113674,"","",null,"","","日吉大社","1965-05-06 00:00:00","","","","","","","","","全国に3800余の末社を持つ日吉大社の祭礼。3月1日から1カ月半にわたる期間の中で、中心となるのが4月12日から15日迄の4日間。牛尾山（八王子山）から2基の神輿を東本宮へかつぎ降ろす「午の神事」、若宮誕生を模して神輿を激しく揺り動かす「宵宮落とし」、7基の神輿の船渡御と「粟津の御供」、祭礼の無事終了を感謝する「酉の神事」と続くが、この間にも日吉馬場を舞台にした「花渡り」や、神仏集合の名残をとどめる「五色の奉幣」などがくりひろげられる。","","https://www.rekihaku.otsu.shiga.jp/db/bunka/detail.html?412",""], [225,252018,225,"滋賀県","大津市","日吉神社境内","ひよしじんじゃけいだい","","","国指定史跡","","","大津市坂本5-1-1","",135.8629102,35.07113674,"","",null,"","","日吉大社","1973-10-09 00:00:00","","","","","","","","","山王総本宮、山王権現、日枝神社とも呼び、『延喜式』神名帳では名神大社。比叡山に延暦寺が開創されるとその守護神となり、全国に末社3800余と発展した。東本宮四社と西本宮三社をあわせて山王七社と称し、比叡山中腹の八王子山を神体山とする磐座（金大巖）信仰から東本宮を中心とする祭祀が展開したのに対し、西本宮は大津京の守護神として大和三輪明神が勧請され宇佐八幡や白山を加えた勧請神が主となった。境内地には霊石・名水などの原始信仰遺跡も散在している。","","https://kunishitei.bunka.go.jp/heritage/detail/401/1599",""], [226,252018,226,"滋賀県","大津市","西教寺客殿","さいきょうじきゃくでん","","","重要文化財","建造物","","大津市坂本5-13-1","",135.8676109,35.0802943,"","",1,"棟","","西教寺","1902-07-31 00:00:00","","","","","","","","","本堂の西に、東面して建つ。大谷吉隆の母と山中長俊の妻が施主となって、慶長3年（1598）建てられた（棟札）。南北に長く、東面と南面には広縁と落縁がある。平面構成は東西二列に分けられ、東側に南から花鳥の間・賢人の間・猿猴の間・鶴の間、西側に同じく上座の間・内仏・茶室などとなっている。内部は障壁画が描かれ、最上の室である上座の間には古式の床・違棚・書院を備えている。通称「桃山御殿」と呼ばれている。","","https://kunishitei.bunka.go.jp/heritage/detail/102/1368",""], [227,252018,227,"滋賀県","大津市","西教寺本堂","さいきょうじほんどう","","","重要文化財","建造物","","大津市坂本5-13-1","",135.8676109,35.0802943,"","",1,"棟","","西教寺","1986-05-24 00:00:00","","","","","","","","","西教寺は天台真盛宗の総本山で、現本堂は元文4年（1739）上棟、寛延2年（1749）瓦を葺き、安永4年（1775）天井を張るという、竣工に長い年月を要した。南面して建ち、前面二間を外陣、その奥に中央間口三間の内陣を設け、左右は間口二間の脇陣とする。内陣後寄りに須弥壇を設け、本尊の阿弥陀如来坐像を安置する。須弥壇周りの四天柱は極彩色がほどこされ、内部の欄間は精巧な彫刻で飾られている。棟梁は、地元の中嶋次郎左衛門で、江戸時代中期の代表的な本堂である。","","https://kunishitei.bunka.go.jp/heritage/detail/102/1369",""], [228,252018,228,"滋賀県","大津市","西教寺鐘楼","さいきょうじしょうろう","","","市指定有形文化財","建造物","","大津市坂本5-13-1","",135.8676109,35.0802943,"","",1,"棟","","西教寺","1990-02-01 00:00:00","","","","","","","","","本堂の東側に、棟を南北に向けて建つ。切石積の基壇の上に建ち、入口を東の中央間に設ける。上層の軒の出が深く、三手先組物とともに重量感があり、それに呼応する形で下層の袴腰も裾を広くし、安定感がある。総欅造で、蟇股に配された猿の彫刻や籠彫の木鼻など、細部の意匠も精巧でしかも装飾が過剰でなく、全体として気品のある建物である。棟札と擬宝珠の刻銘から天保2年（1831）の建築で、大工は本堂と同系の中嶌治郎左衛門であることがわかる。","","https://www.rekihaku.otsu.shiga.jp/db/bunka/detail.html?26",""], [229,252018,229,"滋賀県","大津市","絹本著色当麻曼荼羅図","けんぽんちゃくしょくたいままんだらず","","","重要文化財","美術工芸品","","大津市坂本5丁目","",null,null,"","",1,"幅","","西教寺","1897-12-28","","","","","","","","","当麻曼荼羅とは、奈良県の当麻寺に伝わる西方極楽浄土の様を綴織であらわした曼荼羅を原点とするもので、正しくは観経変相図と呼ばれる。浄土信仰の広がりによって模本も多数作られるようになるが、本図は鎌倉時代の制作になる。構図は内陣と外陣からなり、内陣は阿弥陀三尊を中心に諸聖衆や楼閣・宝池などを、外陣は観無量寿経の序章の説話と十六観想を描く。","","https://kunishitei.bunka.go.jp/heritage/detail/201/1241",""], [230,252018,230,"滋賀県","大津市","絹本著色阿弥陀如来像(迅雲弥陀如来)","けんぽんちゃくしょくあみだにょらいぞう（じうんみだにょらい）","","","重要文化財","美術工芸品","","大津市坂本5丁目","",null,null,"","",1,"幅","","西教寺","1900-04-07 00:00:00","","","","","","","","","寺で「迅雲弥陀如来」と呼ばれている阿弥陀聖衆来迎図である。中尊の阿弥陀如来坐像が飛雲に乗り、その前を観音・勢至の両菩薩が進み、阿弥陀如来の背後から他の諸菩薩が続く。来迎図とは、浄土信仰の普及にともなって、西方浄土の阿弥陀如来が衆生を救うため諸尊を従えて人間世界へ降る様を描いたもので、本図は「早来迎」と俗称されるように、飛雲の尾を後方へ長く引くことで来迎の速さを示している。","","https://kunishitei.bunka.go.jp/heritage/detail/201/1242",""], [231,252018,231,"滋賀県","大津市","絹本著色釈迦如来像(持鉢釈迦如来)","けんぽんちゃくしょくしゃかにょらいぞう（じはつしゃかにょらい）","","","重要文化財","美術工芸品","","大津市坂本5丁目","",null,null,"","",1,"幅","","西教寺","1900-04-07 00:00:00","","","","","","","","","立像の釈迦如来が両手で鉄鉢を捧げているところから、「持鉢釈迦如来」と呼ばれている。鉄鉢を持ち、左足を前に踏みだして少し前かがみの姿勢をとり、それにあわせて光背も傾いている。法衣や光背の文様は金泥で描かれ、光背には多数の仏像が配されている。持鉢の釈迦如来像は中国の宋代に見られ、本図も宋画を手本として制作されたと考えられる。なお、画面上方左の色紙形が本来の上辺であったが、表具の際その上に補絹がなされている。","","https://kunishitei.bunka.go.jp/heritage/detail/201/1243",""], [232,252018,232,"滋賀県","大津市","絹本著色阿弥陀如来像","けんぽんちゃくしょくあみだにょらいぞう","","","重要文化財","美術工芸品","","大津市坂本5丁目","",null,null,"","",1,"幅","","西教寺","1900-04-07 00:00:00","","","","","","","","","画面一杯に描かれた阿弥陀如来立像は、肉身部は金泥、着衣は褐色地におおぶりの蓮華円文を配し、衣文線は墨線に金泥線をそわせる。裳裾をちぢれさせ、屈臂した右手部分が透けて見えるように偏衫を半透明にするなど、南宋画を典拠としたことは明らかであろう。来迎雲は描かれていないが、来迎印を結んでいるところから、独尊の来迎図として制作されたと思われる。白毫部分の改変の痕から、何かしら特殊な工作がなされていたかもしれない。","","https://kunishitei.bunka.go.jp/heritage/detail/201/1244",""], [233,252018,233,"滋賀県","大津市","絹本著色天台大師像","けんぽんちゃくしょくてんだいだいしぞう","","","重要文化財","美術工芸品","","大津市坂本5丁目","",null,null,"","",1,"幅","","西教寺","1900-04-07 00:00:00","","","","","","","","","中国天台宗の第三世で、実質的な開祖にあたる天台大師智顗の像。天台大師像にはいく種類かのタイプがあるが、本図は右手に如意をとり、法被をかけた曲彔に端座瞑想する姿をとり、禅宗の頂相と同じ形式をとる。左下に「大宋慶元府張思訓筆」の署名があり、中国・南宋時代に寧波の張思訓なる画家によって描かれたことがわかる。","","https://kunishitei.bunka.go.jp/heritage/detail/201/1245",""], [234,252018,234,"滋賀県","大津市","絹本著色山王諸神像","けんぽんちゃくしょくさんのうしょしんぞう","","","重要文化財","美術工芸品","","大津市坂本5丁目","",null,null,"","",1,"幅","","西教寺","1900-04-07 00:00:00","","","","","","","","","延暦寺の護法神である日吉大社の上七社と中七社の諸神を、垂迹形で描く。内陣内には上七社を配するが、中央の大宮は宝冠をいただき唐服をまとった中国風の姿をとっている。上部に上七社の本地仏を描いた七つの円相を北斗七星の形に配置しているのは、中世に北斗七星と山王七社を関連付ける説が生まれたことによる。中七社の諸神は、回廊部分も使って描かれており、回廊中央の童子を従えて椅子にすわる貴人は、本図の奉納に関りのある人物と推定される。","","https://kunishitei.bunka.go.jp/heritage/detail/201/1246",""], [235,252018,235,"滋賀県","大津市","紙本著色扇面古写経","しほんちゃくしょくせんめんこしゃきょう","","","重要文化財","美術工芸品","","大津市坂本5丁目","",null,null,"","",1,"幅","","西教寺","1901-03-27 00:00:00","","","","","","","","","扇面に、法華経の方便品を書写する。下絵は経文とは関係なく、金銀の切箔や野毛・砂子をまき、簀子の上に高杯をはさんで向かい合ってすわる二人の貴族が、大和絵の技法で描かれる。写経成仏、女人成仏を説く法華経信仰が盛んとなる中で、経典も美しく飾りたてられるようになった。現状は掛幅装であるが、元は粘葉装であった。同様の扇面古写経は、大阪の四天王寺や東京国立博物館などにも所蔵されており、元は一具であった。","","https://kunishitei.bunka.go.jp/heritage/detail/201/1247",""], [236,252018,236,"滋賀県","大津市","絹本著色豊臣秀吉像","けんぽんちゃくしょくとよとみひでよしぞう","","","重要文化財","美術工芸品","","大津市坂本5丁目","",null,null,"","",1,"幅","","西教寺","1942-06-26 00:00:00","","","","","","","","","豊臣秀吉没後三回忌にあたる慶長5年（1600）秀吉の右筆をつとめた山中長俊が描かせたもの。上畳に薄縁を敷いて衣冠の姿で坐す。顔は頬骨が張り、頬・鼻下などに長い髭をたくわえている。上部には屋根の軒から御簾・垂幕が、背後の床壁には水墨山水画が描かれ、豊国大明神としての秀吉像の典型的な姿である。上部には、玄圃霊三と惟杏永哲の二人の禅僧が賛を加えている。山中長俊は、西教寺との関りが深い。","","https://kunishitei.bunka.go.jp/heritage/detail/201/1248",""], [237,252018,237,"滋賀県","大津市","絹本著色熊野曼荼羅","けんぽんちゃくしょくくまのまんだら","","","県指定有形文化財","美術工芸品","","大津市坂本5丁目","",null,null,"","",1,"幅","","西教寺","1972-04-01 00:00:00","","","","","","","","","社殿内に熊野三山十二所権現の本地仏を描く。上段中央に新宮の薬師如来、向かって右に本宮の阿弥陀如来、左に那智の千手観音の三尊を、二段目に五所権現、三段目に四所権現（左端の文殊と普賢は合わせて一社と考える）を配す。回廊上の大威徳明王と愛染明王がともに新宮末社の本地仏であるところから、新宮の信仰に基づく曼荼羅で、階下に坐す白衣の修験者は、本図の発願者とも考えられる。","","https://www.rekihaku.otsu.shiga.jp/db/bunka/detail.html?101",""], [238,252018,238,"滋賀県","大津市","絹本著色真盛上人像","けんぽんちゃくしょくしんせいしょうにんぞう","","","県指定有形文化財","美術工芸品","","大津市坂本5丁目","",null,null,"","",1,"幅","","西教寺","1990-03-31 00:00:00","","","","","","","","","西教寺の中興の祖で、天台真盛宗の宗祖である真盛上人の画像。上畳に坐し、墨染の衣をまとい、手に数珠をかけて合掌する姿をとる。太い眉に黒く澄んだ瞳、きりりと結んだ口元など、上人の姿を写実的に描いている。裏書により、入寂から8年後の文亀3年（1503）に僧等龍によって描かれ、山門焼き討ちの際に寺外へ持ち出されるが、天正3年（1575）に西教寺に返されたことが知られる。","","https://www.rekihaku.otsu.shiga.jp/db/bunka/detail.html?102",""], [239,252018,239,"滋賀県","大津市","絹本著色円観像","けんぽんちゃくしょくえんかんぞう","","","県指定有形文化財","美術工芸品","","大津市坂本5丁目","",null,null,"","",1,"幅","","西教寺","2018-10-17 00:00:00","","","","","","","","","本図は西教寺を再興し、戒律の道場とした円観の肖像を忠実に描いた唯一の作例で、像主の最晩年の姿を迫真的に捉えている。頭巾を被り、右手で三鈷杵と念珠、左手で如意を持ち、正面の前机に柄香炉と経典を置いた説戒（戒律を説く姿）のスタイルで描かれる。画面上部には、弟子の恵澄による賛が記され、延文元年（1356）の初秋に描かれたことがわかる。面貌は剥落個所が多いものの、温和ながらも意志の堅固な表情が垣間見られ、戒律の復興に携わった高僧の面影をしのばせる。","","https://www.rekihaku.otsu.shiga.jp/db/bunka/detail.html?713",""], [240,252018,240,"滋賀県","大津市","金地著色柚子・柿ニ猿図","きんじちゃくしょくゆず・かきにさるず","","","市指定有形文化財","美術工芸品","","大津市坂本5丁目","",null,null,"","",1,"双","","西教寺","1977-02-01 00:00:00","","","","","","","","","左隻は柚子の大樹を描いて枝葉を右方に張らせ、柚子の実を要所々々に実らせる。下部には土坡と水を描いて、左上方に「要範玄悦居士、為田中清左衛門悲母寄附之」と小文字で追記が墨書される。右隻は柿の老木を描き、図中央上方には枝に宿る小猿一匹を描き、幹の根本を歩く親猿の視線と合わせる構図をとる。下方の土坡と水は、柚子図に接続するようになっている。花鳥図が主流であった当時において、一隻に柚子のみを取り上げた本作は、特異な画題の作例といえる。","","https://www.rekihaku.otsu.shiga.jp/db/bunka/detail.html?103",""], [241,252018,241,"滋賀県","大津市","金地著色杉木立図(時雨屏風)","きんじちゃくしょくすぎこだちず（しぐれびょうぶ）","","","市指定有形文化財","美術工芸品","","大津市坂本5丁目","",null,null,"","",1,"双","","西教寺","1977-02-01 00:00:00","","","","","","","","","左隻左端より筆をおこし、大きくなだらかな丘陵が右隻中央まで続いて、両隻を通してこの杉木立が金地に極彩色で描きだされている。西教寺では古くより「時雨屏風」の名称で呼ばれているが、左隻の中央に金泥で大きく霞を描きあらわしているところから、この名が出たのであろう。群青の青々しい顔料が、金箔と相対して平凡な構図の内に豪華さ示し、両隻中央をなだらかなうねりをもって降る山の稜線は、ゆったりとした潤いを与えている。","","https://www.rekihaku.otsu.shiga.jp/db/bunka/detail.html?104",""], [242,252018,242,"滋賀県","大津市","木造阿弥陀如来坐像","もくぞうあみだにょらいざぞう","","","重要文化財","美術工芸品","","大津市坂本5丁目","",null,null,"","",1,"躯","","西教寺","1900-04-07 00:00:00","","","","","","","","","西教寺本堂の本尊。像高3m弱の丈六坐像である。近世初頭に甲賀郡水口町にあった浄福寺より移座したと伝える。いわゆる定朝様を踏襲する作例だが、着衣のひだの彫りなどには硬さが感じられる。透彫の飛天光背も平安時代のものとみられ、周縁部の天衣を翻らせる奏楽舞踏の菩薩の表現は、現存作例中屈指の美作である。付属の十二体の定印の如来坐像は十二光仏をあらわしたもので、やはり平安時代の作（一部後補）だが、当初から一具であったか否かは検討の余地がある。","","https://kunishitei.bunka.go.jp/heritage/detail/201/3155",""], [243,252018,243,"滋賀県","大津市","木造聖観音立像","もくぞうしょうかんのんりゅうぞう","","","重要文化財","美術工芸品","","大津市坂本5丁目","",null,null,"","",1,"躯","","西教寺","1900-04-07 00:00:00","","","","","","","","","同寺の収蔵庫に安置されるが、近年まで本堂の裏堂に祀られていた。かつては一堂の主尊であったろう。幹部を一材から造り、内刳はしない。複雑な文様を刻む三山形の宝冠をつけ、卵形の顔の輪郭に小づくりの目鼻だちを配し、側面から見ると、意外な奥行がある。このような特徴を同じくする作例に滋賀・江国寺と岡山・明徳寺の聖観音坐像があり、同一作者の作とする説がある。天台系の工房で造立されたものであろう。","","https://kunishitei.bunka.go.jp/heritage/detail/201/3156",""], [244,252018,244,"滋賀県","大津市","木造薬師如来坐像","もくぞうやくしにょらいざぞう","","","重要文化財","美術工芸品","","大津市坂本5丁目","",null,null,"","",1,"躯","","西教寺","1900-04-07 00:00:00","","","","","","","","","西教寺の客殿に安置される。平安時代後期に白河天皇の勅願寺として建てられた京都・法勝寺が戦国時代に衰微した際、西教寺に寺格が移され、同時に多くの宝物も移管されたが、本像もこのときに移座されたものとみられる。両手首先は後補だが、薬壺をもつ左手を胸もとにまで持ち上げる類例の少ない印相をしめす。鎌倉時代初期に運慶・快慶らを輩出した慶派の流れに属する仏師によって制作されたと考えられる。","","https://kunishitei.bunka.go.jp/heritage/detail/201/3157",""], [245,252018,245,"滋賀県","大津市","木造阿弥陀如来及両脇侍立像","もくぞうあみだにょらいおよびりょうきょうじりゅうぞう","","","県指定有形文化財","美術工芸品","","大津市坂本5丁目","",null,null,"","",3,"躯","","西教寺","2013-03-19 00:00:00","","","","","","","","","阿弥陀如来立像と、観音菩薩・勢至菩薩の両脇侍立像からなる阿弥陀三尊像。鎌倉時代に活躍した慶派仏師の特徴がみられ、脇侍の観音菩薩立像の足枘に「巧匠法橋行快」の銘文が発見されたところから、快慶の一番弟子行快の制作であることが明らかとなった。行快の作例は６件が確認されているが、本像は現存する作例中で最古級のものである。","","https://www.rekihaku.otsu.shiga.jp/db/bunka/detail.html?682",""], [246,252018,246,"滋賀県","大津市","木造阿弥陀如来立像","もくぞうあみだにょらいりゅうぞう","","","市指定有形文化財","美術工芸品","","大津市坂本5丁目","",null,null,"","",1,"躯","","西教寺","1998-04-15 00:00:00","","","","","","","","","通常とは逆に左手を上げ、右手を下げるいわゆる逆手来迎印の阿弥陀如来像。この図像の源流は中国・宋にあり、鎌倉時代に移入された。衣文の一部を幹部材から彫り出さずに木っ端状の別木を当て、この上に木屎漆を盛り上げて整形するという珍しい技法を用いている。像内に五輪塔と柱形が合体した形式の納入品（檜材製）があり、全面にびっしりと真言・陀羅尼・種子の類が墨書されていた。13世紀中頃の造立とみられ、作者は運慶の系譜をひく仏師であろう。","","https://www.rekihaku.otsu.shiga.jp/db/bunka/detail.html?180",""], [247,252018,247,"滋賀県","大津市","石燈籠","いしどうろう","","","重要文化財","美術工芸品","","大津市坂本5丁目","",null,null,"","",1,"基","","西教寺","1964-01-28 00:00:00","","","","","","","","","本坊庭園の中央に置かれていたが、現在は保存庫の中に移されている。花崗岩製六角形の石燈籠。基礎側面の格狭間には三茎蓮と開花蓮が交互に彫られ、竿は三節をつけ、中台は側面下方が裾開き状に大きくなっている。火袋は上・中・下の三段に分けられ、中段の二面を火口とし、残りの四面は丸窓とする。笠は三条の降棟をつけ、宝珠と受花は一石で造られている。風化してはいるが、基礎から宝珠までが揃っており、寺伝では水口の浄福寺から移したと伝える。","","https://kunishitei.bunka.go.jp/heritage/detail/201/6888",""], [248,252018,248,"滋賀県","大津市","鰐口","わにぐち","","","重要文化財","美術工芸品","","大津市坂本5丁目","",null,null,"","",1,"口","","西教寺","1968-04-25 00:00:00","","","","","","","","","鰐口は、寺社の軒先に懸け、参拝者前にたらされた紐を振って打ち鳴らし礼拝するもの。この鰐口は比較的大形で、複弁八葉蓮華文の撞座を中心に、二本一組の圏線で三区の圏帯（素文）を作る。周縁部に「浄福寺金口文永十年（1273）歳次癸酉十一月日鋳之」との刻銘がある。浄福寺は、かつて甲賀郡水口町に所在した寺で、西教寺の本堂内に安置されている阿弥陀如来像・保存庫内の石燈籠も、同寺から移されたと伝える。","","https://kunishitei.bunka.go.jp/heritage/detail/201/6955",""], [249,252018,249,"滋賀県","大津市","梵鐘","ぼんしょう","","","重要文化財","美術工芸品","","大津市坂本5丁目","",null,null,"","",1,"口","","西教寺","1975-06-12 00:00:00","","","","","","","","","本堂の東に所在する鐘楼に釣られていたが、現在は保存庫の中に移されている。上帯部分には如意頭形の飛雲を、下帯部分には孤状の唐草文を鋳出している。乳の間は四区にわかれ、一区内は四段四列で、縦帯・中帯とも幅広くとっている。竜頭の方向と撞座の方向は直交し、二個の撞座は八葉複弁で蓮肉の大きい蓮華文となっている。寺伝では、明智光秀の築いた坂本城の陣鐘と伝える。","","https://kunishitei.bunka.go.jp/heritage/detail/201/7126",""], [250,252018,250,"滋賀県","大津市","花卉鳥獣文刺繍打敷","かきちょうじゅうもんししゅううちしき","","","県指定有形文化財","美術工芸品","","大津市坂本5丁目","",null,null,"","",2,"枚","","西教寺","2014-01-17 00:00:00","","","","","","","","","打敷とは、寺院の仏壇や前仏具にかけられる敷物のこと。大は、内区と外区に別れ、内区は中央の円内に鳳凰を、四隅に飛翔する尾長鳥を、要所には牡丹文様を配している。外区には兎・きりん・虎・鹿・羊などの獣と鳥を組み合わせ、多色の糸によって巧みに刺繍している。中国・明からの渡来品で、大小共裏の墨書銘から、長谷川藤広が徳川家康の追善のため、元和2年（1616）7月西教寺へ寄進したことがわかる。西教寺境内には長谷川藤広の墓所が営まれている。","","https://www.rekihaku.otsu.shiga.jp/db/bunka/detail.html?288",""], [251,252018,251,"滋賀県","大津市","後土御門天皇宸翰真盛上人号","ごつちみかどてんのうしんかんしんせいしょうにんごう","","","重要文化財","美術工芸品","","大津市坂本5丁目","",null,null,"","",1,"幅","","西教寺","1900-04-07 00:00:00","","","","","","","","","後土御門天皇の筆になる「真盛上人」の大書と、その上に第一皇子勝仁親王（後の後柏原天皇）が明応元年（1492）12月27日付で讃を加えている。讃文は、真盛上人画像にも見られる上人自戒の法語である。上人は比叡山での修行の後、円戒念仏の根本道場として西教寺を中興した。宮中に入っては『往生要集』を進講し、後土御門天皇を初め多くの帰依を得、文明18年（1486）5月27日上人号を下賜された。","","https://kunishitei.bunka.go.jp/heritage/detail/201/9322",""], [252,252018,252,"滋賀県","大津市","紙本墨書無量義経疏　上中下","しほんぼくしょむりょうぎきょうそ　じょうちゅうげ","","","重要文化財","美術工芸品","","大津市坂本5丁目","",null,null,"","",3,"巻","","西教寺","1937-05-25 00:00:00","","","","","","","","","『無量義経疏』とは『無量義経』の注釈書のことで、これは唐の円測の著した三巻本の写本である。各巻の奥書から、寛平7年（895）延暦寺東塔総持院の憐昭が、弟子の良恩に上巻を、同じく善賢に中・下巻を書写させ、自ら校合したことがわかる。朱線・朱句点の他、墨書の抹消や欄外注記などが見られて、平安時代初期比叡山での教学の状況を窺い知ることができる。なお、巻末の追書から、かつては芦浦観音寺（草津市）の所蔵であったことがわかる。","","https://kunishitei.bunka.go.jp/heritage/detail/201/7687",""], [253,252018,253,"滋賀県","大津市","注大般涅槃経巻第八","ちゅうだいはつねはんぎょうかんだいはち","","","重要文化財","美術工芸品","","大津市坂本5丁目","",null,null,"","",1,"巻","","西教寺","1944-09-05 00:00:00","","","","","","","","","『注大般涅槃経』は『大般涅槃経』の注釈書で、全容は不明ながら全三十巻からなっていることが知られる。一行に十七字、注は双行となっており、山科毘沙門堂の巻第十四、三重西来寺の巻第二・巻第十二、神奈川西方寺の巻第十九、聖衆来迎寺の巻第十と、元は一具であったと考えられる。奈良時代中期の写経生の手になるもので、原本はおそらく遣唐船が持ち帰ったものであろう。","","https://kunishitei.bunka.go.jp/heritage/detail/201/7688",""], [254,252018,254,"滋賀県","大津市","法華経(色紙金銀箔散)","ほけきょう（しきしきんぎんはくちらし）","","","重要文化財","美術工芸品","","大津市坂本5丁目","",null,null,"","",8,"帖","","西教寺","1977-06-11 00:00:00","","","","","","","","","『法華経』は『妙法蓮華経』の略称で、釈尊の説法を結集した経典として重視された。本経は、現在は折本装となっているが、元は巻子装であったと考えられる。各巻とも薄紫・濃萌葱・朽葉・白茶・白の五色の色紙を継ぎ、金銀の箔を散らした華やかな料紙に墨界を引き、経文は二人から六人の手になる寄合書である。後補の表紙などから、西教寺が寺基を兼併した京都の法勝寺に伝来したものであることがわかる。","","https://kunishitei.bunka.go.jp/heritage/detail/201/8821",""], [255,252018,255,"滋賀県","大津市","四分律刪繁補闕行事鈔断簡","しぶんりつさんぱんほけつぎょうじしょうだんかん","","","県指定有形文化財","美術工芸品","","大津市坂本5丁目","",null,null,"","",4,"枚","","西教寺","2022-03-11 00:00:00","","","","","","","","","奈良時代後期に書写された仏教典籍『四分律刪繁補闕行事鈔』の断簡。同書は中国と日本に多大な影響を与えた仏教徒の生活規律である「四分律」の要点について、唐の僧・道宣（596～667）が撰述した著作である。本品は完品ではなく、４枚５紙であわせて31 行分のみの断簡となっているが、現存例がまれな奈良時代の『四分律刪繁補闕行事鈔』の書写本として、断簡ではあっても極めて貴重な文化財と評価することができる。","","https://www.rekihaku.otsu.shiga.jp/db/bunka/detail.html?734",""], [256,252018,256,"滋賀県","大津市","絹本著色天台三祖師像","けんぽんちゃくしょくてんだいさんそしぞう","","","重要文化財","美術工芸品","","大津市坂本6丁目","",null,null,"","",1,"幅","","金台院","2020-09-30 00:00:00","","","","","","","","","延暦寺西塔所属寺院が共同で護持してきた大幅。画面上部中央に天台大師智顗、向かって左に伝教大師最澄、右に慈覚大師円仁が各々山中に置かれた曲彔の上で禅定に入る姿をあらわす。この三祖師を一連の山岳景観中に配する図様構成で中世にさかのぼる作例は本図のほかには知られていない。天台宗の祖師像として異例の図様構成を見せる本像は、鎌倉後期から南北朝初期にかけての仏画・垂迹画の展開を考えるうえで貴重な存在といえる。","","https://kunishitei.bunka.go.jp/heritage/detail/201/00011923",""], [257,252018,257,"滋賀県","大津市","旧岡本家住宅主屋、米蔵、馬屋、岡本家住宅表門","きゅうおかもとけじゅうたくしゅおく、こめぐら、うまや、おかもとけじゅうたくおもてもん","","","市指定有形文化財","建造物","","大津市坂本6-27-9、10","",135.8727534,35.07122833,"","",4,"棟","","大津市、個人","2005-03-15 00:00:00","","","","","","","","","江戸時代、公人として延暦寺に仕えた旧岡本家の住宅。南北に細長い敷地の中で南の道に面して門を開き、すこし奥まって主屋があり、北奥に米蔵と馬屋が並ぶ。主屋は、大小９室を設け、表側の３室を接客の間とし、一部には横井金谷の襖絵が描かれている。同家の過去帳と屋根裏から発見された祈祷札に元治元年（1865）の記があるところから、主屋は江戸時代の末の建築になる。天保９年（1838）の建築（鬼瓦銘）で内部を塗籠という特異な仕上げの米蔵と、来訪者の馬を繋いだ馬屋、表門と合わせて、往時の公人の生活が伺える貴重な建物・家構えである。","","https://www.rekihaku.otsu.shiga.jp/db/bunka/detail.html?553",""], [258,252018,258,"滋賀県","大津市","大津市坂本伝統的建造物群保存地区","おおつしさかもとでんとうてきけんぞうぶつぐんほぞんちく","","","重要伝統的建造物群保存地区","","","大津市坂本","",135.8637728,35.0576893,"","",null,"","","","1997-10-31 00:00:00","","","","","","","","","比叡山に延暦寺がひらかれると、東麓の坂本に全国各地の荘園から物資が運びこまれ門前の港町が発達した。元亀2年（1571）9月の山門焼き討ちで大きな被害を蒙った後、秀吉によって再興が進められる中で「里坊」の制も定められた。山上で修行の生活をつづけていた僧侶は高齢になると、山をおりて坂本に移住するようになった。彼らの住居は、山上の山坊にたいして里坊とよばれ、坂本には他に類を見ない、里坊がたちならぶ門前の町なみが形づくられた。","","https://kunishitei.bunka.go.jp/heritage/detail/103/48",""], [259,252018,259,"滋賀県","大津市","穴太衆積みの石垣","あのうしゅうづみのいしがき","","","市指定史跡","","","大津市坂本","",135.8637728,35.0576893,"","",null,"","","","1972-07-01 00:00:00","","","","","","","","","「穴太」とは坂本の大字で、穴太に居住し延暦寺の土木営繕的な御用を勤めていた人々は「穴太衆」と呼ばれ、織田信長の安土城を始め江戸時代初期各地の石垣普請に活躍した。延暦寺の門前に開けた坂本の町には、延暦寺の里坊が点在しているが、その町並み景観を特色付けているのがこの穴太衆積みの石垣である。加工を加えない自然のままの石を巧みに用い、コーナーの美しさに特徴がある。","","https://www.rekihaku.otsu.shiga.jp/db/bunka/detail.html?420",""], [260,252018,260,"滋賀県","大津市","両社神社本殿","りょうしゃじんじゃほんでん","","","県指定有形文化財","建造物","","大津市下阪本3-10-29","",135.8770277,35.06218595,"","",1,"棟","","両社神社","1959-02-10 00:00:00","","","","","","","","","日吉大社の境外末社の一つで、道を挟んで北に酒井神社、南に両社神社が相対し、江戸時代には二社を合わせて両社大明神と称していた。規模としては標準的な一間社流造であるが、縁が高いところから建物全体が高く感じられる。二社は同じ構造・寸法で造られているが、向拝虹梁や蟇股の彫刻に若干の相違が見られる。棟札から、元和6年（1602）広島藩主浅野長晟によって建てられ、以後の修理の経過もよくわかる。","","https://www.rekihaku.otsu.shiga.jp/db/bunka/detail.html?38",""], [261,252018,261,"滋賀県","大津市","永田家中世文書","ながたけちゅうせいもんじょ","","","市指定有形文化財","美術工芸品","","大津市下阪本4丁目","",null,null,"","",3,"通","","個人","2016-03-15 00:00:00","","","","","","","","","室町時代、延暦寺にあって山門使節として活躍した護正院に関わる古文書で、同院の系譜を引く家に伝来する。山門使節とは、将軍足利義満が、室町幕府と延暦寺との融和を計るために設けた役職で、延暦寺で強大な武力を有する衆徒が任じられた。嘉吉三年（１４４３）九月廿九日付「室町幕府御教書」、永享七年（１４３５）十月十三日付「室町幕府御教書写」、年号を記さない十二月卅日付「足利義澄御内書写」の３通。","","https://www.rekihaku.otsu.shiga.jp/db/bunka/detail.html?693",""], [262,252018,262,"滋賀県","大津市","酒井神社本殿","さかいじんじゃほんでん","","","県指定有形文化財","建造物","","大津市下阪本4-9-18","",135.8772295,35.06247093,"","",1,"棟","","酒井神社","1959-02-10 00:00:00","","","","","","","","","日吉大社の境外末社の一つで、道を挟んで北に酒井神社、南に両社神社が相対し、江戸時代には二社を合わせて両社大明神と称していた。規模としては標準的な一間社流造であるが、縁が高いところから建物全体が高く感じられる。二社は同じ構造・寸法で造られているが、向拝虹梁や蟇股の彫刻に若干の相違が見られる。棟札から、元和6年（1602）広島藩主浅野長晟によって建てられ、以後の修理の経過もよくわかる。","","https://www.rekihaku.otsu.shiga.jp/db/bunka/detail.html?39",""], [263,252018,263,"滋賀県","大津市","木造仮面","もくぞうかめん","","","市指定有形文化財","美術工芸品","","大津市下阪本4丁目","",null,null,"","",3,"面","","酒井神社","1981-01-16 00:00:00","","","","","","","","","酒井神社は元亀2年（1571）の比叡山焼き討ちに際し焼失するが、のち坂本城に入った浅野長吉がこの社を崇敬したため、以来浅野家と深いつながりをもつことになる。これらの面も浅野家から寄進されたとする伝承もある。鬼面は誇張された憤怒の様を強い調子で彫り出した迫力あるもの。角を欠失する。癋見は左目の金具を失い、また縦に割れのある点が惜しまれるが、表現は力強い。蛇も両側を欠損し、表面の彩色も剥落するが、これまた強い表情を造りだしている。","","https://www.rekihaku.otsu.shiga.jp/db/bunka/detail.html?208",""], [264,252018,264,"滋賀県","大津市","おこぼまつり","おこぼまつり","","","市指定無形民俗文化財","","","大津市下阪本4-9-18","",135.8772295,35.06247093,"","",null,"","","酒井神社","1965-05-06 00:00:00","","","","","","","","","下阪本に鎮座する酒井神社・両社神社で行なわれているが、酒井神社の行事が指定となっている。酒井神社では、北酒井町・南酒井町でそれぞれ頭屋を定め、餅と人形などで飾り付けた「オダイモク」を作り、夜おそくまでその番をする。昔、琵琶湖に住む竜神に捧げた人身御供の身代りとして、「オダイモク」を供えたことに始まるという。年頭に行われる、五穀豊穣をいのる予祝行事の一種である。","","https://www.rekihaku.otsu.shiga.jp/db/bunka/detail.html?413",""], [265,252018,265,"滋賀県","大津市","明治29年琵琶湖洪水石標","めいじにじゅうくねんびわここうずいせきひょう","","","市指定有形文化財","美術工芸品","","大津市下阪本4丁目","",null,null,"","",1,"基","","大津市","1965-05-06 00:00:00","","","","","","","","","琵琶湖沿岸の地域は毎年のように洪水・冠水による被害を蒙っていたが、この石標は、明治以来最大の水害となった明治29年の大洪水の水位を刻んだものである。正面に明治二十九年九月十二日の年記と洪水時の水位が横線で、裏面に水量最高一丈二尺八寸（388cm）、常水位二尺七寸（82cm）と刻まれる。側面には過去三度の洪水の水位が刻まれ、水位が比較できるようになっている。元は両社の辻の東南隅にあったが、昭和35年（1960）酒井神社境内に移された。","","https://www.rekihaku.otsu.shiga.jp/db/bunka/detail.html?384",""], [266,252018,266,"滋賀県","大津市","木造地蔵菩薩半跏像","もくぞうじぞうぼさつはんかぞう","","","重要文化財","美術工芸品","","大津市下阪本4丁目","",null,null,"","",1,"躯","","真光寺（下阪本）","1900-04-07 00:00:00","","","","","","","","","真光寺の本尊。左手に宝珠、右手に錫杖をとる通形の地蔵菩薩像だが、左足を踏み下げる姿に特色がある。このタイプの地蔵像は平安時代後期からあらわれるが、昭和37年（1962）に焼失した京都・壬生寺像はその古例である。面ながで、やや怜悧な相好に鎌倉時代の作風がうかがえる。","","https://kunishitei.bunka.go.jp/heritage/detail/201/3162",""], [267,252018,267,"滋賀県","大津市","銅造観音菩薩立像","どうぞうかんのんぼさつりゅうぞう","","","重要文化財","美術工芸品","","大津市下阪本4丁目","",null,null,"","",1,"躯","","真光寺（下阪本）","2014-08-21 00:00:00","","","","","","","","","像高一尺に満たない小金銅仏で、全容を一鋳し、頭部・体部それぞれ中型をとり、後頭部、背中、下半身二段の４ヶ所にハバキを設けそれぞれ嵌金を施す。７世紀末ないし８世紀の製作になる三尊像の左脇侍としての特色を示しており、同時代に阿弥陀三尊像の左脇侍として造られたことが想定される。天平彫刻の作風ならびに形式が成立前段階における優れた作行を示す。","","https://kunishitei.bunka.go.jp/heritage/detail/201/00011618",""], [268,252018,268,"滋賀県","大津市","聖衆来迎寺　本堂、開山堂、客殿、表門","しょうじゅらいこうじ　ほんどう、かいさんどう、きゃくでん、おもてもん","","","重要文化財","建造物","","大津市比叡辻2-4-17","",135.885972,35.07219092,"","",4,"棟","","聖衆来迎寺","1922-04-13 00:00:00","","","","","","","","","本堂の西に東面して建つ。寛永15年（1638）の起工、同19年の竣工で、当初は灌頂道場として建てられたものであった（『来迎寺要書』）。平面は三室二列の間取りで、前列南から龍虎の間・四皓七賢の間・花鳥の間、後列南から上座の間・羅漢の間・灌頂の間と呼ばれ、狩野守信・狩野尚信・狩野信政・久隅守景など狩野派の絵師の手になる障壁画で飾られている。上座の間が最高の部屋となり、床・違棚・書院などに近世書院造の典型を示している。","","https://kunishitei.bunka.go.jp/bsys/maindetails/102/00004763",""], [269,252018,269,"滋賀県","大津市","絹本著色六道絵","けんぽんちゃくしょくろくどうえ","","","国宝","美術工芸品","","大津市比叡辻2丁目","",null,null,"","",15,"幅","","聖衆来迎寺","1897-12-28","","","","","","","","","『往生要集』によって広く普及した、地獄・餓鬼・畜生・阿修羅・人・天の六道輪廻の様を描き、極楽浄土への往生を説く。十五幅の内第一幅から十二幅までが、『往生要集』第一厭離穢土の所説による。画風は、地獄の諸相に見られる宋元画の影響と、人道各相に見られる大和絵風に別れるが、一方で全体に暗さを帯びた色調となっている。附指定となっている旧軸木の修理銘から、本図の制作が13世紀中頃までさかのぼる可能性がある。","","https://kunishitei.bunka.go.jp/heritage/detail/201/145",""], [270,252018,270,"滋賀県","大津市","絹本著色十二天像","けんぽんちゃくしょくじゅうにてんぞう","","","重要文化財","美術工芸品","","大津市比叡辻2丁目","",null,null,"","",12,"幀","","聖衆来迎寺","1897-12-28","","","","","","","","","十二天とは、帝釈天・火天・閻魔天・羅刹天・水天・風天・毘沙門天・伊舎那天・梵天・地天・日天・月天の十二神で、護法神として密教寺院での修法の際に、道場の周囲にめぐらして使用する。現在は板額装になっているが、これは明治の改装になり、もとは屏風仕立てであったと思われる。中間色を多用し、瓔珞や腕釧などに箔を用い、肉身をくまどるなど洗練された技法をとり、立像形式の十二天像の代表作の一つである。","","https://kunishitei.bunka.go.jp/heritage/detail/201/1251",""], [271,252018,271,"滋賀県","大津市","絹本著色釈迦三尊十六善神図","けんぽんちゃくしょくしゃかさんぞんじゅうろくぜんじんず","","","重要文化財","美術工芸品","","大津市比叡辻2丁目","",null,null,"","",1,"幅","","聖衆来迎寺","1900-04-07 00:00:00","","","","","","","","","大般若会の本尊として描かれる。六重の宝壇上に趺坐する釈迦と、足下の文殊・普賢の両脇侍を中心に、左右八人ずつの善神を配している。下方には女神形の功徳天と僧形の迦葉、経典を抱く玄奨と守護神の深沙大将が、向かい合う形で立つ。左右対称の構図で、釈迦三尊は金泥身とし、衣には繊細な截金文様をほどこす。十六善神と四尊の持物・装身具にも、効果的に金泥が配されている。","","https://kunishitei.bunka.go.jp/heritage/detail/201/1252",""], [272,252018,272,"滋賀県","大津市","絹本著色阿弥陀廿五菩薩来迎図","けんぽんちゃくしょくあみだにじゅうごぼさつらいごうず","","","重要文化財","美術工芸品","","大津市比叡辻2丁目","",null,null,"","",1,"幅","","聖衆来迎寺","1900-04-07 00:00:00","","","","","","","","","阿弥陀如来と二十五菩薩が、往生者を極楽浄土へと迎える姿を描く。先頭を行く観音・勢至・普賢の三菩薩は、既に往生者の屋敷前に達し、阿弥陀如来の手から放たれた三筋の光も、往生者のもとに届いている。阿弥陀如来をはじめとする諸尊は金泥で描かれ、衣には截金によって巧みな文様がほどこされている。本図は鎌倉時代後期の典型的な作である。","","https://kunishitei.bunka.go.jp/heritage/detail/201/1253",""], [273,252018,273,"滋賀県","大津市","絹本著色十六羅漢図","けんぽんちゃくしょくじゅうろくらかんず","","","重要文化財","美術工芸品","","大津市比叡辻2丁目","",null,null,"","",2,"幅","","聖衆来迎寺","1900-04-07 00:00:00","","","","","","","","","羅漢とは悟を開いた聖者のことで、正しくは阿羅漢といい、十六羅漢・五百羅漢として描かれることが多い。本図は一幅に三人の羅漢を三段に描き、二幅で十八人となり、本来であれば「十八羅漢」というところであろう。羅漢はそれぞれ内側を向き、中国風の姿をした坐像として描かれ、上部には奇岩・樹木などの自然景観を配している。中国の宋・元時代の羅漢図をもとにした作品でありながら、和様化した様式となっている。","","https://kunishitei.bunka.go.jp/heritage/detail/201/1254",""], [274,252018,274,"滋賀県","大津市","絹本著色楊柳観音像","けんぽんちゃくしょくようりゅうかんのんぞう","","","重要文化財","美術工芸品","","大津市比叡辻2丁目","",null,null,"","",1,"幅","","聖衆来迎寺","1908-04-23 00:00:00","","","","","","","","","楊柳観音は三十三観音の筆頭にあげられ、諸病を消除するところから薬王観音とも呼ばれる。本図は、天衣をまとって岩上に腰掛け、傍らに柳を指した水瓶を置き、向かって左下に観音を礼拝する善財童子を小さく描く。楊柳観音に対する信仰は中国の宋・元時代に盛んとなり、日本には禅僧によってもたらされた。本図は渡来画をもとに、鎌倉時代に我が国で制作されたと考えられる。","","https://kunishitei.bunka.go.jp/heritage/detail/201/1257",""], [275,252018,275,"滋賀県","大津市","絹本著色恵心僧都像","けんぽんちゃくしょくえしんそうずぞう","","","県指定有形文化財","美術工芸品","","大津市比叡辻2丁目","",null,null,"","",1,"幅","","聖衆来迎寺","1957-08-26 00:00:00","","","","","","","","","恵心僧都源信は天慶5年（942）大和国に生まれ、比叡山に登って横川の良源に師事して修行を積み、『往生要集』を著したことで著名である。聖衆来迎寺は、源信によって念仏道場として開かれ、同寺の開山堂には源信が祀られている。本図は、正面を向いて礼盤上に坐し、手に念珠をたぐる姿で、伝えられる画像としては、最古かつ最も優れた作品である。","","https://www.rekihaku.otsu.shiga.jp/db/bunka/detail.html?126",""], [276,252018,276,"滋賀県","大津市","絹本著色六道絵　中谷求馬筆","けんぽんちゃくしょくろくどうえ　なかたにもとめひつ","","","県指定有形文化財","美術工芸品","","大津市比叡辻2丁目","",null,null,"","",15,"幅","","聖衆来迎寺","2024-03-19 00:00:00","","","","","","","","","聖衆来迎寺に伝来する国宝・六道絵15幅の模本。六道絵とは、あらゆる衆生が輪廻転生するという六道（地獄道、餓鬼道、畜生道、阿修羅道、天道、人道）の苦しみを描いたもので、比叡山の僧、恵心僧都源信が著述した『往生要集』に基づく。鎌倉時代に描かれた原本は、伝統的な大和絵と中国宋・元時代の表現技法を織り交ぜて六道の悲惨な状況を緻密な筆致で迫真的に描いており、我が国の仏教絵画史において高く評価されている。本図はその六道絵のきわめて正確な模本であり、原本で確認し難い図様を把握することができる絶好の資料として評価できる。","","http://www.biwakobunkakan.jp/db/db_01/db_01_074.html",""], [277,252018,277,"滋賀県","大津市","木造釈迦如来坐像","もくぞうしゃかにょらいざぞう","","","重要文化財","美術工芸品","","大津市比叡辻2丁目","",null,null,"","",1,"躯","","聖衆来迎寺","1900-04-07 00:00:00","","","","","","","","","本堂の須弥壇上に安置される過去・現在・未来仏になぞらえられた釈迦・薬師・阿弥陀如来像のうちの一躯で、三躯のうち最も古い。自在に刻まれた写実的な衣褶の表現、男性的で意志に満ちた表情に、鎌倉時代前期の慶派仏師の作風を読み取ることができよう。像内体部には金箔を押すという。","","https://kunishitei.bunka.go.jp/heritage/detail/201/3163",""], [278,252018,278,"滋賀県","大津市","木造十一面観音立像","もくぞうじゅういちめんかんのんりゅうぞう","","","重要文化財","美術工芸品","","大津市比叡辻2丁目","",null,null,"","",1,"躯","","聖衆来迎寺","1900-04-07 00:00:00","","","","","","","","","当寺客殿の須弥壇上に安置されるが、もと下阪本大道町の一堂に伝わったといわれる。一木造だが、背面から深く内刳を入れている。丸々とした顔に中央に集まる小ぶりの目鼻だちを刻み、衣のひだの彫りもあまり深くない。作風的には定朝様の登場する前夜の様相だが、実際の制作期は11世紀前半に下るであろう。","","https://kunishitei.bunka.go.jp/heritage/detail/201/3164",""], [279,252018,279,"滋賀県","大津市","木造地蔵菩薩立像","もくぞうじぞうぼさつりゅうぞう","","","重要文化財","美術工芸品","","大津市比叡辻2丁目","",null,null,"","",1,"躯","","聖衆来迎寺","1900-04-07 00:00:00","","","","","","","","","もとは京都の愛宕山にあったと伝えられる。足枘に朱書銘があり、元徳2年（1303）に院□によって制作された旨が記される。作者の下の文字は「藝」と読まれており、作風にもいわゆる院派的特色が顕著である。銅製透彫の挙身光背も当初のもので、周縁部に配された月輪内には阿弥陀と地蔵の種子がみられる。","","https://kunishitei.bunka.go.jp/heritage/detail/201/3165",""], [280,252018,280,"滋賀県","大津市","木造月光・日光仏立像","もくぞうがっこう・にっこうぶつりゅうぞう","","","重要文化財","美術工芸品","","大津市比叡辻2丁目","",null,null,"","",2,"躯","","聖衆来迎寺","1900-04-07 00:00:00","","","","","","","","","客殿の本尊秘仏薬師如来像の両脇侍。ただし中尊は一具のものではない。もと京都・元応国清寺にあり、その退転の後、当寺に移されたという。寄木造で、截金文様をまじえた華やかな彩色がほどこされている。箱型の体型や醒めたような面持ち、複雑な衣のひだの彫法に硬さのあるところなどから、南北朝時代の制作と考えられる。","","https://kunishitei.bunka.go.jp/heritage/detail/201/3166",""], [281,252018,281,"滋賀県","大津市","銅造薬師如来立像","どうぞうやくしにょらいりゅうぞう","","","重要文化財","美術工芸品","","大津市比叡辻2丁目","",null,null,"","",1,"躯","","聖衆来迎寺","1908-04-23 00:00:00","","","","","","","","","銅造鍍金のいわゆる金銅仏で、空洞のないムクの像である。左手に薬壺を捧げるのは通形だが、垂下した右手で衣端を握るのは、若王寺像および岐阜・横蔵寺像など類例わずかである。少年を想わせる清新な表情は白鳳時代の仏像にみられるものだが、すらりと伸びた体躯や衣のひだの形式などから、造像期は奈良時代に入るものと考えられる。","","https://kunishitei.bunka.go.jp/heritage/detail/201/3167",""], [282,252018,282,"滋賀県","大津市","木造大黒天立像","もくぞうだいこくてんりゅうぞう","","","県指定有形文化財","美術工芸品","","大津市比叡辻2丁目","",null,null,"","",1,"躯","","聖衆来迎寺","1966-07-04 00:00:00","","","","","","","","","烏帽子をかぶり、袋と小槌を持って、俵座に立つ福徳神としての大黒天の姿。大きな福耳が目につく。袋の一部と台座を除き、像の大半を一材から丸彫する。俵座裏の墨書銘から、もとは近江・坂田南郡の薬師寺にあり、暦応2年（1339）に駿河法眼子息・駿河阿闍梨によって造られたことがわかる。鼻先は後補。","","https://www.rekihaku.otsu.shiga.jp/db/bunka/detail.html?215",""], [283,252018,283,"滋賀県","大津市","推朱香盆","ついしゅこうぼん","","","重要文化財","美術工芸品","","大津市比叡辻2丁目","",null,null,"","",1,"枚","","聖衆来迎寺","1900-04-07 00:00:00","","","","","","","","","堆朱とは、木製の素地に朱漆を何度も塗り重ね、乾燥させた後に刀子で文様を彫り出す技法のことで、中国の宋代・元代に盛んとなった。この香盆は丸縁の円形盆で、内側と外側の周縁にユリ科の擬宝珠の花と葉模様を刻む。内底面に宋代の名工「張成造」の針書銘があるが、彼の作かどうかは確かめられていない。","","https://kunishitei.bunka.go.jp/heritage/detail/201/5279",""], [284,252018,284,"滋賀県","大津市","犀角如意","さいかくにょい","","","重要文化財","美術工芸品","","大津市比叡辻2丁目","",null,null,"","",1,"柄","","聖衆来迎寺","1955-06-22 00:00:00","","","","","","","","","如意とは、手の届かないところをかく道具で、意の如くなるというところから付けられた名称であるが、後に説法や法会の際に導師の威儀をただす儀式用具となった。玳瑁・牛角・犀角や木・竹・金銅で造られるが、この如意は後補の握部を除いて一つの犀角から造られているところから、「犀角如意」と呼ばれている。雲形は切り込みが深く、左右の張りも強くなっている。","","https://kunishitei.bunka.go.jp/heritage/detail/201/5663",""], [285,252018,285,"滋賀県","大津市","鋳銅三具足","ちゅうどうみつぐそく","","","重要文化財","美術工芸品","","大津市比叡辻2丁目","",null,null,"","",1,"具","","聖衆来迎寺","1959-06-27 00:00:00","","","","","","","","","中央に香炉、左に花瓶、右に燭台の三つを一揃いとして仏前の供養に供えるものを三具足と呼んでいる。いずれも蠟型鋳銅製で、複雑な装飾がほどこされているが、香炉は蓋に珠取の竜、花瓶は胴に竜をからませ、燭台は火皿の付いた竿を竜が支えるというところから、「竜の三具足」と呼ばれている。燭台裏底の朱漆銘から、永沢寺（兵庫県三田市）に15世紀中頃から16世紀初めに伝来し、これらを納めた箱に天正15年（1587）聖衆来迎寺への寄進の墨書銘が残る。","","https://kunishitei.bunka.go.jp/heritage/detail/201/5944",""], [286,252018,286,"滋賀県","大津市","銅水瓶","どうすいびょう","","","重要文化財","美術工芸品","","大津市比叡辻2丁目","",null,null,"","",1,"口","","聖衆来迎寺","1964-05-26 00:00:00","","","","","","","","","鋳銅製、挽物仕上げ。頸は長めで注口をうける。注口・底板・台座を別鋳している。首部に八葉蓮葩を、台座に複弁の八葉蓮華文を飾り、中央には三条の紐をめぐらしている。注口が龍頭形をしているのは珍しい。底裏に建治2年（1276）京都の東福寺内の三聖寺で、毎月僧侶が集まって互いに己の罪を懺悔しあう布薩会に使用されていたことを示す刻銘があり、使用目的が判明している水瓶である。","","https://kunishitei.bunka.go.jp/heritage/detail/201/6899",""], [287,252018,287,"滋賀県","大津市","山王曼荼羅舎利厨子","さんのうまんだらしゃりずし","","","重要文化財","美術工芸品","","大津市比叡辻2丁目","",null,null,"","",1,"基","","聖衆来迎寺","2011-06-27 00:00:00","","","","","","","","","仏舎利を納めた舎利容器とこれを安置する厨子の一体化した、宮殿形舎利厨子。木造漆塗で軸部の表裏両面の羽目板に極彩色の曼荼羅を表す。中央の仏舎利を釈迦とみなし、そのまわりの八尊と下部左右の2尊が裏表にあるところから、これらを合計すると２１尊となり、大宮の本地仏である釈迦を中心とする山王二十一社の本地仏曼荼羅となる。また、四枚の扉の内側には、天台大師・伝教大師・慈覚大師・慈恵大師を表し、日吉山王社と比叡山延暦寺の密接な関連のもとに作成されたことがわかる。","","https://kunishitei.bunka.go.jp/heritage/detail/201/00011462",""], [288,252018,288,"滋賀県","大津市","銅独鈷杵","どうとっこしょ","","","県指定有形文化財","美術工芸品","","大津市比叡辻2丁目","",null,null,"","",1,"口","","聖衆来迎寺","1997-03-31 00:00:00","","","","","","","","","金剛杵は杵形の把の両端に鈷をつけたもので、古代印度の武器であったものが、人間の煩悩を打ち破る法具となった。鈷の数や形によって名称が異なるが、これは把の両端に各一本の鈷を付けた独鈷杵である。鋳銅製で、表面は鍍金がなく焼き漆の技法によっている。鈷には長短があるが、鈷の方が把よりも少し長い。寺伝によると、元三大師良源が比叡山横川般若谷の陽勝仙人から継承し、村上天皇の皇后の安産祈願の修法に使用したと伝える。","","https://www.rekihaku.otsu.shiga.jp/db/bunka/detail.html?300",""], [289,252018,289,"滋賀県","大津市","銅製雲版","どうせいうんぱん","","","市指定有形文化財","美術工芸品","","大津市比叡辻2丁目","",null,null,"","",1,"面","","聖衆来迎寺","1984-04-02 00:00:00","","","","","","","","","雲版とは、禅宗寺院で起床・食事・座禅などの合図に打ち鳴らす法具のこと。この雲版は腰部が刳込み形となり、頭部に釣鐶のための孔を穿ち、その周囲を簡単な素弁八葉文で飾り、中央下方に素弁八葉重弁蓮華文の撞座を鋳出している。背面が素文の片面式の雲版となっている。寛正六年(1465)乙酉に真雄上人へ寄進した旨の刻銘があるが、年号は追刻と考えられる。真雄上人は永禄9年（1566）同寺に入り慶長14年（1609）に没しているから乙酉は天正13年(1585)になる。","","https://www.rekihaku.otsu.shiga.jp/db/bunka/detail.html?301",""], [290,252018,290,"滋賀県","大津市","法華経","ほけきょう","","","重要文化財","美術工芸品","","大津市比叡辻2丁目","",null,null,"","",8,"巻","","聖衆来迎寺","1964-05-26 00:00:00","","","","","","","","","斐紙の料紙に銀泥で界を引き、『法華経』八巻を書写する。表紙の装飾は、紫の染紙に金銀切箔・砂子を散らし霞引きとし、外題は濃紫の付箋に金泥で書す。見返しも表紙と同じ装飾となるが、中央上部に金泥で各巻毎に種子を書いた直径5cmの円形の紺紙をはりつける。但し、これは後の手になる。本文中に呉音系の朱点が加えられている、平安時代末期の写経である。","","https://kunishitei.bunka.go.jp/heritage/detail/201/8690",""], [291,252018,291,"滋賀県","大津市","霊山院釈迦堂毎日作法　寛弘四年七月三日","りょうぜんいんしゃかどうまいにちさほう　かんこうよねんしちがつみっか","","","重要文化財","美術工芸品","","大津市比叡辻2丁目","",null,null,"","",1,"巻","","聖衆来迎寺","1965-05-29 00:00:00","","","","","","","","","源信の発願により比叡山横川に創建された霊山院における毎日の作法を、寛弘4年（1700）7月3日源信が定めた原本。供物のあげ方、掃除の役目、朝夕の礼拝、仏前の行儀、宿直の義務の五カ条からなる。作法の後には、正月1日から12月30日までの日付が記され、その下に一日あたり一名から四名までの結番者の名前が記される。結番者の中には、藤原定子を初めとする上流貴族から、在地の有力者、源信を含む僧尼の名前が見られる。","","https://kunishitei.bunka.go.jp/heritage/detail/201/9323",""], [292,252018,292,"滋賀県","大津市","不空羂索神変真言経巻第三","ふくうけんじゃくじんぺんしんごんきょうかんだいさん","","","県指定有形文化財","美術工芸品","","大津市比叡辻2丁目","",null,null,"","",1,"巻","","聖衆来迎寺","1987-03-30 00:00:00","","","","","","","","","『不空羂索神変真言経』は中国・唐の菩提流志の訳で全三十巻からなり、不空羂索観音の真言陀羅尼・念誦法・曼荼羅・功徳などを説く。本巻は、黄紙十三紙を継ぎ淡墨界をほどこし、一紙に三十八行、一行に十七字で書写する。巻末の識語から、天平15年（743）5月11日、藤三女（聖武天皇の皇后、藤原光明子）が、二親（藤原不比等・橘三千代）の追善菩提のため書写した一切経の一巻であることがわかる。堂々とした書風からも奈良時代の写経として注目される。","","https://www.rekihaku.otsu.shiga.jp/db/bunka/detail.html?348",""], [293,252018,293,"滋賀県","大津市","注大般涅槃経巻第十","ちゅうだいはつねはんきょうかんだいじゅう","","","県指定有形文化財","美術工芸品","","大津市比叡辻2丁目","",null,null,"","",1,"巻","","聖衆来迎寺","1987-03-30 00:00:00","","","","","","","","","『注大般涅槃経』は『大般涅槃経』の注釈書で、重要文化財に指定されている西教寺本・山科毘沙門堂本・三重西来寺本・神奈川西方寺本と、元は一具であったと考えられる。黄紙二十五紙を継ぎ淡墨界をほどこし、一紙に二十五行、一行に十七字、注は双行となっている。巻末に、最澄の筆になり天正9年（1581）4月9日玄祐から賜ったことを記す時の住職真雄の付箋が貼られているが、書写年代は奈良時代にさかのぼる。","","https://www.rekihaku.otsu.shiga.jp/db/bunka/detail.html?349",""], [294,252018,294,"滋賀県","大津市","妙法蓮華経普門品第二十五","みょうほうれんげきょうふもんぼんだいにじゅうご","","","県指定有形文化財","美術工芸品","","大津市比叡辻2丁目","",null,null,"","",1,"巻","","聖衆来迎寺","1987-03-30 00:00:00","","","","","","","","","『妙法蓮華経観世音菩薩普門品第二十五』は観音信仰の根本経典で、『観音経』『観世音経』として単独で書写される場合もある。本巻でも、首題は「妙法蓮華経観世音菩薩普門品第二十五」としているのに対し、尾題は「観世音経」と記されている。黄紙四紙を継ぎ、一紙に二十八行、一行に十七字で書写されている。界線をほどこしていない点が注目される、奈良時代前半の写経である。","","https://www.rekihaku.otsu.shiga.jp/db/bunka/detail.html?350",""], [295,252018,295,"滋賀県","大津市","四分律刪繁補闕行事鈔断簡","しぶんりつさんぱんほけつぎょうじしょうだんかん","","","県指定有形文化財","美術工芸品","","大津市比叡辻2丁目","",null,null,"","",1,"巻","","聖衆来迎寺","2021-02-16 00:00:00","","","","","","","","","奈良時代後期に書写された仏教典籍『四分律刪繁補闕行事鈔』の断簡。同書は僧侶集団の生活規律である「四分律」を守る上での具体的な規範について記されたもの。唐の僧・道宣による著作で、その弟子筋にあたる鑑真の影響などで日本でも重用され、奈良時代において広く親しまれていたことが知られている。本品は完品ではなく、10行のみの断簡となっているが、『四分律刪繁補闕行事鈔』の古写本に完本はなく、現存例がまれであることから、断簡ではあっても極めて貴重な文化財である。","","https://www.rekihaku.otsu.shiga.jp/db/bunka/detail.html?731",""], [296,252018,296,"滋賀県","大津市","聖衆来迎寺庭園","しょうじゅらいこうじていえん","","","県指定名勝","","","大津市比叡辻2-4-17","",135.885972,35.07219092,"","",null,"","","聖衆来迎寺","1982-03-31 00:00:00","","","","","","","","","客殿の東側と庫裏の南側及び両者から本堂へ通じる渡り廊下に囲まれた方形の範囲に設けられている。客殿や元庫裏の建築年代から、桃山時代の庭園と考えられている。東側と南側に高い生垣を作って背景とし、中央やや西寄りに石組で島を造り、ソテツを植えている。東南隅の枯滝石組から客殿の古書院前と庫裏書院前に二つの流れをつくり、それぞれ自然石の石橋を渡している。多くの石組から豊かな景観を生み出している枯山水の庭である。","","https://www.rekihaku.otsu.shiga.jp/db/bunka/detail.html?445",""], [297,252018,297,"滋賀県","大津市","穴太廃寺跡","あのうはいじあと","","","国指定史跡","","","大津市穴太2丁目","",135.8658825,35.05396965,"","",null,"","","","1997-09-11 00:00:00","","","","","","","","","7世紀中葉から11世紀末頃まで存続した古代寺院で、二時期の主要伽藍が異なる方位でしかも重複して検出。創建寺院は東に塔、西に金堂とこれらを囲む回廊がわずかに残り、建物の主軸方位は北から東へ約35度振った穴太以北の条里方向に一致する。再建寺院は、北に講堂、その南東に塔、南西に金堂を配する法起寺式伽藍配置をもち、建物の主軸方位は創建寺院より約33度西へ振っており、穴太以南の条里に一致。一説に大津京造営に伴い方位を変更して再建したという説がある。","","https://kunishitei.bunka.go.jp/heritage/detail/401/1611",""], [298,252018,298,"滋賀県","大津市","唐崎(唐崎神社境内)","からさき（からさきじんじゃけいだい）","","","県指定名勝","","","大津市唐崎1-7-1","",135.8741441,35.04726891,"","",null,"","","日吉大社","1998-06-19 00:00:00","","","","","","","","","唐崎は、古来より湖畔の名所として多くの文学に取り上げられ、室町時代末に近衛信伊によって「近江八景」が選定されると「唐崎夜雨」の舞台となり、湖畔の景勝は老松とともに広く知られるようになった。唐崎の代名詞となっている松は現在三代目となり、唐崎神社境内にある。唐崎神社境内の景観は史上に現れた「唐崎」そのままではないが、湖上に突き出た岬状の地形と松の巨木が織りなす姿は、「近江八景」の歴史的な由緒を今に伝えている。","","https://www.rekihaku.otsu.shiga.jp/db/bunka/detail.html?446",""], [299,252018,299,"滋賀県","大津市","唐崎(唐崎神社境内地)","からさき（からさきじんじゃけいだいち）","","","市指定史跡","","","大津市唐崎1-7-1","",135.8741441,35.04726891,"","",null,"","","日吉大社","1981-01-16 00:00:00","","","","","","","","","唐崎は古くは『万葉集』にあらわれる地名で、平安時代には朝廷の「七瀬祓所」の一つとされ、三輪明神が大和から日吉大社の西本宮に勧請される途中にこの地に留ったという由緒から、現在日吉大社の末社唐崎神社の境内地となっている。奈良時代後半頃の土馬が出土しているところから、祓所としての歴史は奈良時代にさかのぼる。室町時代末に「近江八景」が選定されると、その一つ「唐崎夜雨」の舞台となったことでも知られる。","","https://www.rekihaku.otsu.shiga.jp/db/bunka/detail.html?423",""], [300,252018,300,"滋賀県","大津市","石造阿弥陀如来坐像(志賀の大仏)","せきぞうあみだにょらいざぞう（しがのおぼとけ）","","","市指定有形文化財","美術工芸品","","大津市滋賀里町甲","",null,null,"","",1,"躯","","大仏講","1988-11-11 00:00:00","","","","","","","","","滋賀里の見世の集落から崇福寺跡へと向かう坂道の途中に、東を向いて据えられた高さ4mに近い大きな花崗岩に厚肉彫され、「志賀の大仏（オボトケ）」の俗称がある。脚上で定印を結ぶ阿弥陀如来だが、江戸時代には釈迦如来としての信仰があったようだ。この石仏の横を通る旧山中越の道は、往時、京都と大津を結ぶ重要な幹線のひとつであった。均整の整った、どっしりとした体躯、丸みのある顔などから、鎌倉時代をくだらない作かと思われる。","","https://www.rekihaku.otsu.shiga.jp/db/bunka/detail.html?216",""], [301,252018,301,"滋賀県","大津市","崇福寺跡","すうふくじあと","","","国指定史跡","","","大津市滋賀里町甲","",135.8452962,35.048186,"","",null,"","","","1941-01-27 00:00:00","","","","","","","","","『扶桑略記』によれば、天智7年（668）に天皇の勅願により大津宮の乾（北西）の方角に建立されたとされる。昭和3年（1928）・13年の二次の調査によって、滋賀里山中の三尾根にわたる伽藍が確認された。北尾根の弥勒堂と中尾根の塔・小金堂に対し、南尾根の諸堂宇が方位や礎石のつくりが異なることから、前者を祟福寺跡、後者を梵釈寺とする説が有力。塔跡心礎から舎利容器が出土しており、東方丘陵に構築された古墳時代後期の百穴古墳群とともに指定を受けている。","","https://kunishitei.bunka.go.jp/heritage/detail/401/1578",""], [302,252018,302,"滋賀県","大津市","南滋賀町廃寺跡","みなみしがちょうはいじあと","","","国指定史跡","","","大津市南志賀1丁目他","",135.8520823,35.03494152,"","",null,"","","","1957-10-11 00:00:00","","","","","","","","","現在の南滋賀集落と重なるように所在。昭和3年（1928）・13年と最近の調査によって川原寺式伽藍配置をもつ寺院であることが判明し、三町（約310m）四方の寺域があった可能性も指摘されている。瓦は白鳳期の「川原寺式」の複弁系統と、規模がやや大きくデザインも異なる単弁系統（方形瓦を含む）があり、平安時代の瓦もみられる。金堂・小金堂・塔跡などの主要伽藍は、瓦積み基壇となっており、大津京との関係でも注目される寺院。","","https://kunishitei.bunka.go.jp/heritage/detail/401/1595",""], [303,252018,303,"滋賀県","大津市","紙本墨画淡彩楼閣山水図　曽我蕭白筆","しほんぼくがたんさいろうかくさんすいず　そがしょうはくひつ","","","重要文化財","美術工芸品","","大津市神宮町","",null,null,"","",1,"双","","近江神宮","1992-06-22 00:00:00","","","","","","","","","右隻に春の西湖、左隻に秋の金山寺を描く。共に、中国・宋時代の詩人蘇東坡ゆかりの画題で、雪舟流の画人が好んで描いているが、江戸時代中期には古典画題となってしまい当時の京都画壇でもあまり描かれていない。作者曾我蕭白は、個性の強い筆法で名声を博した江戸時代中期の絵師。本図は、室町水墨画めいた雲谷派の作例を意識しながら、蕭白独特の造形感覚と表現効果が計算された描写力によって、幻想的な山水図となっている。落款から、蕭白40代初めの作品と考えられる。","","https://kunishitei.bunka.go.jp/heritage/detail/201/2643",""], [304,252018,304,"滋賀県","大津市","崇福寺塔心礎納置品","すうふくじとうしんそのうちひん","","","国宝","美術工芸品","","大津市神宮町","",null,null,"","",null,"","","近江神宮","1944-09-05 00:00:00","","","","","","","","","昭和13年（1938）崇福寺跡の調査において、三重塔跡の塔心礎に穿たれた小孔から発見された。四方に格狭間のある台を付けた金銅製の外箱、銀製の中箱、内側に瑠璃壺を安置するための受花をもつ金製の内箱と、その中に金の蓋をした高さ3.0cm、口径1.7cmの球形の瑠璃壺と三粒の舎利が納められていた。周囲からは、瑠璃玉・硬玉丸玉・金銅背鉄鏡・無文銀銭・水晶粒・銅鈴・金箔木片などが伴出しており、奈良時代の舎利の奉安状態が知られる貴重な遺品である。","","https://kunishitei.bunka.go.jp/heritage/detail/201/836",""], [305,252018,305,"滋賀県","大津市","白磁水注","はくじすいちゅう","","","重要文化財","美術工芸品","","大津市神宮町","",null,null,"","",1,"口","","近江神宮","1978-06-15 00:00:00","","","","","","","","","市内南志賀字勧学堂出土と伝えられてきたが、事実は祟福寺が所在する滋賀里町の観音堂（茶山）付近で発見されたようである。水注は素地が灰白色磁胎、高台畳付と底部外面を除く全面に白色釉がかけられている。器形は口縁部が大きくラッパ状に開き、球形の胴体に鶴首状の注口と二条の刻みを入れた幅広い偏平な把手をつける。胴体は六条の陽刻縦筋線で六区分し、肩部の左右に型押しの花先形飾りを付して頸部を支える。国内出土中国・北宋期の優品。","","https://kunishitei.bunka.go.jp/heritage/detail/201/9981",""], [306,252018,306,"滋賀県","大津市","大津京関係遺跡出土品","おおつきょうかんけいいせきしゅつどひん","","","市指定有形文化財","美術工芸品","","大津市神宮町","",null,null,"","",null,"","","近江神宮","1965-05-06 00:00:00","","","","","","","","","天智天皇の遷都になる大津京の関連遺跡としては崇福寺跡と南滋賀町廃寺跡が有名であるが、両寺跡からの出土品を指定したものである。崇福寺関係では、白鳳時代から天平時代にかけての古瓦や泥塔・瓦器・塼仏・施釉陶器・古銭・仏具などが、南滋賀町廃寺跡では古瓦・塑像・施釉陶器などがある。","","https://www.rekihaku.otsu.shiga.jp/db/bunka/detail.html?387",""], [307,252018,307,"滋賀県","大津市","皇子山古墳","おうじやまこふん","","","国指定史跡","","","大津市錦織1丁目","",135.8478189,35.02865364,"","",null,"","","大津市","1974-12-09 00:00:00","","","","","","","","","錦織集落背後の皇子山小独立丘陵上に築造された古墳。昭和45年（1907）の発掘調査によって二基の古墳を確認。丘陵頂部に、南向きの前方後方墳である一号墳が営まれ、全長60m、後方部幅35mを測る。墳丘は地山を削りだして構築し、外部施設としての葺石が認められる。内部構造は後方部で土壙三基、前方部で粘土槨一基が検出され、築造年代は4世紀後半である。一号墳の東斜面上に直径20mの円墳である二号墳が築かれ、その年代は一号墳と相前後する時期と推定されている。","","https://kunishitei.bunka.go.jp/heritage/detail/401/1601",""], [308,252018,308,"滋賀県","大津市","近江大津宮錦織遺跡","おうみおおつのみやにしこおりいせき","","","国指定史跡","","","大津市錦織1丁目","",135.8478189,35.02865364,"","",null,"","","","1979-07-02 00:00:00","","","","","","","","","昭和49年（1974）に錦織集落の住宅密集地の一角で初めて発見。以来、20年余りの調査によって、正殿・門・回廊などが10地点で確認され大津宮中枢部の建物配置が復元可能となり、この宮の前に造営された前期難波宮（大阪市）の建物配置と共通する点も多く認められた。京域は平城京や平安京などの都城にみられる条坊が整然とした都市景観とは異なり、土地が狭いという制約などから諸施設を周辺部へ分散配置した景観が想定される。","","https://kunishitei.bunka.go.jp/heritage/detail/401/1605",""], [309,252018,309,"滋賀県","大津市","旧琵琶湖ホテル","きゅうびわこほてる","","","市指定有形文化財","建造物","","大津市柳が崎5-35","",135.8677784,35.02671683,"","",1,"棟","","大津市","2000-09-18 00:00:00","","","","","","","","","旧琵琶湖ホテルは、外国人観光客誘致を目的に建設された国際観光ホテルである。設計は歌舞伎座など鉄筋コンクリート造に定評のあった岡田建築事務所、工事は清水組（現清水建設）が請け負い、昭和9年(1934)2月1日起工、同11月16日竣工という短期間の工事で完成している。3階建、地下1階コンクリート造を主体に、一部鉄骨鉄筋コンクリート造を併用している。銅板葺の大屋根は、3階天井スラブの上に木造の小屋組をのせ、東西両翼に並列する入母屋造と、それをつなぐ腰折れ寄棟造となっている。","","https://www.rekihaku.otsu.shiga.jp/db/bunka/detail.html?516",""], [310,252018,310,"滋賀県","大津市","京都市法住寺殿跡土壙出土品","きょうとしほうじゅうじでんあとどこうしゅつどひん","","","重要文化財","美術工芸品","","大津市比叡平2丁目","",null,null,"","",null,"","","木下美術館","1989-06-12 00:00:00","","","","","","","","","現在の蓮華王院本堂（三十三間堂）東北部にあった後白河法皇の御所・法住寺殿跡の土壙から出土した武器・武具類。鉄地雲龍文金銀鍍銅象嵌鍬形は、厚さ1mmの鍛造鉄板の一枚作りで、向かい合った龍と雲文を金銀の象嵌で描いている。鉄地鶴文金銅象嵌鏡轡は、馬の口に付ける轡の両側の鏡板に、鶴が金銅象嵌で描かれている。ともに、平安時代の工芸技術の水準の高さを示す象嵌の技法である。同じ土壙から出土した武器・武具類等と一括で指定となっている。","","https://kunishitei.bunka.go.jp/heritage/detail/201/10066",""], [311,252018,311,"滋賀県","大津市","石造阿弥陀如来坐像","せきぞうあみだにょらいざぞう","","","市指定有形文化財","美術工芸品","","大津市山中町","",null,null,"","",1,"躯","","西教寺","1988-11-11 00:00:00","","","","","","","","","京都と大津を結ぶ山中越に面した山中町の集落内に西教寺があり、その門の脇に安置される石仏。高さ2.7mの花崗岩に厚肉彫で定印を結ぶ阿弥陀如来坐像をあらわす。本像を含め、志賀の大仏や京都・北白川の石仏など、新・旧の山中越に沿って中世以前にさかのぼる阿弥陀坐像が点々と遺存している。比叡山上西塔香炉峯の弥勒石仏などがその源流とみられ、天台系の石仏として位置づけることが可能かもしれない。","","https://www.rekihaku.otsu.shiga.jp/db/bunka/detail.html?217",""], [312,252018,312,"滋賀県","大津市","山中町のお弓行事","やまなかちょうのおゆみぎょうじ","","","市指定無形民俗文化財","","","大津市山中町","",135.8271343,35.04493185,"","",null,"","","","1984-04-02 00:00:00","","","","","","","","","お弓行事は氏子総代が主催するが、直接担当するのは「お弓仲間」と呼ばれる六人の当番で、氏子が毎年順番で受け持っている。「お弓仲間」六人の内実際に弓を射るのは「弓とり役」の二人で、樹下神社の八王子馬場に設けられた射場で、古式にのっとって弓を射る。二人で三度射るが、最後は的ではなく天高く矢を放つ。お弓行事が終ると、藁で作った大蛇で子供たちによる綱引きが行われる。年頭にあたって、悪霊の鎮魂と村の安全を祈願する行事である。","","https://www.rekihaku.otsu.shiga.jp/db/bunka/detail.html?414",""], [313,252018,313,"滋賀県","大津市","木造地蔵菩薩立像","もくぞうじぞうぼさつりゅうぞう","","","市指定有形文化財","美術工芸品","","大津市追分町","",null,null,"","",1,"躯","","攝取院","2019-05-15 00:00:00","","","","","","","","","攝取院地蔵堂の本尊として安置される、髪際高でほぼ３尺を計測する立像。像本体の表面仕上げや光背・台座などは後補されるが、像本体の多くは健全な状態で、当初の造形は損なわれておらず、10世紀後半もあまり降らない時期のものと考えられる。10世紀後半には延暦寺の世・俗両面において勢力が大きく伸長したことが知られており、本像は、延暦寺ないし天台宗の影響下における造像例と位置づけることが可能である。","","https://www.rekihaku.otsu.shiga.jp/db/bunka/detail.html?718",""], [314,252018,314,"滋賀県","大津市","圓満院宸殿","えんまんいんしんでん","","","重要文化財","建造物","","大津市園城寺町33","",135.8532313,35.01458393,"","",1,"棟","","大岡寺","1902-07-31 00:00:00","","","","","","","","","円満院は元園城寺三門跡の一つで、園城寺大門前を北へ進んだ場所に寺域を持つ。宸殿は境内を入った正面に東面して建ち、南に庭園がある。御所の御殿を賜って、正保4年（1647）に移築された。平面は、南北二列に東西三室の計六室と唐風破造の玄関からなり、西北の上段の間が最上の室となり、床・違棚・書院・帳台構が揃う。明治時代初期、滋賀県庁がここに置かれていた。","","https://kunishitei.bunka.go.jp/heritage/detail/102/1367",""], [315,252018,315,"滋賀県","大津市","円満院庭園","えんまんいんていえん","","","国指定史跡;国指定名勝","","","大津市園城寺町33","",135.8532313,35.01458393,"","",null,"","","大岡寺","1934-12-28 00:00:00","","","","","","","","","宸殿に南面して造られた池庭で、建物の東西両側の敷地も取り入れられている。宸殿は正保4年（1647）京都の御所の建物の一部を移築したもので、庭園もその頃の作になると推定される。宸殿正面に東西に長い池を掘り、池の背後は自然の地形を利用した築山とする。池の中央には中島（亀島）を築き、その東には陸地から張り出した島（鶴島）を築き、対岸との間には石橋を架ける。対岸の奥には豪壮な石組が見られ、枯滝の滝口を設けている。","","https://kunishitei.bunka.go.jp/heritage/detail/401/1568",""], [316,252018,316,"滋賀県","大津市","紙本墨画四条河原納涼図稿本","しほんぼくがしじょうかわらのうりょうずこうほん","","","市指定有形文化財","美術工芸品","","大津市園城寺町","",null,null,"","",1,"幅","","円満院","1965-05-06 00:00:00","","","","","","","","","江戸時代中期の画家で、新しい写生画風を形成し円山派を開いたことで知られている円山応挙の作。彼は明和4年（1767）35才にして円満院門主祐常に仕え多くの作品を残したが、この四条河原納涼図（稿本）は応挙の筆法を研究する上で欠くことのできないものである。人物を描くのに朱線で衣服を描き、その下に青線で肉体を略写しているが、一部の人物は朱線で肉体を描いた上に青線の衣服をまとわせるという、二種類の描法をとっている。","","https://www.rekihaku.otsu.shiga.jp/db/bunka/detail.html?163",""], [317,252018,317,"滋賀県","大津市","園城寺大門(仁王門)","おんじょうじだいもん（におうもん）","","","重要文化財","建造物","","大津市園城寺町246","",135.851061,35.01134331,"","",1,"棟","","園城寺","1900-04-07 00:00:00","","","","","","","","","大門通りの突当りに、東面して建つ園城寺の表門。門を通って正面の石段を登ると金堂にいたる。元は湖南市常楽寺の門で、秀吉によって伏見城に移されていたものが、慶長6年（1601）徳川家康によって現地に移された（『園城寺再興略記』）。三つの柱間の内中央を戸口として両脇には仁王像を安置し、一階と二階の間を回縁とする、三間一戸の楼門である。棟札の写しから宝徳4年（1452）の建築になり、蟇股の彫刻や組物に室町時代の特色を示している。","","https://kunishitei.bunka.go.jp/heritage/detail/102/1329",""], [318,252018,318,"滋賀県","大津市","園城寺新羅善神堂","おんじょうじしんらぜんしんどう","","","国宝","建造物","","大津市園城寺町246","",135.851061,35.01134331,"","",1,"棟","","園城寺","1901-03-27 00:00:00","","","","","","","","","園城寺北院の森の中に、南面して建つ。園城寺の中興開山智証大師円珍が唐より帰朝の途次、船中で護法を誓った新羅明神を祀る。明治の神仏分離によって現在の名称となった。三間社流造の神社本殿の建築で、桁行三間・梁間二間の内陣は、正面中央を板扉とする以外はすべて漆喰壁とし、その前に一間の外陣がつく。外陣の正面・側面の欄間には、牡丹唐草と鳳凰の透彫がほどこされている。寺伝によれば、貞和3年（1347）足利尊氏により再建されたという。","","https://kunishitei.bunka.go.jp/heritage/detail/102/1330",""], [319,252018,319,"滋賀県","大津市","園城寺金堂","おんじょうじこんどう","","","国宝","建造物","","大津市園城寺町246","",135.851061,35.01134331,"","",1,"棟","","園城寺","1906-04-14 00:00:00","","","","","","","","","園城寺は、円珍によって天台別院として中興された天台寺門宗の総本山で、三井寺とも呼ばれる。元あった金堂は、文禄4年（1595）秀吉によって園城寺が闕所とされた際に延暦寺へ移されたが、慶長3年（1598）闕所が解けると翌4年秀吉夫人北政所によって再建された。平面は、前方二間を外陣、中三間を内陣と脇陣、後方二間を後陣とする。内外陣を格子戸や扉で仕切り、外陣・後陣・脇陣を板敷、内陣は床を張らずに土間とするなど、天台宗の仏堂の特色をよく示している。","","https://kunishitei.bunka.go.jp/heritage/detail/102/1333",""], [320,252018,320,"滋賀県","大津市","園城寺閼伽井屋","おんじょうじあかいや","","","重要文化財","建造物","","大津市園城寺町246","",135.851061,35.01134331,"","",1,"棟","","園城寺","1906-04-14 00:00:00","","","","","","","","","金堂の西側軒下に接して建つ。閼伽井とは仏に供える霊水を汲む井戸のことで、閼伽井屋はその覆屋である。三井寺の由来となった天智・天武・持統の三代の天皇が産湯に使ったと伝えられる湧水が、石組の中から涌いている。金堂との一連の工事として建築されており、実肘木の墨書銘から慶長5年（1600）の建築になる。正面の中の間を両開きの格子戸とし、その上部には蟠龍の彫刻が彫られ、組物や虹梁には彩色の跡が残る。","","https://kunishitei.bunka.go.jp/heritage/detail/102/1334",""], [321,252018,321,"滋賀県","大津市","園城寺一切経蔵(経堂)","おんじょうじいっさいきょうぞう（きょうどう）","","","重要文化財","建造物","","大津市園城寺町246","",135.851061,35.01134331,"","",1,"棟","","園城寺","1906-04-14 00:00:00","","","","","","","","","金堂の南西の一段高い所に、東面して建つ。内部には一切経を納めるための回転式の八角輪蔵があり、高麗版一切経が納められている。室町時代中期の建築になり、元は周防国の国清寺にあったが、慶長7年（1602）毛利輝元によって当寺に移された（輪蔵墨書）。国清寺は現山口市所在の禅宗寺院で、この一切経蔵も禅宗様の建築になる。母屋は一間四方で一重の建物であるが、もこしが付いているところから、外観は三間四方で二重の建物に見える。","","https://kunishitei.bunka.go.jp/heritage/detail/102/1335",""], [322,252018,322,"滋賀県","大津市","園城寺塔婆(三重塔)","おんじょうじとうば（さんじゅうのとう）","","","重要文化財","建造物","","大津市園城寺町246","",135.851061,35.01134331,"","",1,"基","","園城寺","1906-04-14 00:00:00","","","","","","","","","唐院の北側に建つ三重塔。総高約25mあり、県内所在の三重塔の内では最大規模である。元は大和国比蘇寺の東塔で、慶長2年（1597）秀吉によって伏見城に移されていたものを、慶長6年家康が当寺に移築した。二度の移築によるためか、全体の均衡が少し沈んでいるように見える。建築年代を確定する資料はないが、室町時代前期の建築と考えられている。境内諸堂の中でも、数少ない瓦葺の建物である。","","https://kunishitei.bunka.go.jp/heritage/detail/102/1336",""], [323,252018,323,"滋賀県","大津市","園城寺食堂(釈迦堂)","おんじょうじじきどう（しゃかどう）","","","重要文化財","建造物","","大津市園城寺町246","",135.851061,35.01134331,"","",1,"棟","","園城寺","1912-02-08 00:00:00","","","","","","","","","大門を入った右側に、南面して建つ。現在釈迦如来を安置しているところから、釈迦堂とも呼ばれている。建築年代は室町時代中期で、御所の清涼殿の一部を移したとも伝えられ、舟肘木墨書銘から移築は元和7年（1621）と考えられる。七間四間の平面の内、周りの一間を通り庇としている。内陣や須弥壇には古い手法が用いられ、特に須弥壇の彫刻は見事である。正面の唐破風の向拝は、江戸時代の文政13年（1803）に取り付けられたものである。","","https://kunishitei.bunka.go.jp/heritage/detail/102/1337",""], [324,252018,324,"滋賀県","大津市","勧学院客殿","かんがくいんきゃくでん","","","国宝","建造物","","大津市園城寺町246","",135.851061,35.01134331,"","",1,"棟","","園城寺","1901-03-27 00:00:00","","","","","","","","","勧学院も園城寺の子院の一つで、客殿は慶長5年（1600）の再建になる（落縁脇障子竹の節墨書）。桁行七間、梁間七間と光浄院客殿よりもやや規模は大きいが、中門や広縁は光浄院とほぼ同じで、中世の主殿造の様式をついでいる。東を正面とし、軒唐破風の下に車寄、その北を蔀戸・吹放しの広縁としている。内部は南・中・北の三列に分けられ、南列の一の間には大床が、中列西端の間には床と付書院が、北列西端の間には床と押入が備えられている。","","https://kunishitei.bunka.go.jp/heritage/detail/102/1331",""], [325,252018,325,"滋賀県","大津市","光浄院客殿","こうじょういんきゃくでん","","","国宝","建造物","","大津市園城寺町246","",135.851061,35.01134331,"","",1,"棟","","園城寺","1901-03-27 00:00:00","","","","","","","","","光浄院は園城寺の子院の一つで、現在の客殿は豊臣秀吉による闕所後、慶長6年（1601）に再建された。桁行七間・梁間六間の平面に中門が付き、中門の北に唐破風付の車寄・蔀戸を吊る。内部は南側の上座の間・次の間・車寄、北側の六畳・八畳・十二畳・四畳の二列に分けられる。上座の間には床・違棚・帳台構があり、広縁に二畳の上段の間が突き出している。江戸時代初期の木割書『匠明』に記載される「武家造主殿之図」に合致し、桃山時代の書院造の典型といえる建物である。","","https://kunishitei.bunka.go.jp/heritage/detail/102/1332",""], [326,252018,326,"滋賀県","大津市","園城寺毘沙門堂","おんじょうじびしゃもんどう","","","重要文化財","建造物","","大津市園城寺町246","",135.851061,35.01134331,"","",1,"棟","","園城寺","1952-03-29 00:00:00","","","","","","","","","毘沙門堂は現在観音堂北側の参道横に所在するが、元は園城寺の五別所の一つ尾蔵寺南勝坊にあった伽藍の一つである。明治42年（1909）南院円宗院谷の上三尾社の下に移され、昭和31年（1956）現在地に再度移築された。元和2年（1616）の建築になり（『元禄五寺社改帳』）、瓦敷の基壇に建つ正面一間・側面二間の小仏堂である。禅宗様を基調としているが、組物には和様が取り入れられ、内外共に極彩色で飾られている。","","https://kunishitei.bunka.go.jp/heritage/detail/102/1338",""], [327,252018,327,"滋賀県","大津市","園城寺唐院　大師堂、唐門、灌頂堂、四脚門","おんじょうじとういん　だいしどう、からもん、かんじょうどう、よつあしもん","","","重要文化財","建造物","","大津市園城寺町246","",135.851061,35.01134331,"","",4,"棟","","園城寺","1967-06-15 00:00:00","","","","","","","","","唐院は、智証大師円珍が唐より請来した経典・法具類を納めた伝法灌頂の道場で、園城寺でも最も神聖な区域である。一段高く石垣と塀に囲まれ、東面して四脚門・灌頂堂・唐門・大師堂が一列に並び、灌頂堂の南に長日護摩堂、北に三重塔が建つ。秀吉による闕所後もいち早く再建に着手され、大師堂は慶長3年（1598）、四脚門は寛永元年（1624）、唐門・灌頂堂もほぼ同じ頃の建築と考えられる。大師堂には、国宝の智証大師坐像二躯と重要文化財の黄不動像が安置されている。","","https://kunishitei.bunka.go.jp/bsys/maindetails/102/1339",""], [328,252018,328,"滋賀県","大津市","園城寺鐘楼","おんじょうじしょうろう","","","重要文化財","建造物","","大津市園城寺町246","",135.851061,35.01134331,"","",1,"棟","","園城寺","1967-06-15 00:00:00","","","","","","","","","金堂の南東に建つ。「三井の晩鐘」で知られる慶長7年（1602）銘の梵鐘を釣るところから、鐘楼の再建もこの時と考えられる。鐘楼の一般的形である四本柱や袴腰付ではなく、桁行二間・梁間一間で六本の柱を立て、周囲の下方は板壁、上方は荒い格子となり、東妻の下にある潜戸から出入りする。内部は、潜戸を入った東の間に撞木を、西の間に梵鐘を釣っている。","","https://kunishitei.bunka.go.jp/heritage/detail/102/1343",""], [329,252018,329,"滋賀県","大津市","園城寺\n　観音堂\n　鐘楼\n　百体堂\n　観月舞台\n　絵馬堂","おんじょうじかんのんどう　しょうろう、ひゃくたいどう、かんげつぶたい、えまどう","","","重要文化財","建造物","","大津市園城寺町246","",135.851061,35.01134331,"","",5,"棟","","園城寺","2024-08-15 00:00:00","","","","","","","","","大津市の長等山を寺域とする園城寺の南院にある西国三十三所観音霊場の第十四番札所。観音堂は元禄２年（１６８９）の上棟で、寺院建築に対する規制をふまえて造営され、礼堂と正堂を合の間で繋ぐ構成。観音巡礼の盛行により賑わい、江戸後期以降、合の間の拡張など増改築を重ね、広い法要空間や不動堂、位牌壇などを堂内に設け、複雑かつ独特の平面となった。琵琶湖を望む高台の境内には、江戸中期から末期にかけて建てられた、札所鐘楼、西国・秩父・坂東札所の百観音を集めた百体堂、眺望に優れる高床の観月舞台、茶所に用いた絵馬堂ものこり、近世札所寺院の境内の様相を伝え、歴史的に価値が高い。","","https://kunishitei.bunka.go.jp/heritage/detail/102/00005569",""], [330,252018,330,"滋賀県","大津市","園城寺唐院長日護摩堂","おんじょうじとういんちょうにちごまどう","","","県指定有形文化財","建造物","","大津市園城寺町246","",135.851061,35.01134331,"","",1,"棟","","園城寺","1960-01-20 00:00:00","","","","","","","","","唐院を構成する建物の一つで、北側の灌頂堂と渡り廊下で接続し、東面して建つ。寺伝では後水尾天皇の祈願により建てられたと伝えるが、慶長再建の建物と比較すると様式手法が新しく、西北隅の鬼瓦にへら書の見える寛文6年（1666）の建築と考えられる。慶長再建の建物と異なり瓦葺であるが、角柱を漆喰塗の真壁仕上げとするなど、周囲の建物との調和を図っている。","","https://www.rekihaku.otsu.shiga.jp/db/bunka/detail.html?56",""], [331,252018,331,"滋賀県","大津市","水観寺本堂","すいかんじほんどう","","","県指定有形文化財","建造物","","大津市園城寺町246","",135.851061,35.01134331,"","",1,"棟","","園城寺","1984-03-30 00:00:00","","","","","","","","","水観寺は園城寺の五別所の一つで、大門通の北に境内を構えていたが、近年の修理に合わせて本堂が園城寺境内に移築された。現在の建物は明暦元年（1655）の建築になり（天井棹縁・板墨書）、正面は柱間四間という珍しい形をとっているが、三間の内陣に一間の仏間を取り込んだものである。外陣を開放し、一般庶民が自由に参拝できるような平面構成を残し、江戸時代の別所本堂の遺構を知るうえで貴重である。","","https://www.rekihaku.otsu.shiga.jp/db/bunka/detail.html?59",""], [332,252018,332,"滋賀県","大津市","園城寺南院札所伽藍　手水舎、地蔵堂","おんじょうじなんいんふだしょがらん　ちょうずや、じぞうどう","","","市指定有形文化財","建造物","","大津市園城寺町246","",135.851061,35.01134331,"","",3,"棟","","園城寺","1988-11-11 00:00:00","","","","","","","","","重要文化財の観音堂・鐘楼・百体堂・観月舞台と合わせて、西国三十三所観音巡礼札所の伽藍を構成している。観音堂の正面に建つ手水舎は、六弁の大型の水盤が据えられ、周囲を六角形の手水鉢が取り囲む。内部の桁上に明治14年（1881）11月の建築を記す扁額が掛けられる。地蔵堂は、絵馬堂の横から東へ降りる石段の中程に建つ。鬼瓦に文政2年（1819）の刻銘がある。","","https://www.rekihaku.otsu.shiga.jp/db/bunka/detail.html?58",""], [333,252018,333,"滋賀県","大津市","園城寺護法社　護法善神堂、唐門、表門、石造橋、本地堂、預坊表門及び門番所","おんじょうじごほうしゃ　ごほうぜんしんどう、からもん、おもてもん、せきぞうきょう、ほんじどう、あずかりぼうおもてもんおよびもんばんしょ","","","市指定有形文化財","建造物","","大津市園城寺町246","",135.851061,35.01134331,"","",null,"","","園城寺","1998-10-01 00:00:00","","","","","","","","","園城寺中院に所属する護法社境内の建物群。重要文化財の木造護法善神立像・木造訶梨帝母椅像をまつる護法善神堂を中心に、唐門、石造橋、表門が一直線にならび、護法善神堂の北に本地堂と預坊表門及び門番所が位置する。護法善神堂は享保１２年（１７２７）の建築になり、神社本殿の形式としては珍しい切妻造の建物。護法善神堂と唐門・石造橋・預坊表門と門番所がほぼ同じ頃の建築であるのに対し、表門は元和年間に、本地堂は慶安年間に遡ると考えられる。境内で毎年５月中旬に行われる千団子祭は、多くの参詣者で賑わう。","","https://www.rekihaku.otsu.shiga.jp/db/bunka/detail.html?523",""], [334,252018,334,"滋賀県","大津市","絹本著色不動明王像(黄不動尊)","けんぽんちゃくしょくふどうみょうおうぞう（きふどうそん）","","","国宝","美術工芸品","","大津市園城寺町","",null,null,"","",1,"幅","","園城寺","1900-04-07 00:00:00","","","","","","","","","園城寺の中興開山智証大師円珍が、承和5年（838）比叡山で修行中、感得した不動明王を画工に命じて描かせたと伝える。正面を向き、胸には条帛を着けず、右手に剣、左手に羂索を握り、筋骨たくましく空中に立っている。両目は大きく見開き、つむった口から二本の牙が上にのび、肉身が黄色であるところから「黄不動」と呼ばれている。延喜2年（902）に著された三善清行の『円珍伝』に存在が記されており、平安時代前期の数少ない密教画である。","","https://kunishitei.bunka.go.jp/heritage/detail/201/103",""], [335,252018,335,"滋賀県","大津市","絹本著色黄金剛童子像","けんぽんちゃくしょくきこんごうどうじぞう","","","重要文化財","美術工芸品","","大津市園城寺町","",null,null,"","",1,"幅","","園城寺","1900-04-07 00:00:00","","","","","","","","","左足を大きくふりあげ、左手に三鈷杵を持ち、踏割蓮華の上に立つ黄金剛童子を中央に、下部には四臂金剛・鬼形・猪頭や象頭の頻那夜迦、上部には飛天が左右対称に描かれる。天台密教の図像集である『阿娑縛抄』には、黄金剛童子は阿弥陀如来の化身で、その修法は「三井寺ノ秘法」と記されている。口から出た霊雲に乗る円相に、赤衣の阿弥陀如来坐像が描かれているのも、阿弥陀如来の化身であることをを示している。","","https://kunishitei.bunka.go.jp/heritage/detail/201/1206",""], [336,252018,336,"滋賀県","大津市","絹本著色尊星王像","けんぽんちゃくしょくそんじょうおうぞう","","","重要文化財","美術工芸品","","大津市園城寺町","",null,null,"","",1,"幅","","園城寺","1900-04-07 00:00:00","","","","","","","","","尊星王とは北極星を神格化したもので、妙見・北辰菩薩とも呼ばれ、園城寺では秘法尊星王法会の本尊とされる。青龍の上に片足で立ち、頭上には鹿冠、四臂は日・月・戟・錫杖を持つ。青龍の顔の左右に日月を配するほか、円相の向かって右には月から頭を覗かせる鹿・月を抱える豹・月を乗せる白狐、左には日から頭を覗かせる鹿・日を抱える虎・日を乗せる象が描かれる。全体に神秘的な様相をただよわせている像である。","","https://kunishitei.bunka.go.jp/heritage/detail/201/1207",""], [337,252018,337,"滋賀県","大津市","絹本著色多聞天像","けんぽんちゃくしょくたもんてんぞう","","","重要文化財","美術工芸品","","大津市園城寺町","",null,null,"","",1,"幅","","園城寺","1900-04-07 00:00:00","","","","","","","","","多聞天は四天王の一つとして、あるいは十二天の一つとして北方を守護する天部である。毘沙門天と呼ばれて独尊で祀られる場合もあり、財宝神として七福神の一つともなっている。本図は、甲冑に身を固め、頭光に火焔をなびかせ、左手に宝塔、右手に宝棒を持ち、赤鬼・青鬼を踏む。左には宝珠を手にした吉祥天、右には金色の箱を捧持する善膩師童子を従える三尊形式をとっている。","","https://kunishitei.bunka.go.jp/heritage/detail/201/1208",""], [338,252018,338,"滋賀県","大津市","絹本著色不動明王八大童子像","けんぽんちゃくしょくふどうみょうおうはちだいどうじぞう","","","重要文化財","美術工芸品","","大津市園城寺町","",null,null,"","",1,"幅","","園城寺","1900-04-07 00:00:00","","","","","","","","","瑟々座に坐す不動明王を中心に、左に矜羯羅童子と蓮華童子、右に制吒迦童子を従え、下辺には不動明王を礼拝する五人の使者を描く。着衣の文様は彩色であらわし、諸尊の火焔光背はそれぞれ形を変えている。円珍が唐から将来した図像に基づき、延暦寺の「不動明王三大童子五部使者像」も同じである。天正16年（1588）の修理銘があり、鳥獣戯画の作者とも言われる鳥羽僧正覚猷の筆になると伝えられていたことがわかる。","","https://kunishitei.bunka.go.jp/heritage/detail/201/1209",""], [339,252018,339,"滋賀県","大津市","絹本著色八大仏頂曼荼羅図","けんぽんちゃくしょくはちだいぶっちょうまんだらず","","","重要文化財","美術工芸品","","大津市園城寺町","",null,null,"","",1,"幅","","園城寺","1900-04-07 00:00:00","","","","","","","","","善無畏訳の『尊勝仏頂修瑜伽法儀軌』に基づいて図絵されたもので、同寺の「尊勝曼荼羅図」と同じ図様である。大円中央の円相に、七獅子が支える蓮台上に結跏趺坐する金剛界大日如来を描き、そのまわりの円相に八大仏頂を配し、三鈷杵と輪宝によって区切っている。上部には天蓋と左右に首陀会天、下部には中央に香炉、向かって左に半月形中の降三世明王、右に三角形中の不動明王を描く。","","https://kunishitei.bunka.go.jp/heritage/detail/201/1210",""], [340,252018,340,"滋賀県","大津市","絹本著色天台大師像","けんぽんちゃくしょくてんだいだいしぞう","","","重要文化財","美術工芸品","","大津市園城寺町","",null,null,"","",2,"幅","","園城寺","1900-04-07 00:00:00","","","","","","","","","天台大師智顗の画像。賛のある画像は、真正面を向いて椅子に坐し、右手に経冊を持ち、左手は衣の端を握る。左下に蓮華をかたどった台に水瓶をのせるのは、他には見られない。上部中央の色紙形には、法銑の撰になる「智者大師賛」が金泥で記される。賛のない画像は、斜め左を向いて椅子の上に瞑目し、頭巾の上に禅鎮をのせ、左手人差し指を立てた独特の禅定印を結ぶ。最澄が将来した根本像の写しとされる。裏書によれば、天文19年（1505）改装され、如意寺で開眼供養されている。","","https://kunishitei.bunka.go.jp/heritage/detail/201/1211",""], [341,252018,341,"滋賀県","大津市","絹本著色閻魔天像","けんぽんちゃくしょくえんまてんぞう","","","重要文化財","美術工芸品","","大津市園城寺町","",null,null,"","",1,"幅","","園城寺","1900-04-07 00:00:00","","","","","","","","","除病延命・息災安穏を祈願する閻魔天供・冥道供の本尊とされる。水牛に乗る閻魔天を中央に、上方に三体の鵞鳥にのる梵天と象にのる帝釈天、左右に后・妃、下方に太山府君・五道大神をはじめとする冥府世界にかかわる神々、そして四方には四天王を配している。全体で十九の尊像を描くところから、「十九位曼荼羅」とも呼ばれ、園城寺の覚猷が院に奉ったとされる台密独特のものである。截金を用いず、墨線を主体に描かれている。","","https://kunishitei.bunka.go.jp/heritage/detail/201/1212",""], [342,252018,342,"滋賀県","大津市","絹本著色水天像","けんぽんちゃくしょくすいてんぞう","","","重要文化財","美術工芸品","","大津市園城寺町","",null,null,"","",1,"幅","","園城寺","1900-04-07 00:00:00","","","","","","","","","水天は、密教寺院の修法に際して守護神としてまつられる十二天の内の一つで、西方の守護神である。通常十二天像は六曲屏風としてあらわされるが、本図は単独の像となっており、台密で最高秘法とされる水天法の本尊であったとも考えられる。身は青黒く、頭に八蛇を戴き、右手に剣、左手に竜索を持って、荷葉座に立つ。衣文線や着衣に金泥が使用されており、その手法から室町時代前期の作と考えられる。","","https://kunishitei.bunka.go.jp/heritage/detail/201/1213",""], [343,252018,343,"滋賀県","大津市","絹本著色涅槃像","けんぽんちゃくしょくねはんぞう","","","重要文化財","美術工芸品","","大津市園城寺町","",null,null,"","",1,"幅","","園城寺","1900-04-07 00:00:00","","","","","","","","","宝台上に両腕を伸ばし、蓮台を枕として横たわる釈迦の入滅の姿を描く。周辺には、仏弟子や一般の僧侶風の人物、動物たちの悲しむ姿が描かれる。上下左右に若干切りつめた跡があり、長年の使用によって彩色の剥落が多く、下書の線があらわれている。八本の沙羅樹の内七本に鉢を入れた包が描かれているのが興味深い。箱書に「長等山正法寺什物」とあり、正法寺（現在の観音堂）に所在したことがわかる。","","https://kunishitei.bunka.go.jp/heritage/detail/201/1214",""], [344,252018,344,"滋賀県","大津市","絹本著色尊勝曼荼羅図","けんぽんちゃくしょくそんしょうまんだらず","","","重要文化財","美術工芸品","","大津市園城寺町","",null,null,"","",1,"幅","","園城寺","1900-04-07 00:00:00","","","","","","","","","同寺の「八大仏頂曼荼羅図」と同じ図様で、息災・増益・滅罪・生産などを祈願する尊勝仏頂法の本尊となる。中央円相内の金剛界大日如来を中心に、そのまわりの円相に八大仏頂を描く。八大仏頂の内、前方の尊勝仏頂が一切の煩悩や業障を除くとして最も尊ばれるところから、尊勝曼荼羅の名がおこっている。円相や、降三世明王の半月形、不動明王の三角形は、截金で輪郭がとられている。","","https://kunishitei.bunka.go.jp/heritage/detail/201/1215",""], [345,252018,345,"滋賀県","大津市","絹本著色新羅明神像","けんぽんちゃくしょくしんらみょうじんぞう","","","重要文化財","美術工芸品","","大津市園城寺町","",null,null,"","",1,"幅","","園城寺","1900-04-07 00:00:00","","","","","","","","","円珍の帰朝に際し、船中にあらわれて護法を約したという新羅明神の像。唐装で斜め右を向き、椅子に坐した老人の姿として描かれる。右手には経巻、左手には錫杖を持つ。向かって左下に衣冠束帯で坐すのは、新羅明神に鎮座地を譲ったとされる火御子、右下には笏をとる般若菩薩と箱を奉持する宿王菩薩が配される。上部円相には、明神の本地仏である文殊菩薩を描き、垂迹曼荼羅となっている。","","https://kunishitei.bunka.go.jp/heritage/detail/201/1216",""], [346,252018,346,"滋賀県","大津市","絹本著色不動明王像","けんぽんちゃくしょくふどうみょうおうぞう","","","重要文化財","美術工芸品","","大津市園城寺町","",null,null,"","",1,"幅","","園城寺","1900-04-07 00:00:00","","","","","","","","","右手に剣、左手に羂索を持ち、斜め左を向いて瑟々座に立つ不動明王像。面相は両眼を大きく見開き、通例とは逆に右端牙を下向き、左端牙を上向きに出す。髪・瞳・衣のしわ・装身具・剣・羂索に金泥を用いる他は、背後の火焔も含めて、墨の濃淡によって見事に描きわけている。箱書によれば、天台密教の大成者として知られる安然の請来と伝えられている。","","https://kunishitei.bunka.go.jp/heritage/detail/201/1217",""], [347,252018,347,"滋賀県","大津市","絹本著色不動明王二童子像","けんぽんちゃくしょくふどうみょうおうにどうじぞう","","","重要文化財","美術工芸品","","大津市園城寺町","",null,null,"","",1,"幅","","園城寺","1900-04-07 00:00:00","","","","","","","","","右手に剣、左手に羂索を持って瑟々座に坐し、左目を細め、牙を上下にむき出し、髪は巻髪とする。向かって右に独鈷杵を左脇にかかえて不動明王を仰ぐ白身の矜羯羅童子、左に棍棒を持つ赤身の制吒迦童子を配する。頭髪・装身具・条帛や裳の文様には金泥が多用されている。この形式の不動明王像は青蓮院の青不動を古例とするが、本像は頭頂に蓮華を戴くこと、瑟々座に坐すことなどが異なっている。","","https://kunishitei.bunka.go.jp/heritage/detail/201/1218",""], [348,252018,348,"滋賀県","大津市","絹本著色両界曼荼羅図","けんぽんちゃくしょくりょうかいまんだらず","","","重要文化財","美術工芸品","","大津市園城寺町","",null,null,"","",2,"幅","","園城寺","1900-04-07 00:00:00","","","","","","","","","『大日経』に基づく胎蔵界曼荼羅と、『金剛頂経』に基づく金剛界曼荼羅をセットとした両界曼荼羅図。天台密教系の曼荼羅図としては類の乏しいもので、金剛界は通常の九会曼荼羅であるが、胎蔵界は諸尊の移動や持物の差異が認められ、天台密教系の特色が見られる。描表装とも同一の手になり、諸尊の肉身は黄土をぬり朱線で描き、密教法具などの細部の描写も的確になされている。","","https://kunishitei.bunka.go.jp/heritage/detail/201/1219",""], [349,252018,349,"滋賀県","大津市","絹本著色釈迦十六善神像","けんぽんちゃくしょくしゃかじゅうろくぜんじんぞう","","","重要文化財","美術工芸品","","大津市園城寺町","",null,null,"","",1,"幅","","園城寺","1908-04-23 00:00:00","","","","","","","","","釈迦如来・文殊菩薩・普賢菩薩の釈迦三尊を中心に、その前に僧形の常啼と菩薩形の法涌、さらにその前に笈を背負う玄奘と半裸の深沙大将が立ち、そのまわりを十六善神が取り囲む。大般若経の転読によって怨敵退散・国土安全を祈る大般若会の本尊で、常啼など四尊は大般若経の伝来に関り、十六善神は大般若経やこれを誦読する人を守護するという。暗褐色の背景に金泥や截金、深みのある朱や緑青・黄土を使っている。","","https://kunishitei.bunka.go.jp/heritage/detail/201/1220",""], [350,252018,350,"滋賀県","大津市","金地著色滝図　床間壁貼付\n　　　　　　梅、檜及花卉図　襖貼付\n　　　　　　桜、杉及花卉図　襖貼付\n　　　　　　檜及花卉図　戸襖貼付\n　　　　　　（客殿一之間）","きんじちゃくしょくたきず　とこのまかべはりつけ\nうめ、ひのきおよびかきず　ふすまはりつけ\nさくら、すぎおよびかきず　ふすまはりつけ\nひのきおよびかきず　とふすまはりつけ\n（きゃくでんいちのま）","","","重要文化財","美術工芸品","","大津市園城寺町","",null,null,"","",15,"面","","園城寺","1929-04-06 00:00:00","","","","","","","","","国宝園城寺勧学院客殿の南列（表列）最奥の上段の間（一之間）に描かれた障壁画。勧学院客殿は慶長5年（1600）の再建になり、大床裏板内面の寛政11年（1799）の修理銘から、狩野光信の作であることがわかる。金地に著色で、北側四面の梅・檜の図からはじまって、東側四面の桜・杉の図、南側の戸襖四面の紫陽花・菖蒲・杉林・紅葉と続き、西側の大床壁の杉木立と滝に雪山の場面で、四季の花木を四周に描くという構成をとっている。","","https://kunishitei.bunka.go.jp/heritage/detail/201/1221",""], [351,252018,351,"滋賀県","大津市","紙本著色松ニ山鳥、鴨、鴛鴦図及竹ニ雀図　襖貼付\n　　　　　　竹ニ雀及芦ニ鷺図　戸襖貼付\n　　　　　　（客殿二之間）","しほんちゃくしょくまつにやまどり、かも、おしどりずおよびたけにすずめず　ふすまはりつけ\nたけにすずめおよびあしにさぎず　とふすまはりつけ\n（きゃくでんにのま）","","","重要文化財","美術工芸品","","大津市園城寺町","",null,null,"","",24,"面","","園城寺","1929-04-06 00:00:00","","","","","","","","","慶長5年（1600）に再建された国宝園城寺勧学院客殿の南列（表列）二之間の障壁画で、一之間と同じく狩野光信の作になる。一之間が金地であるのに対し、二之間は素地に著色で、西北の角から西側に三面、北側に八面にわたって描いた二本の松を中心として、松に藤・岩にセキレイ・芦に鷺・竹に雀の花鳥を配している。狩野光信は狩野永徳の長男で信長・秀吉に仕え多く作品を生み出したが、勧学院客殿一之間・二之間の障壁画は制作年代のわかる狩野光信の代表作である。","","https://kunishitei.bunka.go.jp/heritage/detail/201/1222",""], [352,252018,352,"滋賀県","大津市","紙本墨画五部心観(完本)\n紙本墨画五部心観(巻初を欠く)","しほんぼくがごぶしんかん（かんぽん）\nしほんぼくがごぶしんかん（かんしょをかく）","","","国宝","美術工芸品","","大津市園城寺町","",null,null,"","",2,"巻","","園城寺","1938-07-04 00:00:00","","","","","","","","","『金剛頂経』金剛界品に説く六種の曼荼羅の諸尊を、上段に像容、中段に梵字の真言、下段に三昧耶形を三段に描き、最後に『金剛頂経』の訳者である善無畏の姿を描く。完本の巻末には、円珍が在唐中に長安の青竜寺で師の法全から授けられたことを記す自筆の奥書があり、唐で写された図像の原本であることがわかる。前欠本は平安時代に写されたものであるが、巻初を欠いている。唐代の図像の原本が伝えられているのは、極めて珍しい。","","https://kunishitei.bunka.go.jp/heritage/detail/201/76",""], [353,252018,353,"滋賀県","大津市","光浄院客殿障壁画\n　紙本金地著色松ニ滝図　床貼付\n　紙本金地著色菊花図　上段床貼付・同障子腰貼付\n　紙本墨画列仙図　襖貼付・帳台構貼付\n　（広間）\n　紙本著色花鳥図　襖貼付\n　（次の間）","こうじょういんきゃくでんしょうへきが\n　しほんきんじちゃくしょくまつにたきず　とこはりつけ\n　しほんきんじちゃくしょくきっかず　じょうだんとこはりつけ・どうしょうじこしはりつけ\n　しほんぼくがれっせんず　ふすまはりつけ・ちょうだいがまえはりつけ\n　（ひろま）\n　しほんちゃくしょくかちょうず　ふすまはりつけ\n　（つぎのま）","","","重要文化財","美術工芸品","","大津市園城寺町","",null,null,"","",25,"面","","園城寺","1976-06-05 00:00:00","","","","","","","","","慶長6年（1601）、山岡道阿弥景友によって再建された国宝光浄院客殿の南側（表列）最奥の、上座の間・次の間の二室に描かれた障壁画である。上座の間は大床壁に金地著色の松ニ滝図が、付書院の床壁と障子に金地著色の菊花図が続き、北側の帳台構と東北の襖は墨画の列仙図となっている。次の間は、東・北・西の三面に素地に彩色で花鳥図を描き、入口の杉戸には著色の松梅図と唐獅子図が描かれる。作者は不明ながら、桃山時代の狩野派の手になる。","","https://kunishitei.bunka.go.jp/heritage/detail/201/2466",""], [354,252018,354,"滋賀県","大津市","絹本著色智証大師像","けんぽんちゃくしょくちしょうだいしぞう","","","県指定有形文化財","美術工芸品","","大津市園城寺町","",null,null,"","",1,"幅","","園城寺","1990-03-31 00:00:00","","","","","","","","","床座の上に正面を向いて坐し、法衣の上に袈裟をかけ、腹前で定印を結び、眼を半眼にして瞑想する智証大師円珍の像。木像としては、二体の国宝と一体の重要文化財の像が園城寺に伝えられている。円珍像は、頭頂が隆起した独特の姿をとることで知られており、本図は智証大師の画像としては最古の作である香川県金倉寺本（重要文化財・13世紀）にならって描かれている。上部には三区の色紙形を作り大師の略伝を墨書するが、破損が大きい。","","https://www.rekihaku.otsu.shiga.jp/db/bunka/detail.html?148",""], [355,252018,355,"滋賀県","大津市","紙本墨画幽居図","しほんぼくがゆうきょず","","","市指定有形文化財","美術工芸品","","大津市園城寺町","",null,null,"","",8,"面","","園城寺","1972-07-01 00:00:00","","","","","","","","","園城寺北院、法明院客殿の一の間の襖絵で池大雅の筆になる。内仏間に接した西側四面と二の間に接した北側四面の、合わせて八面からなる。墨一色の濃淡をもって描かれ、北側の向かって右から第三面の屋舎から外を覗く高士の視線が、西側四面の遠望する山々にむけられるという構図をとる。後人の墨入れが目立つが、北側の右から第二面の屋舎中の下僕や童子、その下の欄干などに、当初の筆と思われる描写が見られる。","","https://www.rekihaku.otsu.shiga.jp/db/bunka/detail.html?149",""], [356,252018,356,"滋賀県","大津市","紙本墨画山水図","しほんぼくがさんすいず","","","市指定有形文化財","美術工芸品","","大津市園城寺町","",null,null,"","",7,"面","","園城寺","1972-07-01 00:00:00","","","","","","","","","法明院客殿の三の間の襖絵で、南側一面と東側二面が破損し七面が保存されている。北側向かって左端下方の「仙嶺」の落款から円山応挙の初期の作品であることが知られるが、後人による補筆が目立つ。構図は北側左から第二面の岩上家屋の近景を基点として展開され、右方に筆を進めており、右下には樹林が続いている。南側は、蛇行する流れに石橋をかけ、遠くの樹々に囲まれた村落の風景を描いている。近景を力強く描き中景・遠景の見通しの中に遠近感を定着させている。","","https://www.rekihaku.otsu.shiga.jp/db/bunka/detail.html?150",""], [357,252018,357,"滋賀県","大津市","木造智証大師坐像(御廟安置)","もくぞうちしょうだいしざぞう（ごびょうあんち）","","","国宝","美術工芸品","","大津市園城寺町","",null,null,"","",1,"躯","","園城寺","1900-04-07 00:00:00","","","","","","","","","園城寺の中興開山とされる智証大師円珍の肖像。中尊大師とも呼ばれ、現在は御骨大師像とともに唐院大師堂に安置されるが、もとは比叡山上で祀られていた。10世紀末に円仁の門徒である山門派と円珍の門徒である寺門派とが争い、寺門派はついにこの像とともに比叡山を下り、園城寺に入った。縁起では御骨大師像と同時の作とするが、作風からみるとやや形式化が進み、制作年代が下降するかもしれない。彩色がよく残り、暖かみある肌の表現がみられる。","","https://kunishitei.bunka.go.jp/heritage/detail/201/207",""], [358,252018,358,"滋賀県","大津市","木造智証大師坐像(御骨大師)","もくぞうちしょうだいしざぞう（おこつだいし）","","","国宝","美術工芸品","","大津市園城寺町","",null,null,"","",1,"躯","","園城寺","1900-04-07 00:00:00","","","","","","","","","園城寺の唐院大師堂に安置される。円珍は寛平3年（891）の入滅に先だち、門弟に自分の肖像を造り、その中に砕骨を納めて祀るようにとの遺言を残す。本像はこれに従って造立されたものとみられ、像底には蓋板があっていかにも遺骨を納めたように見える。頭頂の隆起した円珍の容貌をよく伝え、天台宗の高僧の肖像中最古の遺品としてきわめて貴重である。","","https://kunishitei.bunka.go.jp/heritage/detail/201/208",""], [359,252018,359,"滋賀県","大津市","木造新羅明神坐像(新羅善神堂安置)","もくぞうしんらみょうじんざぞう（しんらぜんしんどうあんち）","","","国宝","美術工芸品","","大津市園城寺町","",null,null,"","",1,"躯","","園城寺","1900-04-07 00:00:00","","","","","","","","","園城寺北院の新羅善神堂の主神として安置される。新羅明神は円珍が入唐求法の旅からの帰国の途次にあらわれ、その教法を守護することを誓う。以後、園城寺の鎮守神として崇敬をあつめた。本像は痩身にまなじりの下がった妖気さえ感じさせる面立ちを配し、明神の霊力を表現する。中国風の衣装を身につけ、画像を参考にすると、左手には錫杖、右手には経巻を手にしていたかとも思われるが、確定はできない。","","https://kunishitei.bunka.go.jp/heritage/detail/201/262",""], [360,252018,360,"滋賀県","大津市","木造千手観音立像","もくぞうせんじゅかんのんりゅうぞう","","","重要文化財","美術工芸品","","大津市園城寺町","",null,null,"","",1,"躯","","園城寺","1900-04-07 00:00:00","","","","","","","","","かつての園城寺の広大な寺域に属していた京都・東山如意ケ岳にあった如意寺の本尊と伝える。像の幹部はもとより、台座の蓮肉部までふくめて一材から造り、内刳はない。森厳な表情、裳折返し部の捻塑的な表現、脛に刻まれるリズミカルな翻波式衣文など、檀像彫刻につらなる趣があり、平安時代前期も9世紀にさかのぼる古像であろう。初期天台密教の貴重な遺品といえる。","","https://kunishitei.bunka.go.jp/heritage/detail/201/3116",""], [361,252018,361,"滋賀県","大津市","木造護法善神立像","もくぞうごほうぜんしんりゅうぞう","","","重要文化財","美術工芸品","","大津市園城寺町","",null,null,"","",1,"躯","","園城寺","1900-04-07 00:00:00","","","","","","","","","園城寺内護法善神堂の本尊。頭上に髻を結い上げた丸顔の女神像で、左手にザクロの実を持ち、本像が訶梨帝母（鬼子母神）であることを示している。『寺門伝記補録』によれば、円珍が5才のときに天女が降臨して円珍の教法守護を誓ったといい、円珍が入唐求法の旅を終えて帰朝した際、これを彫像として祀ったのが本像とされる。ただし作風からは円珍在世時まではさかのぼらない平安時代後期の作とみられる。檜材、一木造。","","https://kunishitei.bunka.go.jp/heritage/detail/201/3117",""], [362,252018,362,"滋賀県","大津市","木造黄不動尊立像","もくぞうきふどうそんりゅうぞう","","","重要文化財","美術工芸品","","大津市園城寺町","",null,null,"","",1,"躯","","園城寺","1900-04-07 00:00:00","","","","","","","","","園城寺の唐院大師堂に安置される秘仏。このために当初の彩色が色褪せることなく残されている。黄不動尊は円珍が感得したという金色不動尊の後世の呼称だが、根本像は平安前期にさかのぼる画像であり、本像はその鎌倉時代における模像と考えられる。金色に輝く筋骨隆々とした偉丈夫の体格を有し、大きな耳璫（イヤリング）をつけ、条帛をかけない姿に他の不動尊とは異なる特徴がうかがえる。作者は明らかにできないが、当代を代表するに足る名匠の手になるものであろう。","","https://kunishitei.bunka.go.jp/heritage/detail/201/3118",""], [363,252018,363,"滋賀県","大津市","木造吉祥天立像","もくぞうきちじょうてんりゅうぞう","","","重要文化財","美術工芸品","","大津市園城寺町","",null,null,"","",1,"躯","","園城寺","1900-04-07 00:00:00","","","","","","","","","ガイ襠衣と呼ばれる中国風の衣を着けた女神の姿で、手には宝珠をとる通形の吉祥天像。相貌には実人的な艶かしさがあり、中国・宋の影響を受けた鎌倉時代の作とみられるが、繁雑にならない適度な衣褶の表現が、像に気品を付与している。檜材を用いた寄木造。かつて山内のいずこに安置されていたかは不明。","","https://kunishitei.bunka.go.jp/heritage/detail/201/3119",""], [364,252018,364,"滋賀県","大津市","木造十一面観音立像","もくぞうじゅういちめんかんのんりゅうぞう","","","重要文化財","美術工芸品","","大津市園城寺町","",null,null,"","",1,"躯","","園城寺","1900-04-07 00:00:00","","","","","","","","","園城寺の三別所のひとつ尾蔵寺の旧本尊と伝える。台座の蓮肉部を含めて像の大半を一材から造り、太造りの体躯に鋭いタッチの衣のひだを刻む。華麗な胸飾は別材を貼り付けており、着衣には彩色が確かめられるが、いわゆる檀像彫刻の系譜に属する像であることはまちがいない。平安時代初期にさかのぼる優れた彫像である。なお尾蔵寺に入る以前は、天智天皇の念持仏として志賀寺（崇福寺）に祀られていたという伝承ものこされる。","","https://kunishitei.bunka.go.jp/heritage/detail/201/3120",""], [365,252018,365,"滋賀県","大津市","木造訶梨帝母倚像（所在護法善神堂）","もくぞうかりていもいぞう（しょざいごほうぜんしんどう）","","","重要文化財","美術工芸品","","大津市園城寺町","",null,null,"","",1,"躯","","園城寺","1928-08-17 00:00:00","","","","","","","","","園城寺には護法善神像や吉祥天像など、優美な女神像が多いが、本像もこれらに伍して美しい造形である。右手にはザクロの実を捧げ、左手に抱いた幼児の方へ少し頭を傾げる姿には、母性の表現が遺憾なく示される。当初の鮮やかな彩色と截金文様が残る点も特筆されよう。衣のひだの表現は写実性に富み、いかにも鎌倉彫刻らしい。","","https://kunishitei.bunka.go.jp/heritage/detail/201/3121",""], [366,252018,366,"滋賀県","大津市","木造愛染明王坐像(所在正法寺)","もくぞうあいぜんみょうおうざそう（しょざいしょうほうじ）","","","重要文化財","美術工芸品","","大津市園城寺町","",null,null,"","",1,"躯","","園城寺","1928-08-17 00:00:00","","","","","","","","","観音堂に伝来。頭上に獅子冠をいただき、口を開けて怒号する。三目六臂の姿だが、残念ながら六本の腕は全て後補に変わっている。憤怒相とはいえ、その怒りの表情はつとめて抑制されたもので、よく整理された線条的な衣のひだの形式とともに、本像の制作期が平安時代も末の12世紀をさかのぼりえないことを示すものであろう。","","https://kunishitei.bunka.go.jp/heritage/detail/201/3122",""], [367,252018,367,"滋賀県","大津市","木造不動明王坐像","もくぞうふどうみょうおうざぞう","","","重要文化財","美術工芸品","","大津市園城寺町","",null,null,"","",1,"躯","","園城寺","1938-08-26 00:00:00","","","","","","","","","解体修理に際して像内から墨書銘が発見され、長和3年（1104）に阿闍梨良海を願主とし、仏師僧盛忠によって造立されたことが明らかとなった。良海は大納言藤原公任の息であり、盛忠については不詳ながら当時の第一線にいた仏師と考えられている。像の細部の形制は、円珍請来の図像に基づくとみられる京都・同聚院の不動明王坐像（旧法性寺五大堂本尊）から多くを学んでいる。桜の一材から像全体を丸彫し、像底から内刳を入れ、底板を当てている。","","https://kunishitei.bunka.go.jp/heritage/detail/201/3124",""], [368,252018,368,"滋賀県","大津市","木造智証大師坐像","もくぞうちしょうだいしざぞう","","","重要文化財","美術工芸品","","大津市園城寺町","",null,null,"","",1,"躯","","園城寺","1938-08-26 00:00:00","","","","","","","","","勧学院に伝来。像高一尺三寸程の小像だが、形制からみて、唐院大師堂の中尊大師像の模刻と考えられる。全体を一材から丸彫し、像底に方形の刳り込みを入れ、さらに円錐形の内刳が認められる。おそらく円珍ゆかりの納入品が納められていたものとみられる。独特の卵形の頭部など、像主の人体的特徴をよく伝えている。平安時代後期の作といわれる。","","https://kunishitei.bunka.go.jp/heritage/detail/201/3125",""], [369,252018,369,"滋賀県","大津市","木造如意輪観音坐像(観音堂安置)","もくぞうにょいりんかんのんざぞう（かんのんどうあんち）","","","重要文化財","美術工芸品","","大津市園城寺町","",null,null,"","",1,"躯","","園城寺","1955-06-22 00:00:00","","","","","","","","","西国第一四番札所の三井寺観音堂の本尊像。檜材を用いた寄木造の像で、体幹部は左右二材を正中線で矧ぎ、頭部は別材製とするという。過大な銅製の宝冠が頭髪部を隠すが、丈高い髻と筒形宝冠を彫出する点、平安時代前半期の彫像と相通ずる。古様なところが認められるが、丸い顔に伏目のまなざしをあらわすところや着衣のひだの彫法からみて、10世紀も末から11世紀初頭にかけての制作であろう。当該期の天台系ないし寺門系の仏像の作風を考えるうえで、好個の遺品といえよう。","","https://kunishitei.bunka.go.jp/heritage/detail/201/4694",""], [370,252018,370,"滋賀県","大津市","木造金剛力士立像","もくぞうこんごうりきしりゅうぞう","","","県指定有形文化財","美術工芸品","","大津市園城寺町","",null,null,"","",2,"躯","","園城寺","2018-10-17 00:00:00","","","","","","","","","本像は、室町時代の享徳元年（1452）に建立された園城寺大門（重要文化財）に安置される。向かって右が開口する阿形像、左が口を結ぶ吽形像で、ともに頭頂に髻を結い、上半身は裸形、下半身は裙（スカート状の着衣）をまとう。構造は寄木造で玉眼を嵌入し、頭部・体部それぞれに複数の材を矧ぎ寄せて首?差しとする。本像は、安置場所である仁王門と一具で常楽寺から伏見城、園城寺へと移転するという波乱の歴史を経験した作例となっている。","","https://www.rekihaku.otsu.shiga.jp/db/bunka/detail.html?714",""], [371,252018,371,"滋賀県","大津市","銅鐘 太平年間銘","どうしょう　たいへいねんかんめい","","","重要文化財","美術工芸品","","大津市園城寺町","",null,null,"","",1,"口","","園城寺","1900-04-07 00:00:00","","","","","","","","","室町時代には園城寺に納められていたと伝える朝鮮鐘。頂上に竜が口に珠をくわえた姿の旗挿を付け、笠形の上に飛雲文を散らし、縁廻りには花弁帯をめぐらす。上帯と下帯・撞座・乳廓は宝相華を中心に唐草文を配している。撞座のない二カ所には飛翔する天人像を陽鋳している。鐘身下方に、「大平十二年壬申十二月日青見大寺／鐘百六十斤大匠位金慶□棟／梁元□十四人戸長院賢等」の三行の陽刻銘があり、遼の大平12年（1301）の作になることがわかる。","","https://kunishitei.bunka.go.jp/heritage/detail/201/5277",""], [372,252018,372,"滋賀県","大津市","梵鐘","ぼんしょう","","","重要文化財","美術工芸品","","大津市園城寺町","",null,null,"","",1,"口","","園城寺","1957-02-19 00:00:00","","","","","","","","","園城寺金堂の西に建つ霊鐘堂の中に安置されている奈良時代の鐘。竜頭と撞座が直交し、上帯・下帯は素文で、池の間は四区にわかれ、乳は一区に五段七列の三十五と数は多い。撞座は大きく、十二弁の蓮華文はかなり磨耗している。奈良時代の特色をよくそなえ、同時代では東大寺鐘につぐ大きさをもつ。田原藤太秀郷が竜宮から持ち帰ったと伝え、ひびが入り乳が十六個も引きちぎられる現況は、武蔵坊弁慶が園城寺から延暦寺へ引きずっていった時にちぎれたと伝えられる。","","https://kunishitei.bunka.go.jp/heritage/detail/201/5713",""], [373,252018,373,"滋賀県","大津市","金銅孔雀文磬","こんどうくじゃくもんけい","","","重要文化財","美術工芸品","","大津市園城寺町","",null,null,"","",1,"面","","園城寺","1976-06-05 00:00:00","","","","","","","","","磬とは、仏事の際に合図として打ち鳴らす仏具のことである。この磬は、上縁四弧・下縁三弧で、上縁山形の二カ所の釣鐶で磬架に釣す。表面には鍍金をほどこし、中央の撞座をはさんで左右に片足をあげ羽根を広げた二羽の孔雀を鋳出している。撞座は八弁複葉の蓮華文であるが、中房は片面を木瓜形、反対面を八花形にするという相違が見られる。園城寺に残る三面の磬の内最も優れたもので、寺伝によれば新羅善神堂で使われていたという。","","https://kunishitei.bunka.go.jp/heritage/detail/201/7148",""], [374,252018,374,"滋賀県","大津市","梵鐘","ぼんしょう","","","県指定有形文化財","美術工芸品","","大津市園城寺町","",null,null,"","",1,"口","","園城寺","1959-02-10 00:00:00","","","","","","","","","近江八景の一つ「三井の晩鐘」として知られ、鐘楼内に釣られている。乳の数が、一区内五段五列の100個と、縦帯上部の上帯内四方に各2個の8個を鋳出し、合計108個の乳は人間の煩悩に擬せられている。田原藤太秀郷が竜宮から持ち帰った古鐘を秘蔵する事となったところから、これを模して鋳造した事を記す慶長七年（1602）四月廿一日の刻銘がある。鋳造にあたったのは、摂州住吉在の大工杉本家次である。","","https://www.rekihaku.otsu.shiga.jp/db/bunka/detail.html?306",""], [375,252018,375,"滋賀県","大津市","鰐口(所在水観寺)","わにぐち（しょざいすいかんじ）","","","県指定有形文化財","美術工芸品","","大津市園城寺町","",null,null,"","",1,"口","","園城寺","1984-03-30 00:00:00","","","","","","","","","園城寺五別所の一つ水観寺の本堂に懸けられていた鰐口。鰐口は寺社の軒先に懸け、参拝者前にたらされた紐を振って打ち鳴らし礼拝する。この鰐口は肩厚が薄く、上方左右に片面式の耳をつくり、撞座は八葉複弁の蓮華文を鋳出すが、片面は欠失している。両面ともに刻銘があり、片面に応長二年（1312）二月十六日の年記が、もう片面に慶長十三年（1608）三月十五日追刻の寄進銘があり、慶長13年に水観寺に寄進されたことがわかる。","","https://www.rekihaku.otsu.shiga.jp/db/bunka/detail.html?307",""], [376,252018,376,"滋賀県","大津市","金銅孔雀文磬","こんどうくじゃくもんけい","","","県指定有形文化財","美術工芸品","","大津市園城寺町","",null,null,"","",1,"面","","園城寺","2025-03-18 00:00:00","","","","","","","","","磬は古代中国の石製あるいは玉製の楽器を起源とし、唐時代に仏具に取り入れられた。仏教寺院において、法要の際の読経の合図に鳴らす仏具として用いられる。 本品は園城寺の所蔵であるが、伝来についての詳細は不明である。紀年銘は刻まれていなものの、股入りが深く肉厚で縁を厚くとる外観は、鎌倉時代の磬に共通する作風である。 本品は鎌倉時代の磬の優品として工芸史上価値が高く、保存状態も良好である。滋賀県内には中世にさかのぼる磬の遺品が多く、重要文化財は5 件、県指定文化財は3 件を数える。本品は滋賀県指定文化財としてこれらと肩を並べるべき存在である。","","https://www.pref.shiga.lg.jp/file/attachment/5527362.pdf",""], [377,252018,377,"滋賀県","大津市","銅造孔雀文磬","どうぞうくじゃくもんけい","","","市指定有形文化財","美術工芸品","","大津市園城寺町","",null,null,"","",1,"面","","園城寺","1965-05-06 00:00:00","","","","","","","","","撞座の蓮華文を中央に、左右対称に孔雀文様をあらわす両面式の磬。大形磬は、山縁が高く下縁が深く切り込み、両裾が強く張り出している。金堂所用と伝えられる南北朝の磬である。","","https://www.rekihaku.otsu.shiga.jp/db/bunka/detail.html?305",""], [378,252018,378,"滋賀県","大津市","智証大師関係文書典籍　附　文書典籍目録","ちしょうだいしかんけいもんじょてんせき　つけたり　もんじょてんせきもくろく","","","国宝","美術工芸品","","大津市園城寺町","",null,null,"","",null,"","","園城寺","1963-07-01 00:00:00","","","","","","","","","園城寺に伝わった、智証大師円珍に関する文書・典籍類。円珍の系図や僧位に関する「俗姓并僧位関係」六種、入唐中の平穏祈願や往来に関する「入唐関係文書」五種、唐で入手した経典類の目録である「求法目録」五種、帰朝後の伝法に関る「伝法関係」十種、唐から将来した経典類をまとめた「将来経典等」八種、円珍の自筆になる「自筆本」三種、「付法印信関係其他」十種の、合計四十七種からなり、円珍の事跡を伝える根本史料である。","","https://kunishitei.bunka.go.jp/heritage/detail/201/795",""], [379,252018,379,"滋賀県","大津市","紙本著色園城寺境内古図","しほんちゃくしょくおんじょうじけいだいこず","","","重要文化財","美術工芸品","","大津市園城寺町","",null,null,"","",5,"幅","","園城寺","1929-04-06 00:00:00","","","","","","","","","園城寺の境内を、北院・中院・南院・三別所・如意寺の五幅に分けて描く。たて長の画面に、如意寺が下を西、他は下を東とし、中院の中央上よりに大きく金堂を描く。各建物は斜の視点で立体的に表現されており、檜皮と瓦の屋根を描きわけるなど細部までの具体的な描写は、専門の画師の手になることを推測させる。園城寺の全貌を今に伝える唯一の絵図であり、中の建物の状況から鎌倉時代末の制作になると考えられる。","","https://kunishitei.bunka.go.jp/heritage/detail/201/9316",""], [380,252018,380,"滋賀県","大津市","紙本墨書大蔵経","しほんぼくしょだいぞうきょう","","","重要文化財","美術工芸品","","大津市園城寺町","",null,null,"","",592,"帖","","園城寺","1934-01-30 00:00:00","","","","","","","","","室町幕府を開いた足利尊氏の発願になる大蔵経。書写は、京都・大和・近江・鎌倉の僧侶や尊氏とその近臣の手になり、末尾には書写者の名前が記される。巻末には、後醍醐天皇と元弘の乱以後の戦没者の霊を慰めるために書写したことを示す文和3年（1354）の発願文が木版刷されているが、末尾の「征夷大将軍正二位源朝臣尊氏謹誌」の内「尊氏」だけが自筆となっている。文和3年12月23日京都の等持院で仏事供養の後、園城寺に奉納された。","","https://kunishitei.bunka.go.jp/heritage/detail/201/7683",""], [381,252018,381,"滋賀県","大津市","元版一切経\n附 表紙、題簽、経箱、経箱部材、輪蔵納経之次第","げんぱんいっさいきょう","","","重要文化財","美術工芸品","","大津市園城寺町","",null,null,"","",2892,"帖","","園城寺","2024-08-27 00:00:00","","","","","","","","","園城寺（三井寺）に伝来した一切経（大蔵経）で、中国・元時代の普寧寺版を主体とし、一部に朝鮮時代の高麗版再雕本と永禄八年（一五六五）の奥書がある書写本の補経を含む。すべてが折本装で、園城寺一切経蔵内の輪蔵に、元時代の経箱に納められて保管されている。\n　もとは十四世紀に高麗の官人等が元の普寧寺に依頼して印刷し、高麗の寺院に納められたものであったが、十五世紀前半に大内氏の求請によって朝鮮から日本へともたらされたと考えられている。大内氏は周防国山口国清寺に施入し、園城寺の復興事業に携わっていた毛利輝元によって慶長七年（一六〇二）に寄進された。\n　元版一切経の大部と、経典と一具であった元代の経箱がまとまって伝存しており、伝来過程が明らかにできることから、我が国の仏教史、東アジア文化交流史上、きわめて価値が高い。","","https://kunishitei.bunka.go.jp/heritage/detail/201/00012064",""], [382,252018,382,"滋賀県","大津市","園城寺境内出土瓦","おんじょうじけいだいしゅつどかわら","","","市指定有形文化財","美術工芸品","","大津市園城寺町","",null,null,"","",4,"点","","園城寺","1991-02-01 00:00:00","","","","","","","","","天台寺門宗総本山園城寺は、貞観8年（866）円珍によって天台別院として再興されたが、寺伝によればその創建は壬申の乱（672）にまでさかのぼるという。この四点三種類の瓦は、いずれも現金堂付近から出土した白鳳時代の瓦である。中でも、花弁文縁複弁八葉蓮華文軒丸瓦は、縁部の文様が素弁の小花弁をめぐらすという、他に類を見ない形式のものである。これらの瓦は、園城寺の白鳳創建を裏付けるとともに、大津宮との関りをも予想させるものである。","","https://www.rekihaku.otsu.shiga.jp/db/bunka/detail.html?388",""], [383,252018,383,"滋賀県","大津市","園城寺尺","おんじょうじしゃく","","","重要文化財","美術工芸品","","大津市園城寺町","",null,null,"","",2,"枚","","園城寺","1987-06-06 00:00:00","","","","","","","","","園城寺唐院に伝来した、灌頂の時の絹布類を計るために用いられた竹製のものさし。ともに表面中央の「×」を中心に、半寸毎に目盛が刻まれている。裏面には、唐院預竹計には「應永卅一年（1424）四月十九日、預香實領納竹計也、宗順」の刻銘と宗順の墨書の花押、唐院預尺には「唐院預尺為後證寫之、准后御初授、應永卅三年三月十五日」の墨書がある。二本の尺は長さが異なり、それぞれ目盛の長さも均等ではないが、中世の年記をもつ現存唯一の尺である。","","https://kunishitei.bunka.go.jp/heritage/detail/201/10179",""], [384,252018,384,"滋賀県","大津市","光浄院庭園","こうじょういんていえん","","","国指定史跡;国指定名勝","","","大津市園城寺町246","",135.851061,35.01134331,"","",null,"","","園城寺","1934-12-28 00:00:00","","","","","","","","","光浄院客殿の南に広がる庭園。西側山手から水を引いて客殿の広縁下から東西に池を掘り、中門廊前辺りに中島を設け、石橋を架ける。池中には三個の石を一直線に据え、池の護岸には大ぶりの石を組んでいる。対岸の中央西南よりには二個の立石によって枯滝を作り、周囲は自然の地形を生かした築山としている。池を縁先まで取り込んだ形で庭園が作られているところから、慶長6年（1601）の客殿再建に合わせて庭園も作られたと考えられる。","","https://kunishitei.bunka.go.jp/heritage/detail/401/1569",""], [385,252018,385,"滋賀県","大津市","善法院庭園","ぜんぽういんていえん","","","国指定史跡;国指定名勝","","","大津市園城寺町246","",135.851061,35.01134331,"","",null,"","","園城寺","1934-12-28 00:00:00","","","","","","","","","園城寺山内善法院庭園は江戸時代初期の作庭になるが、昭和16年（1941）集中豪雨による山津波で埋没してしまった。しかしながら、近年の復興整備のための発掘調査によって、その全貌が明らかとなった。庭園は、北と西に山をひかえ書院の前面に池を配し、池は東西に大きく広がる北池と南側に南北にのびる小さな南池があり、それぞれに中島を設け石橋がかけられている。北池の最奥部には舟石を中心とした巨石がならび、その前の池汀には２m前後の三尊石を据えている。","","https://kunishitei.bunka.go.jp/heritage/detail/401/1570",""], [386,252018,386,"滋賀県","大津市","園城寺天狗杉","おんじょうじてんぐすぎ","","","市指定天然記念物","","","大津市園城寺町246","",135.851061,35.01134331,"","",1,"株","","園城寺","1976-03-15 00:00:00","","","","","","","","","スギはスギ科の常緑針葉樹で、日本の特産である。金堂前に所在するこの杉は、寺伝によれば樹齢千年を超え、修行僧が一夜のうちに天狗となり飛び去ったとの伝説から、「天狗杉」と呼ばれている。大きさは目通り周囲約4mを測る。地上間もないところで大きく二股に別れ、主幹の頂きに近い数メートルは過去数度の落雷によって枯れた状態となっているが、その他は健全で、枝葉が繁って端正な樹勢を保っている。","","https://www.rekihaku.otsu.shiga.jp/db/bunka/detail.html?449",""], [387,252018,387,"滋賀県","大津市","三尾神社本殿","みおじんじゃほんでん","","","重要文化財","建造物","","大津市園城寺町251","",135.8553249,35.01130691,"","",1,"棟","","三尾神社","2014-12-10 00:00:00","","","","","","","","","三尾神社は、園城寺の鎮守社の一つで、明治の神仏分離によって明治１０年（１８７７）園城寺境内から現地に移築された。三間社流造の本殿は、応永３３年（１４２６）の建築になり、正面に前室が無く、装飾が少ない簡素な本殿である。園城寺三院のうち、北院の鎮守社である新羅善神堂に対し、南院の鎮守社として建築的な質も高い。","","https://kunishitei.bunka.go.jp/heritage/detail/102/00004777",""], [388,252018,388,"滋賀県","大津市","琵琶湖疏水","びわこそすい","","","国指定史跡","","","大津市","",null,null,"","",null,"","","京都市","1996-06-19 00:00:00","","","","","","","","","琵琶湖疏水は、京都の産業振興のために、大津市三保ケ崎の琵琶湖岸から京都市の鴨川左岸を経て伏見まで開削された全長約20kmの運河で、明治23年（1809）竣工。史跡指定となっているのは、大津市と京都市にまたがる12カ所のポイントで、大津市では三井寺下の第一隧道入口、稲葉台の第一竪坑、藤尾奥町の第二竪坑、同じく第一隧道出口の四カ所。明治中期の土木技術の水準を示すとともに、第一隧道入口がギリシャ・ローマの神殿を思わせるなど、意匠にも注意が払われている。","","https://kunishitei.bunka.go.jp/heritage/detail/401/3098",""], [389,252018,389,"滋賀県","大津市","木造菩薩立像","もくぞうぼさつりゅうぞう","","","市指定有形文化財","美術工芸品","","大津市観音寺","",null,null,"","",1,"躯","","北保町自治会","1998-10-01 00:00:00","","","","","","","","","北保町自治会館に観音菩薩として安置されていた。垂髻を結い、天衣・条帛・裳を着けて岩座上に直立する。像はかなり損傷を被ったようで後補部分が多くみられるが、造像当初は一木造で内刳をしない丸彫の古式の彫刻であったと推定される。髻の形式や表現、奥行きの豊かな頭部、胸から腹部にかけての大きな括れなどに、平安初期の形式や作風を示している。また、髻や面相の彫法、背面の天衣や条帛の衣文表現などは奈良時代の木彫の系譜を引くとも考えられる。本像は、南都の系譜を引いた平安時代前期（９世紀）の制作と考えられる。","","https://www.rekihaku.otsu.shiga.jp/db/bunka/detail.html?511",""], [390,252018,390,"滋賀県","大津市","鉄造如来坐像","てつぞうにょらいざぞう","","","市指定有形文化財","美術工芸品","","大津市観音寺","",null,null,"","",1,"躯","","北保町自治会","1998-10-01 00:00:00","","","","","","","","","北保町自治会館に安置されていた如来坐像で、地元では弥勒菩薩とされている。肉髻相で螺髪を表し、衲衣が右肩にかかって背面から左胸より腹部を覆い、与願・施無畏印とし、左脚を外にして結跏趺坐する。土型による鋳鉄製で、頭体幹部は体側で前後に合わせ型として一鋳し、右前膊と手首以下、左手首以下を鋳鉄製の別鋳、正面髪際の一部を鋳銅製として、それぞれ鋳掛けている。鉄仏は鎌倉時代以後東国を中心に鋳造されるが、本像は平安時代末期（12世紀後半）の鋳造になり、保存状態も総じて良好な、県内唯一の鉄仏の古例である。","","https://www.rekihaku.otsu.shiga.jp/db/bunka/detail.html?512",""], [391,252018,391,"滋賀県","大津市","大津船大工・貸船屋関係文書","おおつふなだいく・かしぶねやかんけいもんじょ","","","市指定有形文化財","美術工芸品","","大津市尾花川","",null,null,"","",147,"点","","個人","1978-02-01 00:00:00","","","","","","","","","大津市尾花川に伝わった船大工・貸船屋関係文書。貞享3年（1686）の船大工訴状を最古とし、寛政年間から文久年間にかけての江戸時代後期を中心に、明治の記録七点も含まれる。内容は、船大工・貸船屋仲間の由緒や訴訟に関するもの、船奉行からの触や達に関するもの、造船寸法書など造船技術に関するものなどからなり、大津を中心とした近世琵琶湖の造船業と貸船業の実態を伝える。","","https://www.rekihaku.otsu.shiga.jp/db/bunka/detail.html?354",""], [392,252018,392,"滋賀県","大津市","長等神社楼門","ながらじんじゃろうもん","","","市指定有形文化財","建造物","","大津市三井寺町4-1","",135.8558139,35.00949745,"","",1,"棟","","長等神社","1972-07-01 00:00:00","","","","","","","","","長等神社の入口に、東面して建つ楼門。棟札によると、明治37年（1904）5月起工、翌38年2月竣工で、設計技師は正七位安藤時蔵、技術員は青池安三郎である。上下の均整が美しく、左右の広がりも適度なすぐれた姿をしている。室町時代の様式にのっとった秀作で、近在に所在する園城寺大門に倣ったところが多いように思われる。建築の時代が新しいだけに、工事進行の次第、木材・石材などの経費、寸尺などが詳細に知られる。","","https://www.rekihaku.otsu.shiga.jp/db/bunka/detail.html?61",""], [393,252018,393,"滋賀県","大津市","絹本著色十六羅漢像","けんぽんちゃくしょくじゅうろくらかんぞう","","","重要文化財","美術工芸品","","大津市三井寺町","",null,null,"","",12,"幅","","大練寺","1923-03-28 00:00:00","","","","","","","","","悟を開いた聖者阿羅漢を描いたもので、現在は十二幅しか伝わっていないが、当初は十六幅の十六羅漢として描かれたものであろう。いずれも坐像で、牀坐・椅子・岩上などに坐し、その向く方向も変化に富んでいる。その姿は高僧像を思わせるもので、背景には岩や樹木の自然景観を配し、大和絵的な穏やかさを示している。本図と同様の図様を示す羅漢図は他に知られていない。","","https://kunishitei.bunka.go.jp/heritage/detail/201/1228",""], [394,252018,394,"滋賀県","大津市","大津絵踊り","おおつえおどり","","","市指定無形民俗文化財","","","","",null,null,"","",null,"","","大津絵踊り保存会","1998-10-01 00:00:00","","","","","","","","","東海道の大谷町・追分町付近で旅人相手に土産品として売られた大津絵の画題を読み込んだ大津絵節に、振りを付けて画題の面（仮面）を付けて踊るのが、大津絵踊りである。大津絵節は、江戸時代後期の文化・文政時代に大津の花街で生まれたとされ、幕末から明治にかけて全国に流行し、平成１０年には全国２５都県で確認されたが、踊りをともなうものは現在大津のみに残されている。大津絵踊り保存会は、昭和６３年に結成され、１９世紀に定着した十種大津絵の画題をすべて歌い込んだ大津絵踊りの保持につとめている。","","https://www.rekihaku.otsu.shiga.jp/db/bunka/detail.html?513",""], [395,252018,395,"滋賀県","大津市","石造小関越道標","せきぞうこぜきごえどうひょう","","","市指定有形民俗文化財","","","大津市小関町139","",135.8510422,35.00655599,"","",1,"基","","大津市","1975-01-04 00:00:00","","","","","","","","","北国海道（西近江路）から別れて藤尾で東海道に合流する約5kmの道は、東海道の間道として小関越と呼ばれる。この道標は、小関越から園城寺（三井寺）へ向かう道の分岐点に立つ。三面に、「左り三井寺是より半丁」「右小関越三条五条いまく満京道」「右三井寺」と刻まれている。三井寺は西国三十三所観音巡礼の第十四番札所、刻銘の「いまく満」が第十五番札所京都の今熊野観音寺を指していることから、この道が巡礼道であったことを示す資料ともなっている。","","https://www.rekihaku.otsu.shiga.jp/db/bunka/detail.html?404",""], [396,252018,396,"滋賀県","大津市","旧正蔵坊庭園","きゅうしょうぞうぼうていえん","","","県指定有形文化財","","","大津市小関町88-8","",135.8540774,35.00725126,"","",null,"","","個人","2018-10-17 00:00:00","","","","","","","","","園城寺五別所のひとつ微妙寺正蔵坊の書院とされる橋本家住宅（国登録有形文化財）と一体化した庭園で、成立年代・作庭者・経緯は詳らかではないが、建物とほぼ同時期と考えられる。本庭園は、書院から眺める座観式の庭で、書院の南側に設けた池と敷地を造営する際に生じた人口掘削面を自然の傾斜地のように仕上げ、山麓的な景観を作り出した池泉形式の遺構である。この手法は園城寺山内の庭園と共通し、ほとんどの園城寺別所の遺構が失われているなか、書院と庭園が良好な状態で保存されている。","","https://www.rekihaku.otsu.shiga.jp/db/bunka/detail.html?709",""], [397,252018,397,"滋賀県","大津市","木造菩薩形坐像","もくぞうぼさつぎょうざぞう","","","県指定有形文化財","美術工芸品","","大津市藤尾奥町","",null,null,"","",1,"躯","","寂光寺","1989-03-31 00:00:00","","","","","","","","","当寺の所在する藤尾の地は、古くから京都と大津を結ぶ間道であった小関越に沿う集落で、古代末から中世にかけて、園城寺の勢力圏に属していた。寂光寺境内には延応2年（1204）銘をもつ磨崖仏があり、これをまつる堂舎内にかつて本像も安置されていた。男性的な風貌、的確な肉身の把握が認められ、鎌倉時代前期の巨匠運慶の作風を学んだかとも思われる。尊名は不詳だが、地元では聖観音という。","","https://www.rekihaku.otsu.shiga.jp/db/bunka/detail.html?218",""], [398,252018,398,"滋賀県","大津市","藤尾磨崖仏","ふじおまがいぶつ","","","市指定有形文化財","美術工芸品","","大津市藤尾奥町","",null,null,"","",15,"躯","","寂光寺","1981-01-16 00:00:00","","","","","","","","","露出した大きな花崗岩に覆屋をかけ、一堂としている。岩面を光背形に彫りくぼめ、15躯の仏像を厚肉彫であらわす。中尊は定印の阿弥陀如来坐像で、観音・勢至および地蔵菩薩立像の四躯が当初の造立で、他はのちの追加と考えられる。刻銘があり、延応2年（1204）の年記が読まれている。この堂はかつて山田堂ないし藤尾観音堂と呼ばれ、京都・大津間を結ぶ道のひとつである小関越に面し、本磨崖諸尊も園城寺との何らかの関連において制作されたものであろう。","","https://www.rekihaku.otsu.shiga.jp/db/bunka/detail.html?219",""], [399,252018,399,"滋賀県","大津市","近松寺本堂","ごんしょうじほんどう","","","市指定有形文化財","建造物","","大津市逢坂2-11-8","",135.8580225,35.00641494,"","",1,"棟","","園城寺","1995-04-17 00:00:00","","","","","","","","","近松寺は園城寺の五別所の一つで高観音とも呼ばれ、南院札所よりさらに南の山麓近くにある。西の斜面を背に、本堂（観音堂）とその北の阿弥陀堂が東面して建ち、両者を渡り廊下でつなぐ。本堂は礼堂の前方を吹放しの外陣とし、後方に内陣を配し、その背面に後堂を張り出し、床を高くして仏壇を設ける。この形式は南院札所伽藍の観音堂や附指定の阿弥陀堂の原形にも見られる。建築は、本堂は鬼瓦銘から享保元年（1716）、阿弥陀堂は棟札から嘉永3年（1805）とわかる。","","https://www.rekihaku.otsu.shiga.jp/db/bunka/detail.html?60",""], [400,252018,400,"滋賀県","大津市","銅造千手観音立像","どうぞうせんじゅかんのんりゅうぞう","","","市指定有形文化財","美術工芸品","","大津市逢坂2丁目","",null,null,"","",1,"躯","","園城寺","1995-04-17 00:00:00","","","","","","","","","園城寺五別所の一つ近松寺の本尊。頭・体の幹部は一鋳するが、手や頭上面その他、適宜に別鋳したものを取り付けている点、同時代の木彫の構造を彷彿させる。宝相華唐草を透彫した光背や蓮華座も当初のものを伝え、保存の良さは特筆される。丸い顔に伏目がちの穏やかな表情をつくり、腹部に舌状の裳の折返しをあらわすなど、平安時代後期の作風が顕著である。園城寺にはこの他にも釈迦如来像や軍荼利明王像などの平安時代の金銅仏がある。","","https://www.rekihaku.otsu.shiga.jp/db/bunka/detail.html?233",""], [401,252018,401,"滋賀県","大津市","石燈籠","いしどうろう","","","重要文化財","美術工芸品","","大津市逢坂１丁目","",null,null,"","",1,"基","","関蝉丸神社","1962-06-21 00:00:00","","","","","","","","","本殿向かって左奥に所在する花崗岩製六角形の石燈籠。基礎の側面は無文で、竿は円筒形で三条の中節の中央一条は連珠文で、四方に一個ずつの蓮華を付ける。中台側面は二区に分けて羽目を彫る。火袋は上・中・下の三段とし、中段正面を火口、背面は丸窓とし、残りの四面は上下二区に分かれ、上区に縦連子、下区は無地とする。笠は厚くて高く、三筋の降棟と先に蕨手を付ける。宝珠と受花は一石造りである。鎌倉時代の作で、古くから「時雨燈籠」の名で呼ばれている。","","https://kunishitei.bunka.go.jp/heritage/detail/201/6833",""], [402,252018,402,"滋賀県","大津市","木造阿弥陀如来坐像(所在観音堂)","もくぞうあみだにょらいざぞう（しょざいかんのんどう）","","","重要文化財","美術工芸品","","大津市逢坂１丁目","",null,null,"","",1,"躯","","安養寺","1905-04-04 00:00:00","","","","","","","","","安養寺観音堂に伝来した半丈六の阿弥陀如来坐像。小さな粒状の螺髪、碗を伏せた形の肉髻、抑揚を抑えた肉取り、整理された衣文線など、いずれも平安時代後期の作であることを物語る。当寺は浄土真宗本願寺派に属し、本像は客仏として伝えられた。その来歴は不明だが、いずれ近在地にあった天台系の寺院の遺品であろう。","","https://kunishitei.bunka.go.jp/heritage/detail/201/3115",""], [403,252018,403,"滋賀県","大津市","大津算盤製作道具 ","おおつそろばんせいさくどうぐ","","","市指定有形民俗文化財","","","大津市逢坂1丁目","",null,null,"","",null,"","","個人","1979-03-01 00:00:00","","","","","","","","","大津算盤は、慶長17年（1612）大津の人片岡庄兵衛が明国人から算盤を手に入れ改良を加えた事にはじまるという。旅行記や名所図会の類にも、追分町・大谷町で製造された大津の名産として記されている。この製作道具を伝える小島家は、片岡家とならんで大津算盤の製造販売に携わっていた。舞錐と呼ぶ手廻しろくろをはじめ、型ぬき・心とり・木槌・かんな・よき・面とり器などの道具一式と、球つくり用の原木や加工中の半製品もあり、大津算盤の製造過程を知ることができる。","","https://www.rekihaku.otsu.shiga.jp/db/bunka/detail.html?405",""], [404,252018,404,"滋賀県","大津市","長安寺宝塔","ちょうあんじほうとう","","","重要文化財","建造物","","大津市逢坂2-3-18","",135.8593137,35.00476819,"","",1,"基","","長安寺","1960-02-09 00:00:00","","","","","","","","","旧東海道（国道1号）から西へ入った長安寺境内に建つ石造の宝塔。鎌倉時代前期の作と考えられ、高さ約3.3m。八角形の台石の上につぼ型の塔身を置き、その上に六角形の笠石をのせるという、他に例を見ない形式をとる。万寿2年（1205）の『関寺縁起』によれば、この地にあった関寺復興の際、仏の化身である一頭の牛が資材運搬を手伝い、工事完了とともに死んだところから、その供養のために建てられたのがこの宝塔と伝える。この由緒により、「牛塔」とも呼ばれている。","","https://kunishitei.bunka.go.jp/heritage/detail/102/1378",""], [405,252018,405,"滋賀県","大津市","犬塚の欅","いぬづかのけやき","","","市指定天然記念物","","","大津市逢坂2丁目","",135.8586904,35.00505034,"","",1,"株","","本願寺近松別院","1965-05-06 00:00:00","","","","","","","","","ケヤキは、ニレ科ケヤキ属の落葉高木で、東亜の暖帯・温帯に生じているものである。犬塚の欅は、単に老大樹として注目されるだけでなく、有名な伝承が残されている。それは、本願寺中興の祖と称せられる蓮如（1415〜1499）が大津に滞在中、法敵に毒殺を謀られたとき、身代りとなって死んだ忠犬を葬った塚に植えられたというのである。この伝承に従うと、樹齢は500年を超えることとなる。","","https://www.rekihaku.otsu.shiga.jp/db/bunka/detail.html?450",""], [406,252018,406,"滋賀県","大津市","大津祭の曳山行事","おおつまつりのひきやまぎょうじ","","","重要無形民俗文化財","","","大津市中央1-2-27","",135.8634345,35.00826845,"","",null,"","","大津祭保存会","2016-03-02 00:00:00","","","","","","","","","天孫神社の祭礼で行われる曳山行事。からくり人形を載せた１３基の曳山が町内を巡行する。祭りの初日は各町内で宵宮飾りが披露され、本祭の巡行では所定の場所で曳山ごとにからくり人形の操作や粽撒きなどが行われる。大津祭の曳山は、すべての曳山上に異なったからくり人形を備えていること、曳山の形態が二層吹抜屋形の３輪構造となっており古態を留めていること、京都祇園祭に比肩する懸装品を有していることなどが特色として挙げられる。","","https://kunishitei.bunka.go.jp/heritage/detail/302/00000933",""], [407,252018,407,"滋賀県","大津市","大津祭","おおつまつり","","","県選択無形民俗文化財","","","","",null,null,"","",null,"","","大津祭保存会","1957-12-19 00:00:00","","","","","","","","","県選択無形民俗文化財。10月体育の日の前日に天孫神社の祭礼において行なわれるもの。","","https://www.rekihaku.otsu.shiga.jp/db/bunka/detail.html?711",""], [408,252018,408,"滋賀県","大津市","四宮祭礼牽山永代伝記","しのみやさいれいひきやまえいだいでんき","","","市指定有形民俗文化財","","","大津市中央1丁目","",null,null,"","",8,"点","","大津祭曳山連盟","1993-03-15 00:00:00","","","","","","","","","大津祭の歴史を記す唯一の史料。第一巻は文化10年（1813）の写しになるが、慶長年中（1596〜1615）の曳山巡行の発生、「ねりもの」から「曳山」へ移行する年代と名称など、祭礼の由緒と「曳山」「ねりもの」の変遷や祭礼の実際がわかる。二巻からは原本で、祭の運営にあたる当番町が、祭礼執行の月日や鬮取番列など、曳山祭礼の内容を中心に、当時の世相も合わせて記している。単なる祭礼行事の記録にとどまらず、近世・近代の大津を語る上での貴重な史料でもある。","","https://www.rekihaku.otsu.shiga.jp/db/bunka/detail.html?407",""], [409,252018,409,"滋賀県","大津市","大津祭曳山","おおつまつりひきやま","","","市指定有形民俗文化財","","","","",null,null,"","",null,"","","","1981-01-16 00:00:00","","","","","","","","","10月10日を本祭とする大津祭で巡行する組立式の曳山。御所車を車輪とする三ツ車の形式で、切妻・入母屋・唐破風造の一重の屋根をもち、上層部はからくりの舞台・囃子の場所となり、下層はからくりの操作場所・囃子の待機場所となる。舞台上で演じられるからくりが見所となるが、装飾的にも見送り幕・胴幕・水引幕などの懸装品、幕押金具・柱の金具などの飾り金具類、天井画などの絵画にすぐれたものが見られる。","","https://www.rekihaku.otsu.shiga.jp/db/bunka/detail.html?406",""], [410,252018,410,"滋賀県","大津市","四宮祭鯉山飾毛綴","しのみやまつりこいやまかざりけつづれ","","","重要文化財","美術工芸品","","大津市中央2丁目","",null,null,"","",1,"枚","","太間町竜門会","1949-05-30 00:00:00","","","","","","","","","大津祭の曳山町の一つ、太間町に伝わった龍門滝山（鯉山）の見送幕。16世紀後半ベルギーで製作されたタペストリー（壁掛などに用いた織物）の一部。ギリシャ神話「トロイア陥落図」の右端と四周の飾絵を組み合わせたもの。右手を上げる女性はトロイア王プリアモスの娘カッサンドーラで、右下の海の女神と上部の動植物は、元のタペストリーの四周の飾絵。大津祭上京町の月宮殿山見送幕、京都祇園祭の白楽天山前懸と、元は一枚であった。寛政11年（1799）購入された。","","https://kunishitei.bunka.go.jp/heritage/detail/201/5276",""], [411,252018,411,"滋賀県","大津市","大津町古絵図","おおつまちこえず","","","市指定有形文化財","美術工芸品","","大津市中央2丁目","",null,null,"","",1,"幅","","個人","1975-01-04 00:00:00","","","","","","","","","旧大津町の全体像を描いた絵図で、紙背に「寛保二年（1742）壬戌卯月写之」とある。方位は上を南、右を西とし、東は膳所城下町との境、西は園城寺、北は北国海道の尾花川町、南は伏見街道と東海道の分岐点までを含んでいる。「湖水并川溝水筋」「大津町々人家」「松本村馬場村」「山林草木」「堂社并村家」「寺々并山掛り道筋」「園城寺院」がそれぞれ色分けされ、湖岸の関・代官所・蔵屋敷・米会所・人馬会所・札の辻など、宿場町・港町大津の特色をうまく描いている。","","https://www.rekihaku.otsu.shiga.jp/db/bunka/detail.html?356",""], [412,252018,412,"滋賀県","大津市","大津別院本堂","おおつべついんほんどう","","","重要文化財","建造物","","大津市中央2-5-25","",135.8664622,35.0069543,"","",1,"棟","","大津別院","1961-06-07 00:00:00","","","","","","","","","大津駅前から琵琶湖へ通じる中央大通りの西側に、東面して建つ。大津別院は、慶長5年（1600）教如が寺地を賜り創建した浄土真宗大谷派の別院。寺伝によれば、翌6年本堂が完成したと伝えるが、現在の建物は向拝実肘木の墨書銘から慶安2年（1649）の建築になる。阿弥陀如来を安置する奥中央間とその左右の余間を内陣とし、参詣者用の外陣を広くとり、南と北の縁までも部屋の中に取り込むなど、真宗寺院本堂の特色を示している。","","https://kunishitei.bunka.go.jp/heritage/detail/102/1379",""], [413,252018,413,"滋賀県","大津市","大津別院書院","おおつべついんしょいん","","","重要文化財","建造物","","大津市中央2-5-25","",135.8664622,35.0069543,"","",1,"棟","","大津別院","1961-06-07 00:00:00","","","","","","","","","本堂の裏側（西側）に接して建ち、寛文2年（1662）の大地震で倒壊した後、同10年に再建された（『御坊諸列目録』）。中庭の西に広縁と床・仏壇を備えた十八畳の対面の間があり、その左右に八畳の間が三室づつならぶ「凹」字形の平面をとる。南西隅の上段の間が最上の部屋で、床・違棚・書院がそろい、天井は折上格天井で草花図が描かれ（明和2年・1765の改造）、壁面や襖にも花鳥図や蘭亭曲水図が描かれている。","","https://kunishitei.bunka.go.jp/heritage/detail/102/1380",""], [414,252018,414,"滋賀県","大津市","小舟入の常夜灯","こふないりのじょうやとう","","","市指定有形民俗文化財","","","大津市中央4丁目","",135.8716507,35.00682206,"","",1,"基","","大津市","1978-02-01 00:00:00","","","","","","","","","江戸時代、対岸の矢橋（草津市）との渡し場となっていた小舟入に建てられた常夜燈である。切石積みの基礎の上に二段の基壇、石柱（竿）を建て、その上に腕木を付け切妻屋根の火袋（木製）を置いている。石柱部分の刻銘から、文化5年（1808）9月京都の恒講が、伊勢両宮の常夜燈として建立したことが知られ、基壇部分には京都と大津の世話人と石工の名前が刻まれている。港町大津にあった多くの舟着場が埋立てによってその姿を消した中、唯一かつての面影を今に伝える。","","https://www.rekihaku.otsu.shiga.jp/db/bunka/detail.html?408",""], [415,252018,415,"滋賀県","大津市","木造観音菩薩立像","もくぞうかんのんぼさつりゅうぞう","","","重要文化財","美術工芸品","","大津市京町１丁目","",null,null,"","",1,"躯","","九品寺","2014-08-21 00:00:00","","","","","","","","","両手の肘から先と両足先を除く大半を一材から刻み出し、体部背面から内刳をほどこしている。丸々とした顔に伏せ加減の切れ長の目とめくれかえったような唇をあらわす表情をはじめとして、京都・八瀬文化財保存会所蔵の十一面観音立像に近く、同一工房の作であろう。制作の時期は、ほぼ10世紀末の造立とみてよく、九品寺の客仏として伝来しているが、おそらく、古代から中世にかけて大津東浦を支配した延暦寺の関連寺院の一堂に、本尊として安置されていたものだろう。","","https://kunishitei.bunka.go.jp/heritage/detail/201/00011617",""], [416,252018,416,"滋賀県","大津市","四宮祭月宮殿山飾毛綴","しのみやまつりげっきゅうでんざんかざりけつづれ","","","重要文化財","美術工芸品","","大津市京町１丁目","",null,null,"","",1,"枚","","上京町月宮会","1949-05-30 00:00:00","","","","","","","","","大津祭の曳山町の一つ、上京町に伝わった月宮殿山の見送幕。16世紀後半ベルギーで製作されたタペストリー（壁掛などに用いた織物）の一部。ギリシャ神話「トロイア陥落図」の左端四分の一で、老父アンキセスを背負って陥落するトロイアから逃れるアイネアスの部分。大津祭太間町の龍門滝山見送幕、京都祇園祭の白楽天山前懸と、元は一枚であった。附の譲渡文書によれば、文化4年（1807）京都の三井本店から銀八貫六百匁で購入されている。","","https://kunishitei.bunka.go.jp/heritage/detail/201/5275",""], [417,252018,417,"滋賀県","大津市","絹本著色釈迦三尊像","けんぽんちゃくしょくしゃかさんぞんぞう","","","市指定有形文化財","美術工芸品","","大津市京町2丁目","",null,null,"","",1,"幅","","善通寺","1984-04-02 00:00:00","","","","","","","","","岩座上に菩提樹の葉を敷きつめ、その上に法界定印を結んで結跏趺坐する釈迦如来を中心に、その下方に文殊・普賢の両菩薩を配している。文殊は伏した獅子の上に如意を持って騎乗し、普賢も経巻を手にして伏した象にすわる。釈迦の相好や衣の表現には我が国の仏画には見られない異国風のものがあるが、両脇侍の表情などには和風化したところも見られる。同寺の「什物之帳」には、「善慶入戒之釈迦三尊唐絵」とあって、善通寺を開いた善慶所持の仏画であったことがわかる。","","https://www.rekihaku.otsu.shiga.jp/db/bunka/detail.html?153",""], [418,252018,418,"滋賀県","大津市","木造聖観音立像","もくぞうしょうかんのんりゅうぞう","","","重要文化財","美術工芸品","","大津市京町2丁目","",null,null,"","",1,"躯","","乗念寺","1900-04-07 00:00:00","","","","","","","","","頭・体部を通して、根幹部を檜の一材から造り、内刳をほどこさない古様な構造。これに呼応するように、角張った相貌や重みのある体躯の造形をみせる。丈高い髻と筒形の宝冠を同材から彫成する技法は、平安時代前半期の密教像に多い形式。浄土宗乗念寺に客仏として伝来したが、同寺の存在する大津の中心部は、かつて延暦寺の支配を受けていた土地である。","","https://kunishitei.bunka.go.jp/heritage/detail/201/3113",""], [419,252018,419,"滋賀県","大津市","木造狸面","もくぞうたぬきめん","","","市指定有形文化財","美術工芸品","","大津市中央3丁目","",null,null,"","",1,"面","","鍛冶屋町自治会","1973-11-01 00:00:00","","","","","","","","","附指定となっている「覚書」によると、慶長年間（1596〜1615）鍛冶屋町の塩売治兵衛が四宮馬場で狸面を付けて踊ったのが大津祭の始まりで、これが塩売治兵衛の面と伝える。檜材より彫出し、彩色は現在眼の周辺と面の下部、口の一部の外はほとんど剥落しているが、厚い胡粉地に茶褐色をほどこして黒色で毛を描き、唇は赤色、上下の歯列は白色で、面の下部には鬚を植えつけた穴が残っている。口先を除けば獣面ではなく、普通の芸能面に近いものである。","","https://www.rekihaku.otsu.shiga.jp/db/bunka/detail.html?312",""], [420,252018,420,"滋賀県","大津市","永井家大津事件関係資料","ながいけおおつじけんかんけいしりょう","","","市指定有形文化財","美術工芸品","","大津市京町3丁目","",null,null,"","",3,"点","","個人","1992-02-01 00:00:00","","","","","","","","","明治24年（1891）5月11日に起った大津事件の際、負傷したロシア皇太子が難を逃れた永井家に伝わる資料。『露国皇太子殿下御遭難紀文』は和紙11枚を袋綴じとし、永井家当主長助が同家での皇太子の手当の様子と事件後の政府高官の来訪を記す。『外国貴顕士名刺簿』二冊は横長の折本形式で、表紙に「凶悪な暗殺未遂事件のこのいたましい場所を訪れたもの全てが残した名刺」とロシア語で記された題箋を貼り、事件後同家を訪れたロシア人・日本人の名刺が貼られる。","","https://www.rekihaku.otsu.shiga.jp/db/bunka/detail.html?397",""], [421,252018,421,"滋賀県","大津市","華階寺のいちょう","けかいじのいちょう","","","市指定天然記念物","","","大津市京町3丁目","",135.8669892,35.00526599,"","",2,"株","","大津市","1975-01-04 00:00:00","","","","","","","","","イチョウは、イチョウ科の雌雄異株の落葉高木である。このいちょう二株は旧華階寺境内に所在し、現在は道路の分離帯に南北に二株並んでいる。ともに雌株で、大きさは北が目通り周囲約3.5m，南が約3.3mを測り、樹高は30mをこえていたが、台風により折損している。天文元年（1532）華開寺の開基にあたって植えられたと伝えられる。湖上交通の盛んであった頃は、よい目標となっていたであろう。","","https://www.rekihaku.otsu.shiga.jp/db/bunka/detail.html?451",""], [422,252018,422,"滋賀県","大津市","石坐神社本殿","いわいじんじゃほんでん","","","県指定有形文化財","建造物","","大津市西の庄15-16","",135.8877698,35.00048386,"","",1,"棟","","石坐神社","1957-08-26 00:00:00","","","","","","","","","石坐神社は、天智天皇の治世に現地より南方山手に彦坐王を祭神として創建され、後に天智・弘文の二帝と伊賀采女宅子を合わせてまつるようになったという。現社地に移されたのは文永3年（1266）のことと伝えられ、棟札の写しから現在の本殿もこの時の建築になる。社殿前面の向拝周りや破風などは後世の改変になるが、母屋の桁や舟肘木、内部の天井竿縁などに建立当初の様式・手法を示し、鎌倉時代中期の社殿の面影を今に伝える。","","https://www.rekihaku.otsu.shiga.jp/db/bunka/detail.html?65",""], [423,252018,423,"滋賀県","大津市","木造天命開別命坐像","もくぞうあめのみことひらかすわけのみことざぞう","","","重要文化財","美術工芸品","","大津市西の庄","",null,null,"","",1,"躯","","石坐神社","1900-04-07 00:00:00","","","","","","","","","大津京の時代の創建という延喜式内社石坐神社に伝来した神像群。それぞれ大きさが異なるが、天命開別命像と弘文天皇像は袖や裳先のひだの彫法が似ており、あるいは同時期の作かもしれない。伊賀釆女宅子媛像を含め、平安時代の作とされる。彦坐王像のみ南北朝時代のものといわれる。","","https://kunishitei.bunka.go.jp/heritage/detail/201/3126",""], [424,252018,424,"滋賀県","大津市","木造伊賀采女宅子媛坐像","もくぞういがのうねめやかこひめざぞう","","","重要文化財","美術工芸品","","大津市西の庄","",null,null,"","",1,"躯","","石坐神社","1900-04-07 00:00:00","","","","","","","","","大津京の時代の創建という延喜式内社石坐神社に伝来した神像群。それぞれ大きさが異なるが、天命開別命像と弘文天皇像は袖や裳先のひだの彫法が似ており、あるいは同時期の作かもしれない。伊賀釆女宅子媛像を含め、平安時代の作とされる。彦坐王像のみ南北朝時代のものといわれる。","","https://kunishitei.bunka.go.jp/heritage/detail/201/3127",""], [425,252018,425,"滋賀県","大津市","木造弘文天皇坐像","もくぞうこうぶんてんのうざぞう","","","重要文化財","美術工芸品","","大津市西の庄","",null,null,"","",1,"躯","","石坐神社","1900-04-07 00:00:00","","","","","","","","","大津京の時代の創建という延喜式内社石坐神社に伝来した神像群。それぞれ大きさが異なるが、天命開別命像と弘文天皇像は袖や裳先のひだの彫法が似ており、あるいは同時期の作かもしれない。伊賀釆女宅子媛像を含め、平安時代の作とされる。彦坐王像のみ南北朝時代のものといわれる。","","https://kunishitei.bunka.go.jp/heritage/detail/201/3128",""], [426,252018,426,"滋賀県","大津市","木造彦坐王坐像","もくぞうひこいますおうざぞう","","","重要文化財","美術工芸品","","大津市西の庄","",null,null,"","",1,"躯","","石坐神社","1900-04-07 00:00:00","","","","","","","","","大津京の時代の創建という延喜式内社石坐神社に伝来した神像群。それぞれ大きさが異なるが、天命開別命像と弘文天皇像は袖や裳先のひだの彫法が似ており、あるいは同時期の作かもしれない。伊賀釆女宅子媛像を含め、平安時代の作とされる。彦坐王像のみ南北朝時代のものといわれる。","","https://kunishitei.bunka.go.jp/heritage/detail/201/3129",""], [427,252018,427,"滋賀県","大津市","紙本著色芭蕉翁絵詞伝","しほんちゃくしょくばしょうおうえことばでん","","","市指定有形文化財","美術工芸品","","大津市馬場１丁目","",null,null,"","",3,"巻","","義仲寺","1979-03-01 00:00:00","","","","","","","","","芭蕉没後、義仲寺の無名庵を再興した蝶夢が、芭蕉の生涯の主要な出来事を、三巻の絵詞にまとめたもの。絵は狩野正栄至信、詞は蝶夢の手になる。蝶夢が芭蕉の百回忌法要を翌年に控えた九十九回忌の忌日に奉納したもので、下巻末に「義仲寺の芭蕉堂の影前にたてまつる寛政四年（1792）十月十二日蝶夢幻阿弥陀仏謹書」とみえる。狩野至信は、京都における狩野派系の名家で、彼は三代目正栄にあたる。寛政度の内裏造営にともなう障壁画の制作に参加している事が知られる。","","https://www.rekihaku.otsu.shiga.jp/db/bunka/detail.html?155",""], [428,252018,428,"滋賀県","大津市","義仲寺境内","ぎちゅうじけいだい","","","国指定史跡","","","大津市馬場1丁目","",135.8822133,35.00158605,"","",null,"","","義仲寺","1967-11-20 00:00:00","","","","","","","","","義仲寺は源義仲（木曽義仲）を葬った塚のあるところから名付けられているが、室町時代末に六角氏が建立したとの伝えがある。俳聖松尾芭蕉が滞在した「木曽塚の坊」がこの義仲寺のことで、元禄7年（1694）大坂で客死すると遺言により当寺に葬られた。芭蕉の門人又玄が「木曽殿と背中合せの寒さかな」とよんだように、門を入った左奥に芭蕉と義仲の墓がならんでいる。奥には芭蕉の木像を祀る翁堂があり、境内には数多くの句碑が建てられている。","","https://kunishitei.bunka.go.jp/heritage/detail/401/1596",""], [429,252018,429,"滋賀県","大津市","竜ケ岡俳人墓地","たつがおかはいじんぼち","","","市指定史跡","","","大津市馬場2丁目","",135.8798812,35.00056706,"","",null,"","","義仲寺","1965-05-06 00:00:00","","","","","","","","","松尾芭蕉は、死後遺言により義仲寺に葬られたが、蕉門十哲の一人内藤丈草は義仲寺境内の竜ケ岡に仏幻庵を営み、芭蕉を供養するために法華経塚を建てた。丈草は死後仏幻庵の故地に葬られ、続いて可風・文素・蝶夢ら一七基の墓が建てられ、俳人墓地と呼ばれるようになった。義仲寺境内の山林であった俳人墓地も、現在は国道1号線や付近の開発によって様相を一変している。","","https://www.rekihaku.otsu.shiga.jp/db/bunka/detail.html?430",""], [430,252018,430,"滋賀県","大津市","木造猿田彦命坐像","もくぞうさるたひこのみことざぞう","","","重要文化財","美術工芸品","","大津市松本１丁目","",null,null,"","",1,"躯","","平野神社","1905-04-04 00:00:00","","","","","","","","","ほぼ等身大の坐像で、巾子冠をかぶり、顎髭を垂らし、眉根を寄せて眼を見ひらく。胸前で拱手しているが、持っていたであろう笏は失われている。全般に衣文を省略し、上体をすっくと立て、膝張りをゆったりととった姿勢はいかにも平安時代後期の神像である。市内に現存する神像彫刻のなかでも優れたもののひとつであろう。","","https://kunishitei.bunka.go.jp/heritage/detail/201/3114",""], [431,252018,431,"滋賀県","大津市","難波家蹴鞠関係資料","なんばけけまりかんけいしりょう","","","重要文化財","美術工芸品","","大津市松本１丁目","",null,null,"","",null,"","","平野神社","1997-06-30 00:00:00","","","","","","","","","蹴鞠は、平安時代から中世・近世にかけて、和歌とならぶ公家・武家の教養として重視された。この資料は、蹴鞠道の家難波家から蹴鞠の神である精大明神を祀る平野神社に、明治37年（1094）一括寄贈されたもの。内容は、蹴鞠の古典書や各道家の秘伝書・口伝書などからなる故実書類、室町時代からの門弟への技法伝授などに関する伝書類、江戸時代の難波家の道家経営と家政に関する文書・記録類、和歌・漢詩などからなる書跡類に分けられる。","","https://kunishitei.bunka.go.jp/heritage/detail/201/10233",""], [432,252018,432,"滋賀県","大津市","和田神社本殿","わだじんじゃほんでん","","","重要文化財","建造物","","大津市木下町7-13","",135.891224,34.99795541,"","",1,"棟","","和田神社","1902-07-31 00:00:00","","","","","","","","","旧東海道に面した表門を入った境内の奥に、東面して建つ。祭神は高龗神。一間社流造という規模の小さな社殿であるが、正面に軒唐破風を付けるのは、県内では珍しい。建築は鎌倉時代後期と考えられ、側面の蟇股などに時代の特色がよくあらわれているが、後世の補修の跡も見られる。","","https://kunishitei.bunka.go.jp/heritage/detail/102/1370",""], [433,252018,433,"滋賀県","大津市","和田神社のいちょう","わだじんじゃのいちょう","","","市指定天然記念物","","","大津市木下町7-13","",135.891224,34.99795541,"","",1,"株","","和田神社","1978-02-01 00:00:00","","","","","","","","","イチョウは、イチョウ科の雌雄異株の落葉高木で、社務所前に所在するこのいちょうは雄株である。大きさは目通り周囲約4.5mを測り、樹齢は600年と推定される。県内では他に例を見ない巨木であり、樹勢も盛んである。和田神社の神木として湖上よりの良い目標となっていたと思われ、関ケ原の合戦に敗北して捕らえられた石田三成が京都へ護送される途中、この木に繋がれて休息をとったと伝える。","","https://www.rekihaku.otsu.shiga.jp/db/bunka/detail.html?453",""], [434,252018,434,"滋賀県","大津市","膳所神社表門","ぜぜじんじゃおもてもん","","","重要文化財","建造物","","大津市膳所1-14-14","",135.8900424,34.99472481,"","",1,"棟","","膳所神社","1924-04-15 00:00:00","","","","","","","","","明治3年（1807）膳所城が廃城となった後、膳所城の城門を移築したものである。膳所神社の表門は伝承では二ノ丸と本丸の間の門で、築城まじかの慶長の建築と考えられていたが、解体修理の結果明暦元年（1655）の銘札が発見された。門は薬医門の形式で、両開の大扉の左に脇柱を建て、片開の潜戸とする。本柱の心材にはそれ以前の仕口が見られるところから、大津城の材の転用が考えられる。","","https://kunishitei.bunka.go.jp/heritage/detail/102/1375",""], [435,252018,435,"滋賀県","大津市","膳所総絵図 ","ぜぜそうえず","","","市指定有形文化財","美術工芸品","","大津市膳所1丁目","",null,null,"","",1,"面","","個人","1984-04-02 00:00:00","","","","","","","","","元禄15年（1702）に描かれた彩色絵図。方位は、上を西、右を北として、城郭・城下町・湖・周辺の山までを含んでいる。湖・堀・川は淡い青、街道・露地は朱線、土手は薄緑、山々は濃い緑の四色に彩色され、各侍屋敷や社寺などは間口・奥行の長さが、町屋については町名が記される。絵図に書き込まれている情報は詳細かつ豊富で、絵図右下の「覚」からは、町屋敷460軒、侍屋敷467軒など当時の城下町の規模を知ることができる。","","https://www.rekihaku.otsu.shiga.jp/db/bunka/detail.html?357",""], [436,252018,436,"滋賀県","大津市","木造阿弥陀如来坐像","もくぞうあみだにょらいざぞう","","","重要文化財","美術工芸品","","大津市膳所2丁目","",null,null,"","",1,"躯","","清徳院","1900-04-07 00:00:00","","","","","","","","","衣を偏袒右肩につけ、定印を結んで坐す阿弥陀如来像で、肉髻や螺髪の形態、相貌や着衣の表現など、いずれをみても定朝様に基づく平安時代後期の作である。頭・体を通して中心部を一材から造り、後頭部と背中にはそれぞれ別材を当てる。両脚部をはじめ、各所に彫り直しの手が加わることが惜しまれるが、幸い面部には当初の典雅な表情がのこされている。","","https://kunishitei.bunka.go.jp/heritage/detail/201/3130",""], [437,252018,437,"滋賀県","大津市","禾津頓宮跡","あわづとんぐうあと","","","県指定史跡","","","大津市膳所2丁目","",135.8893266,34.99634948,"","",null,"","","滋賀県","2009-11-25 00:00:00","","","","","","","","","膳所高等学校校舎の改築にともなう発掘調査によって検出された、８世紀中頃の東西20.8メートル×南北11.9メートルの大型建物跡。その規模や構造は、宮都関連遺跡の中心的建物と一致しており、聖武天皇が天平１２年（７４０）から１７年にかけて恭仁京、紫香楽宮、難波京を移動する途上に営まれた禾津頓宮の中心的建物と推定される。この遺構により、頓宮（仮宮）跡が仮設的な建物であるというイメージが崩された。","","https://www.rekihaku.otsu.shiga.jp/db/bunka/detail.html?620",""], [438,252018,438,"滋賀県","大津市","茶臼山古墳・小茶臼山古墳","ちゃうすやまこふん・こちゃうすやまこふん","","","国指定史跡","","","大津市膳所平尾町他","",135.8659549,34.9757594,"","",null,"","","","1921-03-03 00:00:00","","","","","","","","","琵琶湖の湖尻西岸、音羽山系から派生して東方の琵琶湖に向かう小丘陵上の先端部に立地。茶臼山古墳は東西主軸をもつ東向きの前方後円墳で、全長122m、後円部径70m、高さ8m。墳丘の西側から南側にかけての丘陵高所部分のみ幅5〜10mの周壕がめぐり、埴輪や葺石が出土。内部構造や副葬品は不詳であるが、墳丘の形態から4世紀後半の築造と推定。小茶臼山古墳は、茶臼山古墳の南方200mに築かれた直径18mの円墳で、茶臼山古墳の陪塚とみられている。","","https://kunishitei.bunka.go.jp/heritage/detail/401/1553",""], [439,252018,439,"滋賀県","大津市","篠津神社表門","しのづじんじゃおもてもん","","","重要文化財","建造物","","大津市中庄1-14-24","",135.893172,34.9904697,"","",1,"棟","","篠津神社","1924-04-15 00:00:00","","","","","","","","","明治3年（1807）膳所城が廃城となった後、膳所城の城門を移築したものである。篠津神社表門は膳所城の北大手門で、門の建築年代を示す資料はないが、慶長頃ではないかと考えられる。門の形式は袖棟をもつ高麗門で、両開の大扉の左に脇柱を建て、片開の潜戸を取り付けている。大扉は太い堅格子で、潜戸の高さまでを板張りとし、帯鉄板を鋲止めにしている。","","https://kunishitei.bunka.go.jp/heritage/detail/102/1376",""], [440,252018,440,"滋賀県","大津市","蘆花浅水荘　本屋、離れ、持仏堂（記恩堂）、渡り廊下、表門、土蔵","ろかせんすいそう　ほんや、はなれ、じぶつどう（きおんどう）、わたりろうか、おもてもん、どぞう","","","重要文化財","建造物","","大津市中庄1-19-23","",135.8953611,34.99004076,"","",6,"棟","","記恩寺","1994-12-27 00:00:00","","","","","","","","","蘆花浅水荘は、日本画家山元春挙によって、琵琶湖岸に営まれた別荘である。表門（大正頃）を入ると正面に本屋（大正10年）、中庭を挟んで離れ（大正4年）が建ち、その前面には琵琶湖と対岸の三上山を借景に取り入れた庭園が広がる。本屋の二階はアトリエとして今に残されている。離れの東には渡り廊下（大正頃）で結ばれた持仏堂（記恩堂）（大正9年）が、本屋の北には土蔵（大正8年）が建つ。近代の和風建築として質の高い建物である。","","https://kunishitei.bunka.go.jp/bsys/maindetails/102/1386",""], [441,252018,441,"滋賀県","大津市","蘆花浅水荘庭園","ろかせんすいそうていえん","","","市指定名勝","","","大津市中庄1-19-23","",135.8953611,34.99004076,"","",null,"","","記恩寺","1965-05-06 00:00:00","","","","","","","","","蘆花浅水荘は、帝室技芸員山元春挙が、生まれ故郷の膳所の湖岸に建てた別邸である。庭は、離れの東側に琵琶湖に接して造られた。湖岸に沿って芝生の築山を築き、その手前に緩やかに蛇行する流れを配し、北側の樹木以外は全面を芝生張りとし、植栽も極低い松を植えるにとどめている。琵琶湖をへだて、三上山・金勝山・比叡・比良の山々を借景として構想されたが、湖岸の埋立てと湖岸道路の開通により、その意図が損なわれる結果となった。","","https://www.rekihaku.otsu.shiga.jp/db/bunka/detail.html?447",""], [442,252018,442,"滋賀県","大津市","膳所焼茶入・水指","ぜぜやきちゃいれ・みずさし","","","市指定有形文化財","美術工芸品","","大津市中庄１丁目","",null,null,"","",28,"口","","膳所焼美術館","1993-03-15 00:00:00","","","","","","","","","膳所焼は、桃山時代の最末期から江戸時代初期にかけ、膳所一帯で焼かれた陶器の総称。本多俊次が膳所藩主の治世に御用窯的性格をもって焼かれ、製品は茶入・茶碗・水指などの茶陶を中心とするが、伝世品は圧倒的に茶入と水指が多い。このコレクションは、茶入では肩衝・文琳・耳付など一四口、水指では膳所焼で最も古い桃山風の作調を示す唯一の伝世品である大江銘の水指を筆頭に、一重口・耳付・矢筈口など一四口からなり、共に膳所焼を代表する作品が集められている。","","https://www.rekihaku.otsu.shiga.jp/db/bunka/detail.html?314",""], [443,252018,443,"滋賀県","大津市","若宮八幡神社表門","わかみやはちまんじんじゃおもてもん","","","市指定有形文化財","建造物","","大津市杉浦町20-20","",135.8945869,34.98768039,"","",1,"棟","","若宮八幡神社","1978-02-01 00:00:00","","","","","","","","","明治3年（1807）膳所城が廃城となった後、膳所城の城門を移築したものである。若宮八幡神社表門は、本丸の犬走門と伝えられる高麗門である。部材の木割も太く、重要文化財の指定をうけている他の旧膳所城城門にもひけをとらない。","","https://www.rekihaku.otsu.shiga.jp/db/bunka/detail.html?69",""], [444,252018,444,"滋賀県","大津市","木造釈迦如来坐像(伝安阿弥作)","もくぞうしゃかにょらいざぞう（でんあんあみさく）","","","重要文化財","美術工芸品","","大津市富士見台","",null,null,"","",1,"躯","","円福院","1900-04-07 00:00:00","","","","","","","","","やや生々しさを感じさせる面貌や写実的に刻まれた衣文の表現などに、鎌倉時代も前期の作風が看取される。像内の脚部に墨書銘があり、建久8年（1197）に安阿弥陀仏によって造立されたという意味に解される。安阿弥陀仏とは高名な仏師快慶の号だが、銘文の文字は複数の筆による後筆である。近年では、これを快慶の真作とは考えない立場が主流だが、この場合にも建久8年を制作年とみることについては是認されている。いずれにせよ鎌倉時代初期慶派仏師の作であろう。","","https://kunishitei.bunka.go.jp/heritage/detail/201/3131",""], [445,252018,445,"滋賀県","大津市","今井兼平の墓","いまいかねひらのはか","","","市指定史跡","","","大津市晴嵐二丁目240他","",135.8968058,34.98155433,"","",null,"","","大津市","2006-03-15 00:00:00","","","","","","","","","今井兼平は、源平争乱の最中に源（木曽）義仲に従って上洛するが、元暦元年（1184）１月２１日に粟津合戦で義仲とともに討ち死にする。寛文元年（1661）膳所藩主本多俊次によって建立され、同七年現地に移された卵形の墓石は、中央に大きく「今井四郎兼平」と刻まれ、その両側に銘文が彫られている。現在、敷地内には江戸から平成にかけて兼平の子孫によって建立された燈籠や記念碑等が残されており、祖先顕彰の思いを偲ぶことができる。今井兼平の墓は後世に建立されたものではあるが、源平争乱の一幕をかざる粟津合戦の伝承地として、貴重な史跡である。","","https://www.rekihaku.otsu.shiga.jp/db/bunka/detail.html?606",""], [446,252018,446,"滋賀県","大津市","旧伊庭家住宅(住友活機園)　洋館、和館、新座敷、東蔵、西蔵、正門","きゅういばけじゅうたく（すみともかっきえん）　ようかん、わかん、しんざしき、ひがしぐら、にしぐら、せいもん","","","重要文化財","建造物","","大津市田辺町","",135.8996103,34.97068435,"","",6,"棟","","住友林業株式会社","2002-05-23 00:00:00","","","","","","","","","住友本店の総理事を務めた伊庭貞剛が、引退後に居住した住宅。瀬田川西岸の高台に、東から洋館・和館・新座敷が南面して建ち、その北側に東蔵・西蔵を配置し、敷地東南側に正門を設ける。野口孫市の設計になる洋館と、大工棟梁八木甚兵衛の手になる和館が明治３７年（1904）、東蔵・西蔵・正門も同時期の建築と考えられ、新座敷は大正１１年（1922）の増築になる。当初の敷地の南側は、名神高速道路や東海道新幹線の建設にともない売却されているが、洋館と和館からなる明治後期の邸宅の姿を完全な形で今に伝えている。","","https://kunishitei.bunka.go.jp/bsys/maindetails/102/3720",""], [447,252018,447,"滋賀県","大津市","木造聖徳太子立像","もくぞうしょうとくたいしりゅうぞう","","","県指定有形文化財","美術工芸品","","大津市国分１丁目","",null,null,"","",1,"躯","","国分聖徳太子会","1966-04-07 00:00:00","","","","","","","","","半身裸形で合掌する聖徳太子2歳の姿をあらわす。玉眼を含め頭部には補修もあるが、むっちりとした幼児らしい肉づけに魅力がある。像内には種子や真言がびっしりと墨書されているが、それにまじって作者法眼宗円の名や元亨元年（1321）の造像年記も認められる。鎌倉時代以降、とみに隆盛をみた聖徳太子信仰の実態をさぐるうえにおいても、重要な資料となろう。","","https://www.rekihaku.otsu.shiga.jp/db/bunka/detail.html?241",""], [448,252018,448,"滋賀県","大津市","国分大塚古墳","こくぶおおつかこふん","","","市指定史跡","","","大津市国分一丁目","",135.8928682,34.96888926,"","",1,"基","","大津市","1976-03-15 00:00:00","","","","","","","","","瀬田川の西岸、東海道新幹線と名神高速道路に挟まれて所在する6世紀中葉前半の前方後円墳である。発掘調査によって、全長45m、後円部径32m、くびれ部の幅19m、前方部の先端28mで、周壕がめぐり、後円部と前方部に一基ずつの横穴式石室を持つ前方後円墳であることが判明した。湖西地域を治めた和邇氏の首長の一人を、交通の要衝であったこの地に葬ったと考えられている。","","https://www.rekihaku.otsu.shiga.jp/db/bunka/detail.html?432",""], [449,252018,449,"滋賀県","大津市","石山寺本堂","いしやまでらほんどう","","","国宝","建造物","","大津市石山寺1-1-1","",135.9056425,34.96044997,"","",1,"棟","","石山寺","1898-12-28","","","","","","","","","石山寺は、奈良時代の創建になる東寺真言宗大本山。現本堂は、永長元年（1096）再建された県内最古の木造建物。傾斜地に、本堂・相の間・懸造の礼堂がつながって建ち、相の間の東端二間は紫式部にちなんで「源氏の間」と呼ばれている。礼堂は淀君の寄進になり、慶長7年（1602）落慶供養された。檜皮葺の屋根は、本堂・礼堂がそれぞれ寄棟造となり、両者を相の間でつなぐという構造をとっている。本堂厨子内には、本尊如意輪観音が安置されている。","","https://kunishitei.bunka.go.jp/heritage/detail/102/1315",""], [450,252018,450,"滋賀県","大津市","石山寺多宝塔","いしやまでらたほうとう","","","国宝","建造物","","大津市石山寺1-1-1","",135.9056425,34.96044997,"","",1,"基","","石山寺","1899-4-5","","","","","","","","","本堂から石段を登った平坦地に、南面して建つ。多宝塔は、平安時代密教の伝来とともに伝えられた塔の形式で、三間四方の下重の上に亀腹を載せ、円形の塔身がつく。源頼朝の建立と伝えられ、建久5年（1194）の銘がある現存最古の多宝塔である。上下の均整がとれた美しい姿をしている。内部は四天柱を建て、須弥壇上には快慶作の大日如来（重要文化財）を祀っている。現状は多くが剥落しているが、内部には装飾がほどこされ、四天柱には重要文化財の仏画が描かれている。","","https://kunishitei.bunka.go.jp/heritage/detail/102/1316",""], [451,252018,451,"滋賀県","大津市","石山寺東大門","いしやまでらひがしだいもん","","","重要文化財","建造物","","大津市石山寺1-1-1","",135.9056425,34.96044997,"","",1,"棟","","石山寺","1907-08-28 00:00:00","","","","","","","","","石山寺境内の入口に、瀬田川に向かって東面して建つ。建久元年（1109）の建築といわれるが、淀君による本堂の礼堂再建時に新築に等しい大改造が行われている。天井下の蟇股や破風の懸魚に桃山様式が取り入れられ、大棟の鬼瓦に「慶長五（1600）庚子八月日粟田口久左衛門」のへら書がある。三つの柱間の内中央を両開の板扉とし、両側には仁王像を安置する。軒の組物に、隅を除いて尾垂木がないという特色を見せる。","","https://kunishitei.bunka.go.jp/heritage/detail/102/1317",""], [452,252018,452,"滋賀県","大津市","石山寺鐘楼","いしやまでらしょうろう","","","重要文化財","建造物","","大津市石山寺1-1-1","",135.9056425,34.96044997,"","",1,"棟","","石山寺","1907-08-28 00:00:00","","","","","","","","","本堂の東、多宝塔から一段降った位置に西面して建つ。寺伝では多宝塔と同じく源頼朝の寄進と伝えるが、細部の手法から鎌倉時代後期の建築になると考えられる。比較的規模の大きな袴腰付の鐘楼として、前後左右の均整がとれており、袴腰全体が白壁の漆喰塗という古式を示している。縁下と上層軒下の組物の中では、尾垂木を用いていないという特色もある。内部には、重要文化財の鎌倉時代初期の梵鐘が釣られている。","","https://kunishitei.bunka.go.jp/heritage/detail/102/1318",""], [453,252018,453,"滋賀県","大津市","石山寺宝篋印塔","いしやまでらほうきょういんとう","","","重要文化財","建造物","","大津市石山寺1-1-1","",135.9056425,34.96044997,"","",1,"基","","石山寺","1961-03-23 00:00:00","","","","","","","","","多宝塔の西に所在する二基の石造宝篋印塔のうち、西側の一基が源頼朝の供養塔と伝えられている。宝篋印塔とは、宝篋印陀羅尼を納めた塔で、後には供養塔にも用いられるようになった。この塔は室町時代前期の建立になり、総高は約128cmを測る。基礎・塔身・笠・相輪のすべてが完備し、塔身の四面に月輪付胎蔵界四仏の種子を刻む。石山寺は源頼朝の厚い庇護を受け、多宝塔・鐘楼などは頼朝の寄進と伝えられている。","","https://kunishitei.bunka.go.jp/heritage/detail/102/1319",""], [454,252018,454,"滋賀県","大津市","石山寺　御影堂、蓮如堂、三十八所権現社本殿、経蔵","いしやまでら　みえどう、れんにょどう、さんじゅうはっしょごんげんしゃほんでん、きょうぞう","","","重要文化財","建造物","","大津市石山寺1-1-1","",135.9056425,34.96044997,"","",4,"棟","","石山寺","2008-12-02 00:00:00","","","","","","","","","本堂の東、鐘楼の下にある御影堂は、石山寺の創建に関った良弁僧正・弘法大師・淳祐内供の遺影（御影）を安置し、開山堂とも呼ばれている。慶長以後何度かの改造がなされ、寺伝によれば享保年間（1716〜36）内陣の四天柱の内前二本を切り、背面を増築して須弥壇を後退させるという大改造がなされ、現在の姿となった。内陣須弥壇の格狭間様式から、室町時代の建築になることがわかる。\n三十八所権現社は石山寺の鎮守として創建され、本殿は本堂から多宝塔へ向かう道沿いに、国の天然記念物硅灰石の上に建っている。石山寺本堂の礼堂が改築された慶長7年（1602）頃に、当社も建てられたと考えられる。各部材の保存状態は極めて良好で、現在彩色は殆ど剥落しているが、当初は桃山風の華麗な本殿であったようだ。なお、本殿の真下、本堂へ登る石段横にある蓮如堂は、元は三十八所権現社の拝殿として建てられた建物である。","","https://kunishitei.bunka.go.jp/bsys/maindetails/102/00004293",""], [455,252018,455,"滋賀県","大津市","石山寺毘沙門堂","いしやまでらびしゃもんどう","","","県指定有形文化財","建造物","","大津市石山寺1-1-1","",135.9056425,34.96044997,"","",1,"棟","","石山寺","2007-06-01 00:00:00","","","","","","","","","本堂の東側に観音堂と並んで建ち、堂内には重要文化財の兜跋毘沙門天を祀っている。棟札・鬼瓦・寺蔵文書等から安永２年（1773）の建立と、建築の経緯、大棟梁・木工棟梁の名前、造営方法等がわかる。正面三間、側面二間で、屋根は宝形造、桟瓦葺で西面して建ち、正面に石燈籠２基を備える。平面は概ね正方形であるが、正面三間に対し側面を二間とし、内部は間仕切りを設けず、一室の空間としている。","","https://www.rekihaku.otsu.shiga.jp/db/bunka/detail.html?609",""], [456,252018,456,"滋賀県","大津市","絹本著色仏涅槃図","けんぽんちゃくしょくぶつねはんず","","","重要文化財","美術工芸品","","大津市石山寺１丁目","",null,null,"","",1,"幅","","石山寺","1897-12-28","","","","","","","","","釈迦の入滅の有様を描いた仏涅槃図であるが、図様の上で様々な特色を示している。蓮台を枕とする釈迦は両眼を見開き、涅槃台前中央には香炉・花器・水瓶をすえた供養台、横の卓子には袈裟が置かれている。その前には菩薩形の貴人が立ち、唐風の人物から華籠をうけとろうとしている。多くの涅槃図に描かれる摩耶夫人の降下の姿もみられない。色彩も明るく暖かい色が目立ち、釈迦の入滅を悲しむという印象は弱く、平安時代の涅槃図の面影を残しているともいわれる。","","https://kunishitei.bunka.go.jp/heritage/detail/201/1229",""], [457,252018,457,"滋賀県","大津市","紙本著色石山寺縁起","しほんちゃくしょくいしやまでらえんぎ","","","重要文化財","美術工芸品","","大津市石山寺１丁目","",null,null,"","",7,"巻","","石山寺","1897-12-28","","","","","","","","","石山寺の創建から、本尊如意輪観音の霊験、皇室・公家の参詣などを中心に、後醍醐天皇の即位と後宇多天皇の院政までを、絵と詞を交えて七巻三十三段に分けて描く。序文から正中年間（1324〜26）の成立になることがわかるが、一巻から三巻と五巻が鎌倉時代末の制作になる原本であるのに対し、四巻は室町時代の補作、六巻・七巻は江戸時代の制作になる。石山寺の縁起は勿論、そこに描かれた多くお場面は、中世の社会や生活を知る上での貴重な資料となっている。","","https://kunishitei.bunka.go.jp/heritage/detail/201/1230",""], [458,252018,458,"滋賀県","大津市","絹本著色不動明王二童子像","けんぽんちゃくしょくふどうみょうおうにどうじぞう","","","重要文化財","美術工芸品","","大津市石山寺１丁目","",null,null,"","",1,"幅","","石山寺","1900-04-07 00:00:00","","","","","","","","","瑟々座に坐し、右手に剣、左手に羂索を持ち、斜め右を向いた不動明王は、頭上に蓮華を戴き、両眼を見開いて上歯は下唇をかむ。合掌する白身の矜羯羅童子、宝棒を持つ赤身の制吒迦童子が、ともに一重の瑟々座に立つ図様は珍しい。不動明王の衣装や持物などの金泥の描き方などからみて、鎌倉時代末から室町時代初期の制作になるかと考えられる。","","https://kunishitei.bunka.go.jp/heritage/detail/201/1231",""], [459,252018,459,"滋賀県","大津市","紙本著色源氏物語 末摘花巻(伝光起筆)","しほんちゃくしょくげんじものがたり　すえつむはなのかん（でんみつおきひつ）","","","重要文化財","美術工芸品","","大津市石山寺１丁目","",null,null,"","",1,"巻","","石山寺","1900-04-07 00:00:00","","","","","","","","","『源氏物語』の末摘花巻を詞と絵で描いた上中下の三巻からなる絵巻の一巻目で、他の二巻は海外に渡っている。本巻は七段の詞と六段の絵からなり、詞書の料紙は金泥で草花などを描き、金切箔・野毛・砂子を散らしている。巻末の奥書によれば、詞書は冒頭の十六行が四辻季賢、そのあとを賀茂縣主季通が書き継いだとある。絵は極彩色で、豪華な作品となっており、朝廷の絵所預となって土佐家を復興した土佐光起筆の伝承がある。","","https://kunishitei.bunka.go.jp/heritage/detail/201/1232",""], [460,252018,460,"滋賀県","大津市","石山寺多宝塔柱絵","いしやまでらたほうとうはしらえ","","","重要文化財","美術工芸品","","大津市石山寺1丁目","",null,null,"","",4,"本","","石山寺","2000-06-27 00:00:00","","","","","","","","","国宝建造物石山寺多宝塔内部の四天柱に描かれた、創建当初の尊像群と文様。尊像は、当初54体描かれていたとみられるが、現在確認できるのは20余体のみである。大日如来をはじめとする金剛界三十七尊像を中心に、坐像の五大明王を描き加えている。これらの尊像は、当時石山寺に住した文泉房朗澄の指導になる可能性が推定されている。石山寺多宝塔は墨書銘から建久五年(1194)の創建と考えられており、本柱絵は平安から鎌倉に至る過渡期の仏画の高い水準を示す作品である。","","https://kunishitei.bunka.go.jp/heritage/detail/201/10397",""], [461,252018,461,"滋賀県","大津市","絹本著色春日宮曼荼羅図","けんぽんちゃくしょくかすがみやまんだらず","","","県指定有形文化財","美術工芸品","","大津市石山寺1丁目","",null,null,"","",1,"幅","","石山寺","2015-03-24 00:00:00","","","","","","","","","大和国の春日大社とその周辺の景観を描いた宮曼荼羅。中央下部の一の鳥居から直線的に延びる参道を軸に、神域を描く。最上部には、春日山の上に春日五社の本地仏が描かれる。仏菩薩の姿は丁寧に仕上げられ、社殿をはじめとする建築描写も精密である。正安２年（1300）の湯木美術館本（重要文化財）に比較すると時代の下降を示す特徴が認められるところから、１４世紀半ば（南北朝時代）の制作と考えられる。","","https://www.rekihaku.otsu.shiga.jp/db/bunka/detail.html?687",""], [462,252018,462,"滋賀県","大津市","絹本著色弘法大師像","けんぽんちゃくしょくこうぼうだいしぞう","","","県指定有形文化財","美術工芸品","","大津市石山寺1丁目","",null,null,"","",1,"幅","","石山寺","2017-11-24 00:00:00","","","","","","","","","真言宗の開祖である弘法大師空海の肖像画で、縦横１ｍを超える大画面に描かれる。像容は顔をやや右に向け、衲衣と袈裟を身にまとう。右手に五鈷杵、左手に数珠をとり、前に水瓶と沓を配する。面貌や肉身を描く筆線、牀座の上の敷物に施された彩色紋様など、作風は総じて古式にのっとっており、洗練されている。鎌倉時代後期の制作になる本品は、弘法大師像としては滋賀県内最古の例である。","","https://www.rekihaku.otsu.shiga.jp/db/bunka/detail.html?697",""], [463,252018,463,"滋賀県","大津市","板絵著色繋馬図","いたえちゃくしょくつなぎうまず","","","市指定有形文化財","美術工芸品","","大津市石山寺1丁目","",null,null,"","",1,"面","","石山寺","1992-02-01 00:00:00","","","","","","","","","二枚の板を継いで画面全体に金箔をほどこし、左右の下部に立てられた二本の杭に差縄で繋がれた白毛の馬を描く。向かって右上端に「奉掛御寳前」と、左端の上から「寛永十二（1635）乙亥稔五月吉日勢州度会住□□」の墨書が、裏面にも万治2年（1659）の巡礼者の墨書がある。描かれた馬体は躍動感に富むものではないが、16世紀中頃から17世紀中頃までに描かれた厩馬図屏風や絵馬によく見られる図柄で、寛永期の絵馬が創作期のまま残され、後世の手は入っていない。","","https://www.rekihaku.otsu.shiga.jp/db/bunka/detail.html?159",""], [464,252018,464,"滋賀県","大津市","絹本著色紫式部像 伝狩野孝信筆","けんぽんちゃくしょくむらさきしきぶぞう　でんかのうたかのぶひつ","","","市指定有形文化財","美術工芸品","","大津市石山寺1丁目","",null,null,"","",1,"幅","","石山寺","2008-04-01 00:00:00","","","","","","","","","近年まで、石山寺源氏の間に掛けられていた紫式部の画像。画像の痛みが激しく、過去に何度も修理が行われ、補絹（絵が描かれている絹の欠けた部分を、新たな絹で補う）や補彩（色の落ちた部分に色を補う）の部分が多いが、慶長の石山寺復興に合わせて、徳川氏や朝廷の御用絵師として活躍した狩野孝信が絵を描き、寛永の三筆の一人として知られる近衛信尹が賛を加えたと伝えられる、由緒正しい紫式部像である。","","https://www.rekihaku.otsu.shiga.jp/db/bunka/detail.html?612",""], [465,252018,465,"滋賀県","大津市","木造如意輪観音半跏像","もくぞうにょいりんかんのんはんかぞう","","","重要文化財","美術工芸品","","大津市石山寺1丁目","",null,null,"","",1,"躯","","石山寺","1900-04-07 00:00:00","","","","","","","","","石山寺の本尊として安置される丈六像。奈良時代の天平宝字6年（762）に造立された塑像が承暦2年（1708）に焼失した後、木彫によって再興されたものとみられる。作者は定かでないが、京都で活躍した当時有数の仏師の手になろう。六臂で右膝を立てて坐す通常の如意輪観音像と異なり、二臂で岩上の蓮華に坐し、左脚を下げる像容である。だし奈良時代にはたんに観音とされていたものが、平安時代に当寺が真言密教寺院となる過程で、如意輪観音として礼拝されたと考えられる。","","https://kunishitei.bunka.go.jp/heritage/detail/201/3569",""], [466,252018,466,"滋賀県","大津市","木造毘沙門天立像","もくぞうびしゃもんてんりゅうぞう","","","重要文化財","美術工芸品","","大津市石山寺1丁目","",null,null,"","",1,"躯","","石山寺","1900-04-07 00:00:00","","","","","","","","","毘沙門堂の本尊として安置される。地天女の掌上に立ち、二躯の鬼形（尼藍婆・毘藍婆）を足下に配する。いわゆる兜跋毘沙門と呼ばれる姿で、京都・東寺の唐朝将来の像が我が国における兜跋毘沙門天の本歌と考えられるが、それとは甲冑の形式などを異にする。本体の幹部はもとより、地天女・尼藍婆・毘藍婆まで含めて一材から彫成し、内刳しない。平安時代も前期にさかのぼる彫像であろう。","","https://kunishitei.bunka.go.jp/heritage/detail/201/3570",""], [467,252018,467,"滋賀県","大津市","木造不動明王坐像","もくぞうふどうみょうおうざぞう","","","重要文化財","美術工芸品","","大津市石山寺1丁目","",null,null,"","",1,"躯","","石山寺","1900-04-07 00:00:00","","","","","","","","","かつては存在したであろう護摩堂の本尊と思われるが、現在は本堂の右脇間に安置されている。くしけずった髪をあらわし（総髪）、眼を見ひらいて、上歯で下唇を噛むいわゆる大師様の不動像。目鼻だちは大ぶりで、肉づけも豊かであり、豪快な気風に富む。ただし衣のひだは数を減じ、意匠化されたかたちをみせるところから、10世紀も後半の制作かと推定される。檜材を用いた一木造の構造。","","https://kunishitei.bunka.go.jp/heritage/detail/201/3571",""], [468,252018,468,"滋賀県","大津市","金銅観世音菩薩立像","こんどうかんぜおんぼさつりゅうぞう","","","重要文化財","美術工芸品","","大津市石山寺1丁目","",null,null,"","",1,"躯","","石山寺","1904-02-18 00:00:00","","","","","","","","","両手先と頭部とを欠失する痛々しい姿ながら、体部の造形は健全である。台座の蓮肉部まで含めて一鋳する銅造鍍金の像。中型の土を残しているため、かなり重量がある。両肩の垂髪に宝珠形の飾りをつけ、また腹部や腰のベルトにもたくさんの円花形の飾りをつける華やかな姿である。写真ではわかりにくいが、裳の縁にも陰刻による文様があらわされ、腹部の大型の花飾りには別製の瓔珞のついていた痕跡があるなど、原容はさらに華麗なものであった。","","https://kunishitei.bunka.go.jp/heritage/detail/201/3572",""], [469,252018,469,"滋賀県","大津市","銅造釈迦如来坐像","どうぞうしゃかにょらいざぞう","","","重要文化財","美術工芸品","","大津市石山寺1丁目","",null,null,"","",1,"躯","","石山寺","1904-02-18 00:00:00","","","","","","","","","像高にして14cm余の小像だが、おおらかな気分に満ち、写真だと大きくみえる。頭部を除いて中型土をきれいに除去し、鋳あがりもよく、鋳造技法は手慣れたものである。像底には十文字形の橋状の桟があり、その中央に枘穴があることから、あるいは蓮茎のようなものに連続していたかもしれない。衣の縁には金象嵌による毛彫状の唐草文様が認められる。奈良時代も前期、いわゆる白鳳時代の末頃の作か。","","https://kunishitei.bunka.go.jp/heritage/detail/201/3573",""], [470,252018,470,"滋賀県","大津市","木造大日如来坐像(伝元多宝塔本尊)","もくぞうだいにちにょらいざぞう（でんもとたほうとうほんぞん）","","","重要文化財","美術工芸品","","大津市石山寺1丁目","",null,null,"","",1,"躯","","石山寺","1904-02-18 00:00:00","","","","","","","","","多宝塔の旧本尊と伝える。像の幹部は両手の臂までふくめて一材から造り、背中に長方形の窓をあけて内刳し、蓋板をはめる。表面には木屎漆による盛り上げが認められ、とくに手の甲には分厚く残る。高い宝髻、森厳な表情をみせる角張った顔、奥行の深い体躯、鎬だった翻波式衣文などに、平安時代前期彫刻の特徴をみる。制作期は9世紀にさかのぼるだろう。なおアメリカ・ホノルル美術館に作風のよく似た大日如来像があり、その関連に興味がもたれる。","","https://kunishitei.bunka.go.jp/heritage/detail/201/3574",""], [471,252018,471,"滋賀県","大津市","木造維摩居士坐像","もくぞうゆいまこじざぞう","","","重要文化財","美術工芸品","","大津市石山寺1丁目","",null,null,"","",1,"躯","","石山寺","1904-02-18 00:00:00","","","","","","","","","脇息を含めて全体を檜の一材から丸彫する。現在、像底から内刳がなされて蓋板をはめていた痕跡もあるが、これについては後世の所為の疑いもある。深く、融通自在に刻まれた衣文に卓越した鑿の運びが感じられる。いわゆる檀像彫刻の系譜に属するともみられるが、素地ではなく彩色によって仕上げていたことが判明する。像高50cm余の像だが、これほどの豊かな彫刻性を有する作品は少ない。9世紀の作。","","https://kunishitei.bunka.go.jp/heritage/detail/201/3575",""], [472,252018,472,"滋賀県","大津市","木造持国天立像\n　　　増長天立像\n　　　毘沙門天立像","もくぞうじこくてんりゅうぞう\n　　　　ぞうちょうてんりゅうぞう\n　　　　びしゃもんてんりゅうぞう","","","重要文化財","美術工芸品","","大津市石山寺1丁目","",null,null,"","",3,"躯","","石山寺","1910-08-29 00:00:00","","","","","","","","","文化財指定は三躯を一括しているが、持国天・増長天の二天のみ一具で、毘沙門天は本来別のものである。二天像は幹部を四材から造る寄木造の像で、彩色は行わず、素地の上に截金文様をあらわす。武装して威嚇の姿勢はしめすものの、表情も憤怒相ながら節度のあるものとなっている。12世紀中頃の都風の作例である。毘沙門天像は瀬田にあった毘沙門堂から移されたといわれ、半丈六立像の巨像である。太造りで重厚な表情をみせ、おそらく11世紀までさかのぼるものであろう。","","https://kunishitei.bunka.go.jp/heritage/detail/201/3576",""], [473,252018,473,"滋賀県","大津市","木造如意輪観音半跏像","もくぞうにょいりんかんのんはんかぞう","","","重要文化財","美術工芸品","","大津市石山寺1丁目","",null,null,"","",1,"躯","","石山寺","1955-06-22 00:00:00","","","","","","","","","当寺本尊像のお前立ちとして安置されていた。両手の臂から先のみ別材（近年の新補）で、他は岩座までふくめて一材から彫成している。二臂で左脚を踏み下げ、岩座上に坐すなど、形制は焼失した旧本尊のそれを踏襲しているとみられる。筒形の宝冠や切れ長の目、肉取りのたっぷりとした頬のかたちなどに、10世紀頃の密教像らしい作風をみることができ、したがって制作期は現本尊像をさかのぼる。","","https://kunishitei.bunka.go.jp/heritage/detail/201/4695",""], [474,252018,474,"滋賀県","大津市","塑造淳祐内供坐像(御影堂安置)","そぞうしゅんゆうないくざぞう（みえどうあんち）","","","重要文化財","美術工芸品","","大津市石山寺1丁目","",null,null,"","",1,"躯","","石山寺","1955-06-22 00:00:00","","","","","","","","","御影堂に良弁・空海像とともに安置される。淳祐は平安時代前期の学僧で、当寺の普賢院に入り著述を事としたといい、石山寺が真言寺院として成長するのに貢献した。台座裏に墨書銘があり、座主守快のときの応永5年（1398）に開眼供養されたことが判明するほか、像内には明徳4年（1393）銘の経木や同3年銘のある地蔵印仏などが納められていた。制作年の明らかな中世塑像として、貴重な作品である。","","https://kunishitei.bunka.go.jp/heritage/detail/201/4696",""], [475,252018,475,"滋賀県","大津市","木造大日如来坐像(多宝塔安置)","もくぞうだいにちにょらいざぞう（たほうとうあんち）","","","重要文化財","美術工芸品","","大津市石山寺1丁目","",null,null,"","",1,"躯","","石山寺","1999-06-07 00:00:00","","","","","","","","","多宝塔の本尊。智拳印を結ぶ金剛界の大日如来像で、像内は深く内刳を行い、体部には黒漆を塗布している。像内頭部に墨書があり、造立にたずさわった快慶工房の仏師、その他の人名が確認される。快慶が僧綱位を名のらないことや、多宝塔の建立が建久5年（1194）頃と考えられることから、およその制作期がわかる。像表面には江戸時代の修理の手が加わるものの、なお快慶独特の理知的な面貌や的確な肉体把握が認められる。","","https://kunishitei.bunka.go.jp/heritage/detail/201/10358",""], [476,252018,476,"滋賀県","大津市","塑造金剛蔵王立像心木","そぞうこんごうざおうりゅうぞうしんぎ","","","重要文化財","美術工芸品","","大津市石山寺1丁目","",null,null,"","",1,"躯","","石山寺","2004-06-08 00:00:00","","","","","","","","","石山寺本堂厨子内本尊如意輪観音像の右脇侍として安置されていた、塑造蔵王権現立像の心木。最近の修理によって江戸時代の塑造部分が取り除かれ、心木の全体が明らかとなった。頭部、体部、脚部のおおよその形をあらわし、左手を側面にやや広げ、右手は屈臂して上げて拳を作り、右足を上げる。但し、台座に右足枘を入れる枘穴が開けられているところから、当初は両足とも地につけていたとも考えられる。本像は正倉院文書により、天平宝字５年（761）１１月１７日に造立が始まり、翌年８月１２日に彩色が完了したことがわかる。","","https://kunishitei.bunka.go.jp/heritage/detail/201/00010645",""], [477,252018,477,"滋賀県","大津市","木造阿弥陀如来坐像","もくぞうあみだにょらいざぞう","","","県指定有形文化財","美術工芸品","","大津市石山寺1丁目","",null,null,"","",1,"躯","","石山寺","2004-04-16 00:00:00","","","","","","","","","衲衣を偏袒右肩に着け、腹前で定印を結んで結跏趺坐する阿弥陀如来像。頭体を通して主要部を一材で彫成し、内刳りはない。頭部の肉髻と地髪の境を明瞭にせず、髪際線が顔にかぶさるところに特徴がある。平安彫刻が和様化に向かう過渡期の１０世紀末頃の造像と考えられ、県内における木造阿弥陀如来坐像の最も古い遺言例の一つと言える。なお、本像は明治の神仏分離の際に、国分二丁目の近津尾神社から石山寺に移されたと言われている。","","https://www.rekihaku.otsu.shiga.jp/db/bunka/detail.html?529",""], [478,252018,478,"滋賀県","大津市","梵鐘","ぼんしょう","","","重要文化財","美術工芸品","","大津市石山寺1丁目","",null,null,"","",1,"口","","石山寺","1957-02-19 00:00:00","","","","","","","","","鐘楼に釣られている平安時代の梵鐘。鐘身は肩のややすぼまった形で、乳の間の四区には、それぞれ四段七列の乳を配し、乳は半球状の頭部と頸部からなる。撞座の位置は高く、梵鐘の口径に対しては小さい。撞座は竜頭と直交する位置にあり、八葉蓮華文を鋳出しているが、四弁を十字形に配し、その間から残りの四弁をのぞかせる形となっている。竜頭は厚肉で、竜角・火焔などは鋳透かして技巧的な形をしている。","","https://kunishitei.bunka.go.jp/heritage/detail/201/5714",""], [479,252018,479,"滋賀県","大津市","延暦交替式","えんりゃくこうたいしき","","","国宝","美術工芸品","","大津市石山寺１丁目","",null,null,"","",1,"巻","","石山寺","1897-12-28","","","","","","","","","『延暦交替式』は、延暦22年（803）2月25日付で、勘解由使長官菅野真道などにより選定・奉上された。内容は、和銅元年（708）から延暦22年までの国司の交替に関する詔勅・官符・官奏などを、全四十一条にまとめたものである。本書は、『延暦交替式』の最古の写本で、貞観年間（859〜877）頃に写されたと考えられている。紙背には、唐の知廣の撰になる『南天竺般若悉曇十八章』が書写されている。","","https://kunishitei.bunka.go.jp/heritage/detail/201/681",""], [480,252018,480,"滋賀県","大津市","越中国官倉納穀交替記残巻","えっちゅうのくにかんそうのうこくこうたいきざんかん","","","国宝","美術工芸品","","大津市石山寺１丁目","",null,null,"","",1,"巻","","石山寺","1897-12-28","","","","","","","","","越中国礪波郡内の川上村・意斐村（現富山県小矢部市）と他の一カ村（三カ村との説もある）の、正倉に収納した稲穀や潁稲の記録。記載されている年記は、天平勝宝3年（751）から延喜10年（901）に至っており、8世紀から10世紀にかけての律令制下の地方財政を研究する上での貴重な史料である。字面全体に「越中国印」が二八二顆押されている正文で、紙背の『伝三昧耶戒私記』は平安時代中期の書写になる。","","https://kunishitei.bunka.go.jp/heritage/detail/201/793",""], [481,252018,481,"滋賀県","大津市","玉篇巻第廿七","ぎょくへんかんだいにじゅうしち","","","国宝","美術工芸品","","大津市石山寺1丁目","",null,null,"","",1,"巻","","石山寺","1900-04-07 00:00:00","","","","","","","","","『玉篇』は中国・梁の顧野王が大同9年（543）に編纂した、全三十巻からなる漢字の部首引の字書である。中国では、後に増補・改訂がなされたため原形が失われたが、日本には何種類かの古写本が伝わっている。石山寺本は巻第二十七の後半部分で、元一具であった前半部分は高山寺に国宝として伝わっている。見出しの漢字を大きくとり、その下に二行割の細字で注を加えている。紙背には、延長6年（928）の年紀がある『如意輪陀羅尼経』が書写されている。","","https://kunishitei.bunka.go.jp/heritage/detail/201/617",""], [482,252018,482,"滋賀県","大津市","周防国玖珂郡玖珂郷延喜八年戸籍残巻","すおうのくにくがぐんくがごうえんぎはちねんこせきざんかん","","","国宝","美術工芸品","","大津市石山寺1丁目","",null,null,"","",1,"巻","","石山寺","1900-04-07 00:00:00","","","","","","","","","紙継目裏に「周防国玖珂郡玖珂郷延喜八年戸籍公文」の墨書があり、現在の山口県岩国市玖珂町付近の延喜8年（908）の戸籍の一部である。久米直阿古人丸戸以下の14戸について、各戸毎に前回戸籍以後の戸口の増減、戸主以下の人名・年齢・年齢区分を記し、最後に集計しているが、課役を逃れるため女性の数が多くなっている。字面には「周防国印」と思われる朱印が押され、紙背には平安時代中頃の『金剛界入曼荼羅受三昧耶戒行儀』が書写されている。","","https://kunishitei.bunka.go.jp/heritage/detail/201/794",""], [483,252018,483,"滋賀県","大津市","漢書　高帝紀下、列伝第四残巻","かんじょ　こうていきげ、れつでんだいよんざんかん","","","国宝","美術工芸品","","大津市石山寺1丁目","",null,null,"","",2,"巻","","石山寺","1900-04-07 00:00:00","","","","","","","","","『漢書』は『史記』に次いで編纂された中国の歴史書で、後漢の班彪と子の班固その妹の班昭の作とされ、前漢の高祖から12代平帝までの229年間の歴史を記す。本書は、中国・唐の儒学者顔師古が注釈を加えた「高帝紀」下の一部と「列伝」第四の一部からなる奈良時代の古写本で、「高帝紀」下には、10世紀中頃の角筆による仮名・ヲコト点などの注がほどこされている。紙背には、石山寺の三代座主淳祐内供の弟子元杲の著作になる『金剛界念誦私記』が書写されている。","","https://kunishitei.bunka.go.jp/heritage/detail/201/708",""], [484,252018,484,"滋賀県","大津市","史記巻第九十六、九十七残巻","しきかんだいきゅうじゅうろく、きゅうじゅうしちざんかん","","","国宝","美術工芸品","","大津市石山寺1丁目","",null,null,"","",1,"巻","","石山寺","1900-04-07 00:00:00","","","","","","","","","『史記』は前漢の歴史学者司馬遷が、黄帝から漢の武帝にいたるまでの歴史を、本紀・表・書・世家・列伝に分けて、全百三十巻にまとめた歴史書である。本書は、この内の第九十六巻「張丞相列伝」の途中から、第九十七巻の「酈生・陸賈列伝」の最後までをおさめている。奈良時代の書写と考えられる現存最古の写本の一つで、紙背には平安時代後期の『金剛界次第』が書写されている。","","https://kunishitei.bunka.go.jp/heritage/detail/201/757",""], [485,252018,485,"滋賀県","大津市","仏説浄業障経","ぶっせつじょうごうしょうきょう","","","重要文化財","美術工芸品","","大津市石山寺1丁目","",null,null,"","",1,"巻","","石山寺","1900-04-07 00:00:00","","","","","","","","","『仏説浄業障経』は大般若経六百巻の内の一巻。奈良時代後期の特徴であるやや肉太の書風になり、奥書に天平神護2年（766）吉備由利が天朝のために書写したことを記す。吉備由利は吉備真備の縁者で称徳天皇の信任が厚く、由利の書写になる願経は、西大寺・前田育徳会などにも伝えられている。紙継目に「西大寺印」の朱方印が一紙おきに押されているところから、当初は西大寺にあったことがわかる。","","https://kunishitei.bunka.go.jp/heritage/detail/201/7684",""], [486,252018,486,"滋賀県","大津市","紙本墨書説一切有部倶舎論　仙釈筆","しほんぼくしょせついっさいゆうぶくしゃろん","","","重要文化財","美術工芸品","","大津市石山寺1丁目","",null,null,"","",1,"巻","","石山寺","1900-04-07 00:00:00","","","","","","","","","中国・唐の玄奘によって訳された倶舎宗の根本経典『説一切有部倶舎論』三十巻の内の巻廿一。本文は筆線の強い張りのある書体を示し、巻末に天平勝宝4年（752）奈良薬師寺の僧仙釈が書写した倶舎論三十巻の内の一巻であることを記す。同寺蔵の一切経の附の中にある巻第四や、唐招堤寺蔵の巻廿八は、本経と元は一具であったと考えられる。","","https://kunishitei.bunka.go.jp/heritage/detail/201/7685",""], [487,252018,487,"滋賀県","大津市","紙本墨書行歴抄　円珍記","しほんぼくしょぎょうれきしょう　えんちんき","","","重要文化財","美術工芸品","","大津市石山寺1丁目","",null,null,"","",1,"巻","","石山寺","1903-04-15 00:00:00","","","","","","","","","円珍が入唐中に自ら記した巡礼記である『行歴記』の主要部分を抄出したもの。『行歴記』を見ることができない今日にあって、本書は円珍の唐での事跡を知る上で、智証大師関係文書とならんで貴重な資料である。奥書には、永承4年（1409）の園城寺の僧頼覚による書写交合にはじまる以後の伝来の経過が記されている。諸本を校合した最古の写本で、筆跡から鎌倉時代初期の石山寺の僧朗澄の書写になるとされる。","","https://kunishitei.bunka.go.jp/heritage/detail/201/9314",""], [488,252018,488,"滋賀県","大津市","紙本墨書建久年中検田帳","しほんぼくしょけんきゅうねんちゅうけんでんちょう","","","重要文化財","美術工芸品","","大津市石山寺1丁目","",null,null,"","",2,"巻","","石山寺","1905-04-04 00:00:00","","","","","","","","","建久8年（1197）の石山寺領に関する土地台帳で、『石山寺領坪付帳』と『石山寺領田畠帳』の二巻からなる。『坪付帳』には一通の、『田畠帳』には四通の文書が書写され、寺辺と南郷に所在した石山寺領の全貌を知ることができる。それによると、田数は八二町六段余、畠数は二三町七段余で、土地所有と経営の単位となる「名」の数は、170を数えることができる。書写はすべて同筆で、年預上座大法師以下五名が差出者となっている。","","https://kunishitei.bunka.go.jp/heritage/detail/201/9315",""], [489,252018,489,"滋賀県","大津市","叡山大師伝","えいざんだいしでん","","","重要文化財","美術工芸品","","大津市石山寺1丁目","",null,null,"","",1,"巻","","石山寺","1953-03-31 00:00:00","","","","","","","","","比叡山延暦寺の開祖である伝教大師最澄の伝記。最澄の出生から、その修行と入唐、天台宗の開創、大乗戒壇の勅許など一生涯の主要な出来事を、最澄の願文や上書、天皇からの詔書・勅書や朝廷の官符などを引用しながら綴っている。撰者は「釈一乗忠」で、最澄の高弟仁忠と考えられる。『叡山大師伝』は、数ある最澄の伝記の中で最も早く作られまた詳しいもので、原本が伝わらないなかにあって、石山寺本はその最古の写本である。","","https://kunishitei.bunka.go.jp/heritage/detail/201/8214",""], [490,252018,490,"滋賀県","大津市","法花玄賛義決","ほっけげんさんぎけつ","","","重要文化財","美術工芸品","","大津市石山寺1丁目","",null,null,"","",1,"巻","","石山寺","1953-03-31 00:00:00","","","","","","","","","唐僧窺基の撰になる『法花玄賛』十巻を弟子の慧沼が注釈した書で、三乗教の立場にたって一乗経を批判したもの。首題・内題及び本文の一部を欠いている。前半と後半で書き方が異なり、後半は字形がやや細くなり、一行の字数も増えている。書体も楷書・行書に加えて草書を含むという珍しいもの。弘仁十年（819）六月五日書写の奥書があり、『法花玄賛義決』の写本としては、現存最古のものである。","","https://kunishitei.bunka.go.jp/heritage/detail/201/8215",""], [491,252018,491,"滋賀県","大津市","不空三蔵表制集巻第三","ふくうさんぞうひょうせいしゅうかんだいさん","","","重要文化財","美術工芸品","","大津市石山寺1丁目","",null,null,"","",1,"巻","","石山寺","1953-03-31 00:00:00","","","","","","","","","中国・唐の玄宗以下三代の皇帝の信任を得、数多くの密教経典を漢訳したことで知られる不空の、皇帝への上表文など144首を集めたもの。弟子の円照の編纂で、全六巻からなる。石山寺蔵の巻第三は全巻一筆になり、誤字を擦消して重ね書きした部分も同一の筆跡になる。奥書はないが、平安時代初期の書写と考えられている。元は一具であった一・二・四・六が重要文化財の指定をうけ、国や五島美術館などの所蔵となっている。","","https://kunishitei.bunka.go.jp/heritage/detail/201/8216",""], [492,252018,492,"滋賀県","大津市","大般若経音義中巻","だいはんにゃきょうおんぎちゅうかん","","","重要文化財","美術工芸品","","大津市石山寺1丁目","",null,null,"","",1,"巻","","石山寺","1953-03-31 00:00:00","","","","","","","","","大般若経六百巻の内から巻数毎に難字や難語をぬきだし、その意味を注釈したもの。伝わっているのは中巻のみであるが、元は上中下の三巻からなっていたと考えられる。本巻の巻首は失われているが、第四十八巻の途中から第三百八十巻までについて、最初に見出の漢字を書き、その下に注を二行割で記す。撰者としては、奈良時代末から平安時代初期の法相宗の僧、元興寺信行という説が有力である。","","https://kunishitei.bunka.go.jp/heritage/detail/201/8217",""], [493,252018,493,"滋賀県","大津市","春秋経伝集解巻第廿六残巻","しゅんじゅうけいでんしっかいかんだいにじゅうろくざんかん","","","国宝","美術工芸品","","大津市石山寺1丁目","",null,null,"","",1,"巻","","石山寺","1900-04-07 00:00:00","","","","","","","","","孔子の著になり中国の魯を中心に列国の変遷を記した『春秋』に、左丘明が注を加えたのが『春秋左氏伝』で、『春秋経伝集解』はこれに中国・晋の杜預がさらに注を加えたものである。全部で三十巻からなるが、石山寺には第廿六の残巻と第廿九の残巻が伝えられている。本文の筆跡・料紙・書式は異なっているが、ともに平安時代初期の写しである。第廿六残巻の紙背には『四分戒本』が、第廿九残巻の紙背には『不動明王立印儀軌修法次第』が写されており、ともに平安時代中期の書写になる。","","https://kunishitei.bunka.go.jp/heritage/detail/201/697",""], [494,252018,494,"滋賀県","大津市","春秋経伝集解巻第廿九残巻","しゅんじゅうけいでんしっかいかんだいにじゅうくざんかん","","","国宝","美術工芸品","","大津市石山寺1丁目","",null,null,"","",1,"巻","","石山寺","1900-04-07 00:00:00","","","","","","","","","孔子の著になり中国の魯を中心に列国の変遷を記した『春秋』に、左丘明が注を加えたのが『春秋左氏伝』で、『春秋経伝集解』はこれに中国・晋の杜預がさらに注を加えたものである。全部で三十巻からなるが、石山寺には第廿六の残巻と第廿九の残巻が伝えられている。本文の筆跡・料紙・書式は異なっているが、ともに平安時代初期の写しである。第廿六残巻の紙背には『四分戒本』が、第廿九残巻の紙背には『不動明王立印儀軌修法次第』が写されており、ともに平安時代中期の書写になる。","","https://kunishitei.bunka.go.jp/heritage/detail/201/698",""], [495,252018,495,"滋賀県","大津市","釈摩訶衍論","しゃくまかえんろん","","","国宝","美術工芸品","","大津市石山寺1丁目","",null,null,"","",5,"帖","","石山寺","1953-11-14 00:00:00","","","","","","","","","『大乗起信論』の注釈書で竜樹の著とされる『釈摩訶衍論』全十巻は、真言宗では根本経典の一つとして重要視された。石山寺本は、十巻の内の巻第一から巻第五までの五帖からなる。通常の写経に比べて界幅が狭く細字の書写になり、中国・唐代写経の代表的遺品である。巻第一の首題下部分には、唐の則天武后が定めた則天文字が使用されている。","","https://kunishitei.bunka.go.jp/heritage/detail/201/753",""], [496,252018,496,"滋賀県","大津市","十誦律巻第五十二","じゅうじゅりつかんだいごじゅうに","","","重要文化財","美術工芸品","","大津市石山寺1丁目","",null,null,"","",1,"巻","","石山寺","1953-11-14 00:00:00","","","","","","","","","神護景雲2年（768）5月13日に称徳天皇（孝謙天皇重祚）が、「先聖」を敬うために発願した一切経の中の一巻。『十誦律』は、中国・後秦の弗若多羅・鳩摩羅什の共訳になる小乗律部の経典で、全部で六十一巻からなる。本巻は、巻首二行が院政期の補写になるが、奈良時代後期の特色である肉太の書体で、奥書には称徳天皇の願文が書写されている。石山寺には、他に一切経の中に称徳天皇願経が四巻残されている。","","https://kunishitei.bunka.go.jp/heritage/detail/201/8247",""], [497,252018,497,"滋賀県","大津市","本朝文粋零本","ほんちょうもんずいれいほん","","","重要文化財","美術工芸品","","大津市石山寺1丁目","",null,null,"","",1,"巻","","石山寺","1953-11-14 00:00:00","","","","","","","","","『本朝文粋』は中国の『唐文粋』から書名をとり、構成は『文選』にならい、平安時代中期藤原明衡によって編纂された漢詩集で、流布本は全十四巻に400余の漢詩を三十八篇目に分ける。石山寺本は巻第五と巻第七の一部にあたるが、流布本と構成が異なり、他の本に見られない内容も含まれているところから、『本朝文粋』の異本として注目されている。紙背には、貞応元年（1222）深賢の記になる『宗義問答』が書写されている。","","https://kunishitei.bunka.go.jp/heritage/detail/201/8249",""], [498,252018,498,"滋賀県","大津市","法華義疏（内四巻点本）","ほっけぎしょ（うちよんかんてんほん）","","","重要文化財","美術工芸品","","大津市石山寺1丁目","",null,null,"","",7,"巻","","石山寺","1953-11-14 00:00:00","","","","","","","","","『法華義疏』は中国・隋の吉蔵の撰になり、三論宗の立場から『妙法蓮華経』を注釈したもの。流布本が十二巻であるのに対し、内容はほぼ同じであるが石山寺本は十三巻で、その内の七巻が伝わる。平安時代初期の書写になる現存最古の写本で、平安時代中期の白点、それに続く時代の褐色の句切点、奥書に記される長保4年（1002）の朱点などの訓点が加えられている。これらにより、薬師寺を経て石山寺に納められたことがわかる。","","https://kunishitei.bunka.go.jp/heritage/detail/201/8250",""], [499,252018,499,"滋賀県","大津市","倶舎論記\n倶舎論疏\n倶舎論頌疏","くしゃろんき\nくしゃろんそ\nくしゃろんじゅそ","","","重要文化財","美術工芸品","","大津市石山寺1丁目","",null,null,"","",57,"巻","","石山寺","1953-11-14 00:00:00","","","","","","","","","『倶舎論』の注釈書である『倶舎論記』三十巻は中国・唐の玄奘の弟子普光が、『倶舎論疏』三十巻は同じく法宝の撰になり、中唐の円暉の撰になる『倶舎論頌疏』二十九巻は『倶舎論』中の偈頌の注釈書である。院政期の書写になる『論疏』は全三十巻が、『論記』は二十一巻と断巻一巻の二十二巻が、『頌疏』は五巻が石山寺に伝わる。多くの奥書から、書写・加点・校合の状況が知られ、加点は東大寺東南院第十代院主覚樹の手になり、平安時代後期（12世紀中頃）までには石山寺に納められていた。","","https://kunishitei.bunka.go.jp/heritage/detail/201/8244",""], [500,252018,500,"滋賀県","大津市","石山寺一切経","いしやまでらいっさいきょう","","","重要文化財","美術工芸品","","大津市石山寺1丁目","",null,null,"","",4644,"帖","","石山寺","1953-11-14 00:00:00","","","","","","","","","石山寺一切経は、奈良時代から室町時代までの写経を中心に一部版経からなる。写経は約3分の2が平安時代から院政期のもので、久安4年（1148）念西の発願になり、それ以前の写経も念西の収集になる。版経は鎌倉時代の春日版を中心に、高麗版や南北朝時代のものも含まれている。附指定の中にも奈良時代の光明皇后願経や平安時代初期の写経が含まれ、一切経としての質の高さは勿論、経に打たれた白点・朱点・角筆点は、国語資料としても貴重である。","","https://kunishitei.bunka.go.jp/heritage/detail/201/8248",""], [501,252018,501,"滋賀県","大津市","淳祐内供筆聖教(薫聖教)","しゅんゆうないくひつしょうぎょう（においのしょうぎょう）","","","国宝","美術工芸品","","大津市石山寺1丁目","",null,null,"","",null,"","","石山寺","1959-06-27 00:00:00","","","","","","","","","石山寺第三代座主で、悉曇学者として知られる淳祐の自筆になる聖教類。淳祐は菅原道真の孫にあたり、延喜21年（921）醍醐天皇の命により大師号と法衣を奉じた師の観賢に従って、高野山奥院の弘法大師の御廟に赴いた。その時、入定のままの大師の膝に触れたところその香気が手に移り、その手で書写したこの聖教類にも香気が残ったところから「薫聖教」と呼ばれ、石山寺でも座主以外は見ることが許されていなかった。","","https://kunishitei.bunka.go.jp/heritage/detail/201/756",""], [502,252018,502,"滋賀県","大津市","智証大師伝","ちしょうだいしでん","","","重要文化財","美術工芸品","","大津市石山寺1丁目","",null,null,"","",1,"巻","","石山寺","1965-05-29 00:00:00","","","","","","","","","平安時代初期の漢学者として知られた三善清行の撰になる智証大師円珍の伝記。家系・誕生から出家、入唐求法、帰朝後の伝法活動から示寂までを編年に記す。但し、本書では清行撰定を示す部分を書かず、延喜2年（902）11月11日円珍の弟子9名によって著されたような形をとっている。奥書によれば、嘉承3年（1018）4月21日願澄が小田原（南山城小田原山寺）で「吉祥房本」を書写したとあり、『智証大師伝』の写本としては最古のものである。","","https://kunishitei.bunka.go.jp/heritage/detail/201/8699",""], [503,252018,503,"滋賀県","大津市","石山寺校倉聖教","いしやまでらあぜくらしょうぎょう","","","重要文化財","美術工芸品","","大津市石山寺1丁目","",null,null,"","",1925,"点","","石山寺","1993-06-10 00:00:00","","","","","","","","","石山寺に伝来した聖教の中で、一切経とともに最も重要とされたのが、この校倉聖教である。石山寺の学僧文泉坊朗澄とその師慶雅などの書写や所持本が多く、紙背に康保3年（966）頃と推定される仮名の書状のある『虚空蔵念誦次第』や、版本で年紀の明らかなものとしては百万塔陀羅尼に次いで古い『仏説六字神呪王像』などが含まれている。真言宗系寺院の聖教遺品としては国内屈指で、そこに打たれた訓点は国語学上でも貴重である。","","https://kunishitei.bunka.go.jp/heritage/detail/201/8961",""], [504,252018,504,"滋賀県","大津市","袈裟襷文銅鐸","けさだすきもんどうたく","","","重要文化財","美術工芸品","","大津市石山寺1丁目","",null,null,"","",1,"口","","石山寺","1959-12-18 00:00:00","","","","","","","","","『石山寺縁起』が語る石山寺創建の際発見されたものと伝えられていたが、尊賢僧正の箱書の如く、実際は文化3年（1086）5月に石山寺の西南約1kmの、俗称一老坊・鐘撞田の水田からの出土と判明した。銅鐸は突線鈕四式近畿ⅢＣ型に分類され、小判形の鈕に大形の双頭渦巻飾耳を三個つけ、鐸身は反りが少なく三条突線の斜格子帯で六区画に分ける袈裟襷文である。「見る銅鐸」といわれているように、大柄ではあるが薄手で均整のとれた形態を呈する。","","https://kunishitei.bunka.go.jp/heritage/detail/201/9811",""], [505,252018,505,"滋賀県","大津市","石山寺知足庵コレクション","いしやまでらちそくあんこれくしょん","","","市指定有形文化財","美術工芸品","","大津市石山寺1丁目","",null,null,"","",null,"","","石山寺","2002-03-15 00:00:00","","","","","","","","","石山寺に居住した尊賢僧正（号、知足庵）が、寛政９年（1797）から１１年にかけて収集した古瓦と、その拓本をまとめた『古瓦譜』からなる。『古瓦譜』には拓本の余白に石山寺・園城寺・近江国分寺・滋賀旧都などの出土場所と、簡潔な来歴が注記される。『古瓦譜』の拓本と瓦が一致するものは２６点を数えるが、拓本の一部に加工の跡や複数の筆跡が認められ、内容についての検討は必要であろう。しかし、木内石亭や松平定信との交流もあった尊賢僧正の手になるこのコレクションは、日本の考古学史上に足跡を残す貴重な資料といえる。","","https://www.rekihaku.otsu.shiga.jp/db/bunka/detail.html?549",""], [506,252018,506,"滋賀県","大津市","西国三十三所巡礼札","さいごくさんじゅうさんしょじゅんれいふだ","","","県指定有形文化財","美術工芸品","","大津市石山寺1丁目","",null,null,"","",9,"枚","","石山寺","1991-03-30 00:00:00","","","","","","","","","西国三十三所観音霊場の第十三番札所石山寺へ、順礼者が納めた札。木（四枚）や銅板（五枚）に、生国・氏名・年月日・願文などを墨書・刻銘であらわし、順礼者の出身地には、武蔵・甲斐・尾張・紀伊・河内・播磨・越後・近江の名が見える。年記は永正3年（1056）を最古とする。大きさが最大のものは高さ46.8cm、幅13.0cm、厚さ4.1cmを測り、厚板に黒漆を塗り金箔を押すなど工芸的にも優れており、弥勒2年（永正四年）という私年号が記されている点も興味深い。","","https://www.rekihaku.otsu.shiga.jp/db/bunka/detail.html?399",""], [507,252018,507,"滋賀県","大津市","石山寺硅灰石","いしやまでらけいかいせき","","","国指定天然記念物","","","大津市石山寺1-1-1","",135.9056425,34.96044997,"","",null,"","","石山寺","1922-03-08 00:00:00","","","","","","","","","石灰岩が花崗岩による熱変成作用をうけると多くの場合大理石となるが、一部に硅灰石となるものがある。石山寺の本堂横の中庭正面に、大理石と硅灰石とでできた岩のかたまりがあるが、この中に見られる5mmから20mmくらいの束状の結晶が硅灰石である。境内いたるところに露出しているところから石山寺の名の由来となり、本堂厨子内の本尊如意輪観音像も、この硅灰石上に鎮座している。","","https://kunishitei.bunka.go.jp/heritage/detail/401/1558",""], [508,252018,508,"滋賀県","大津市","木造如意輪観音半跏像","もくぞうにょいりんかんのんはんかぞう","","","県指定有形文化財","美術工芸品","","大津市石山寺1丁目","",null,null,"","",1,"躯","","法輪院","2003-04-16 00:00:00","","","","","","","","","石山寺塔頭法輪院持仏堂の本尊。二臂で左足を踏み下げる木造如意輪観音半跏像。右手に蓮華を執り左手は垂下して膝上で掌を仰ぎ、右足を折り曲げて半跏とし、左足を踏み下げて岩座の上に坐す姿は、石山寺本堂内陣に安置される本尊（重要文化財）と同様である。檜材で頭部は一材を前後に割り矧ぎ、体部も前後に割り矧いで、ともに内刳りし、頭部を体部に差し込む。頭・体の各部の均斉がとれ、数少ない石山寺式如意輪観音像の優品。","","https://www.rekihaku.otsu.shiga.jp/db/bunka/detail.html?524",""], [509,252018,509,"滋賀県","大津市","石山貝塚","いしやまかいづか","","","市指定史跡","","","大津市石山寺3丁目","",135.9070886,34.9551627,"","",null,"","","大津市","1965-05-06 00:00:00","","","","","","","","","瀬田川の西岸、現在石山寺門前の公営駐車場となっている地下に所在する、縄文時代早期（7000年前）の淡水産貝塚。昭和15年（1904）以来七回にわたる発掘調査が行なわれ、東西約50m×南北約60m、深い所で約2mに及ぶ貝層が発見された。貝層はセタシジミ・ナガタニシなどからなっており、住居跡とともに五体の屈葬人骨や石器・骨角器・縄文土器が出土している。近畿地方縄文時代早期の標識遺跡となっている。","","https://www.rekihaku.otsu.shiga.jp/db/bunka/detail.html?433",""], [510,252018,510,"滋賀県","大津市","木造地蔵菩薩立像","もくぞうじぞうぼさつりゅうぞう","","","重要文化財","美術工芸品","","大津市石山内畑町","",null,null,"","",1,"躯","","岩間山正法寺","1900-04-07 00:00:00","","","","","","","","","本堂の右脇壇に安置される。手先と足先を除いて一材から造り、内刳しない構造で、抑揚のとぼしい肉身や、浅い衣文の彫りから、平安時代も12世紀の作とみられる。一部に彩色の痕跡をのこす。当初の安置場所は不明。","","https://kunishitei.bunka.go.jp/heritage/detail/201/3132",""], [511,252018,511,"滋賀県","大津市","木造不動明王二童子立像","もくぞうふどうみょうおうにどうじりゅうぞう","","","重要文化財","美術工芸品","","大津市石山内畑町","",null,null,"","",3,"躯","","岩間山正法寺","1900-04-07 00:00:00","","","","","","","","","護摩堂の本尊。中尊不動明王及び矜羯羅・制吒迦二童子の三躯が、同時一具の作とみられる。穏やかな表情の矜羯羅に対し、きかん気な相貌の制吒迦が対比的な動きをみせ、その間に中尊不動明王がゆるやかに佇立する。全体のバランスの妙は見どころとなろう。とくに不動明王像の動きを抑えた姿勢や、憤怒相でありながら上品さを失わない顔のつくりに、王朝時代の雅びな気分を感ずる。平安時代の不動三尊中の佳作といえよう。","","https://kunishitei.bunka.go.jp/heritage/detail/201/3133",""], [512,252018,512,"滋賀県","大津市","木造薬師如来坐像","もくぞうやくしにょらいざぞう","","","市指定有形文化財","美術工芸品","","大津市石山内畑町","",null,null,"","",1,"躯","","岩間山正法寺","1979-03-01 00:00:00","","","","","","","","","護摩堂の脇壇に安置されている等身大坐像。右手を左手の上に重ね、ここに薬壺をのせるが、両手の臂から先および薬壺は後補であり、あるいは釈迦ないし阿弥陀として造立されたものかもしれない。榧の一材から幹部および両体側部を造り、背面から別材を当てる。残念ながら、上記のほか脚部左半部や後頭部など後補部分が多いが、表情には定朝様にもとづく平明でおおらかな気分があり、平安時代後期をくだらない作である。","","https://www.rekihaku.otsu.shiga.jp/db/bunka/detail.html?255",""], [513,252018,513,"滋賀県","大津市","木造十一面観音立像","もくぞうじゅういちめんかんのんりゅうぞう","","","市指定有形文化財","美術工芸品","","大津市石山内畑町","",null,null,"","",1,"躯","","岩間山正法寺","1979-03-01 00:00:00","","","","","","","","","本堂左脇壇に伝来。像の大半を一材から彫成し、頭上面や左手首先、右手前膊などに別材を矧ぎつける。表情や頭体のバランス、衣のひだの彫り口ともにやや粗放で、中央の仏師の作とは思えないが、様式の基本にあるのは平安時代後期のものである。峻険な山岳寺院に伝来した古仏として記憶されるべきであろう。","","https://www.rekihaku.otsu.shiga.jp/db/bunka/detail.html?256",""], [514,252018,514,"滋賀県","大津市","懸仏","かけぼとけ","","","市指定有形文化財","美術工芸品","","大津市石山内畑町","",null,null,"","",2,"面","","岩間山正法寺","1978-02-01 00:00:00","","","","","","","","","両面とも円形の木板の表に金銅板金を貼り、中央に千手観音坐像を据える。小は鋳銅鍍金の千手観音坐像を蓮台と一鋳して据え、光背は金銅板金をもって頭光を打ち出し、縁光は唐草文を透彫としている。躯部の両側には脇手を截出し、仏頭上部には天蓋を打ち付けるが、付根部分が残るのみである。大も、内区中央下に鋳銅鍍金の千手観音坐像を蓮台と一鋳し、光背は金銅板金をもって作るが、頭光の一部と脇手を残すのみで、大半を失っている。","","https://www.rekihaku.otsu.shiga.jp/db/bunka/detail.html?316",""], [515,252018,515,"滋賀県","大津市","近江輿地志略（寒川辰清自筆本）","おうみよちしりゃく（さむかわとききよじひつぼん）","","","県指定有形文化財","美術工芸品","","大津市石山外畑町","",null,null,"","",6,"冊","","浄光寺","2006-03-17 00:00:00","","","","","","","","","「近江輿地志略」は、享保８年（1723）膳所藩主本多康敏の命をうけて藩士の寒川辰清が編纂に着手し、享保１９年に完成した近江国の地誌。全体で１０１巻１００冊からなり、近江国の概観からはじまり、次いで村毎に名所旧跡・寺社等を紹介し、最後に「人物」や「土産」などのテーマ別の内容を盛り込む。１００巻の６巻で、蔵書印から藩庫にあったことが知られる。滋賀県の基本地誌の原本として、極めて貴重である。","","https://www.rekihaku.otsu.shiga.jp/db/bunka/detail.html?605",""], [516,252018,516,"滋賀県","大津市","木造阿弥陀如来坐像","もくぞうあみだにょらいざぞう","","","市指定有形文化財","美術工芸品","","大津市大石龍門3丁目","",null,null,"","",1,"躯","","龍音寺","1992-02-01 00:00:00","","","","","","","","","龍音寺の本尊。定印を結んで坐す阿弥陀如来坐像。幹部材（体側部含む）と両脚部（両手前膊半ばから先を含む）の二材からなり、内刳はない。古様な構造にくわえ、立ち上がりの強いロープ状の衣文に鎬だった衣文をまじえる構成、抑揚に富んだ体部の造形、広い膝前などからみて、10世紀にさかのぼる造像であろう。残念ながら、面部には若干後の手が加わっている。","","https://www.rekihaku.otsu.shiga.jp/db/bunka/detail.html?258",""], [517,252018,517,"滋賀県","大津市","八幡神社蔵欄間","はちまんじんじゃぞうらんま","","","市指定有形文化財","建造物","","大津市大石龍門3-6-10","",135.9158891,34.90137253,"","",3,"枚","","八幡神社","1971-08-01 00:00:00","","","","","","","","","八幡神社旧本殿の透彫欄間。長い物（141cm×12cm）が一枚、短い物（118cm×12cm）が二枚で、それぞれ中の間と両脇の間に用いたものであろう。彫刻の図柄は、長い方が蓮華唐草、短い方がいずれも牡丹唐草で、左右対称、彫は扁平で盛上り少なく、よく古式をあらわしている。長い方の框に「文和参霜月廿七日」以下の墨書があり、文和3年（1354）に奈良東大寺の工人が造ったことが知られる。その他、江戸時代末期に彩色を塗り直したことなども追記されている。","","https://www.rekihaku.otsu.shiga.jp/db/bunka/detail.html?78",""], [518,252018,518,"滋賀県","大津市","八幡神社蔵蟇股","はちまんじんじゃぞうかえるまた","","","市指定有形文化財","建造物","","大津市大石龍門3-6-10","",135.9158891,34.90137253,"","",3,"枚","","八幡神社","1971-08-01 00:00:00","","","","","","","","","八幡神社旧本殿の蟇股。脚長は79cmで、二枚は完形であるが、一枚は一部が欠けている。いずれも中心円形内に梵字、周囲に牡丹または蓮華唐草を彫った透蟇股。図柄は左右対称で、両肩から中心に向かって下りてきた茎が中心で合一して花を咲かせ、その上に梵字を飾る。彫りに凹凸が少なく、古式をよく残している。制作年代を直接知ることはできないが、同社蔵の欄間に文和3年（1354）の墨書があるところから、これに近い頃の作と推定される。","","https://www.rekihaku.otsu.shiga.jp/db/bunka/detail.html?79",""], [519,252018,519,"滋賀県","大津市","木造地蔵菩薩坐像(所在本堂)","もくぞうじぞうぼさつざぞう（しょざいほんどう）","","","重要文化財","美術工芸品","","大津市大石龍門5丁目","",null,null,"","",1,"躯","","正願寺","1905-04-04 00:00:00","","","","","","","","","左手に宝珠を捧げ、右手に錫杖をとる通形の地蔵菩薩像だが、結跏趺坐せず左脚を前に外す。平安時代後期の作風をしめすが、こめかみから頬にかけての肉取りなどに抑揚があり、かつ衣のひだが丸みを帯び、新時代の様風の流入もうかがえる。平安時代も末に近い時期の造立であろう。","","https://kunishitei.bunka.go.jp/heritage/detail/201/3170",""], [520,252018,520,"滋賀県","大津市","木造仏像(寺伝弥勒菩薩立像)(所在本堂)","もくぞうぶつぞう（じでんみろくぼさつりゅうぞう）（しょざいほんどう）","","","重要文化財","美術工芸品","","大津市大石中3丁目","",null,null,"","",1,"躯","","若王寺","1905-04-04 00:00:00","","","","","","","","","佐久奈度神社の神宮寺であった若王寺に伝来。寺伝に弥勒菩薩というが、明らかに如来の姿である。垂下した右手で衣端を握る珍しい形制をみせ、類例に聖衆来迎寺および岐阜・横蔵寺の薬師如来像があるが、いずれも左手には薬壺をとる点は本像と異なる。螺髪の配列がふぞろいで、とくに後頭部では螺髪の彫出そのものを中途でやめており、霊木から化現するほとけの姿を表現したとみる立場もあろう。一木造で内刳はない。","","https://kunishitei.bunka.go.jp/heritage/detail/201/3169",""], [521,252018,521,"滋賀県","大津市","木造大日如来坐像","もくぞうだいにちにょらいざぞう","","","市指定有形文化財","美術工芸品","","大津市大石中3丁目","",null,null,"","",1,"躯","","若王寺","2010-03-15 00:00:00","","","","","","","","","浄土宗若王寺の本尊。針葉樹の一材製で、耳後ろで前後に割って内刳りする。両脚部、両肩以下は別材製とし、当初の部位は幹部材と両脚部材のみで、他は後補となる。現状では、像内も含めて古色に覆われ、雨害や火災に罹った形跡がある。背面材の像下半に六行以上の墨書があり、承暦四年（１０８０）に大日如来の金色像として造像した事がわかる。年記のある像では県内で５例目、大津市内では２例目に古い。","","https://www.rekihaku.otsu.shiga.jp/db/bunka/detail.html?621",""], [522,252018,522,"滋賀県","大津市","佐久奈度神社御旅所社殿","さくなどじんじゃおたびしょしゃでん","","","市指定有形文化財","建造物","","大津市大石中3-4-3","",135.9134951,34.90763884,"","",1,"棟","","佐久奈度神社","1965-05-06 00:00:00","","","","","","","","","現在の佐久奈度神社御旅所社殿は江戸時代の建築になるが、部分的に旧社殿の古材が利用されている。残存部材の中で最も重要なのが向拝の蟇股で、牡丹唐草と揚羽蝶の図柄は古式を残しており、鎌倉時代中期の作かと推定される。この図柄は、大石富川町の春日神社本殿蟇股との類似が指摘できる。また、他に向拝の虹梁や木鼻も蟇股より時代は新しいかもしれないが、江戸時代までは下らないと見られるものである。","","https://www.rekihaku.otsu.shiga.jp/db/bunka/detail.html?80",""], [523,252018,523,"滋賀県","大津市","板絵著色武者騎馬像","いたえちゃくしょくむしゃきばぞう","","","市指定有形文化財","美術工芸品","","大津市大石中１丁目","",null,null,"","",1,"面","","佐久奈度神社","1984-04-02 00:00:00","","","","","","","","","駒形の扁額で、周囲を囲む縁は墨彩し、画面は杉の横板一材の上に白土下地をおいて、その上に連銭葦毛の馬に騎乗した侍を描く。人物の顔・馬の頭部などは完存し、筆法は精緻で表現力も豊かである。向かって右側に「奉掛善神御寳前□□六己巳暦三月二十三日」、左側に「武運長久息災延命施主大石内蔵介敬白」と墨書されている。この大石内蔵介は忠臣蔵の討ち入りで有名な大石良雄の曾祖父にあたる良勝のことで、「□□六己巳暦」とは寛永6年（1629）のことと考えられる。","","https://www.rekihaku.otsu.shiga.jp/db/bunka/detail.html?161",""], [524,252018,524,"滋賀県","大津市","木造薬師如来坐像","もくぞうやくしにょらいざぞう","","","重要文化財","美術工芸品","","大津市大石東１丁目","",null,null,"","",1,"躯","","法楽寺","1905-04-04 00:00:00","","","","","","","","","左手に薬壺をとり、右手は施無畏印、左脚を外にして坐す。秘仏として祀られるために詳細は不明だが、写真を見るかぎりでは、定朝様を襲う典型的な平安時代後期の作と思われる。","","https://kunishitei.bunka.go.jp/heritage/detail/201/3171",""], [525,252018,525,"滋賀県","大津市","阿弥陀三尊不動明王磨崖仏","あみださんぞんふどうみょうおうまがいぶつ","","","市指定史跡","","","大津市大石富川1-5-41","",135.9442107,34.9068624,"","",null,"","","東方寺","1965-05-06 00:00:00","","","","","","","","","大石富川町山中の明王寺跡と伝えられる場所に刻まれた磨崖仏。阿弥陀如来坐像（3.64m）の両脇に菩薩立像（3.93m）をあらわし、向かって左下方に不動明王立像（1.63m）が刻まれている。ともに線彫であるが、技法の上で若干の相違が見られる。岩壁の右下に刻まれた文字から応安2年（1369）の年号が読み取れ、造像年代の参考となる。俗に「耳だれ不動」とも呼ばれ、耳の病に効験があるとして、参詣者も多い。","","https://www.rekihaku.otsu.shiga.jp/db/bunka/detail.html?434",""], [526,252018,526,"滋賀県","大津市","木造釈迦如来及両脇侍坐像","もくぞうしゃかにょらいおよびりょうきょうじざぞう","","","重要文化財","美術工芸品","","大津市大石富川１丁目","",null,null,"","",3,"躯","","常信寺","1976-06-05 00:00:00","","","","","","","","","蓮華座に坐す釈迦如来像と獅子座に乗る文殊菩薩、象座に乗る普賢菩薩を配する『陀羅尼集経』に説かれる三尊。台座まで完備した三尊一具の平安古像はきわめて稀少である。三躯ともに深く内刳をほどこし、像内には金箔を押す。このような技法は像内を神聖な空間とする意識とともに、皇族や上流貴族の関与する造像に事例の多いことが指摘されている。常信寺は12世紀中頃の創建と伝える隣接の春日神社の別当寺と思われ、本三尊像の制作期もこれに近い頃と考えられる。","","https://kunishitei.bunka.go.jp/heritage/detail/201/4990",""], [527,252018,527,"滋賀県","大津市","木造地蔵菩薩立像","もくぞうじぞうぼさつりゅうぞう","","","市指定有形文化財","美術工芸品","","大津市大石富川１丁目","",null,null,"","",1,"躯","","常信寺","1965-05-06 00:00:00","","","","","","","","","頭・体を通して前後に矧ぐ寄木造の像。左手に宝珠をのせ、右手に錫杖を持つのは平安時代後期以降の地蔵菩薩の通形だが、足には珍しく沓をはく。この点に中国・宋の美術の影響をみる意見もある。相貌には鎌倉時代らしいリアリズムが感じられるが、四肢の分離が明確でなく、衣文の表現にもやや停滞したところがあることから、鎌倉時代後期以降の作と考えられる。彩色がなく、檀像彫刻を意識した仕上げがなされる。眼は別材（木造）製のものを嵌入するいわゆる木眼である。","","https://www.rekihaku.otsu.shiga.jp/db/bunka/detail.html?263",""], [528,252018,528,"滋賀県","大津市","春日神社本殿","かすがじんじゃほんでん","","","重要文化財","建造物","","大津市大石富川一丁目","",135.9451934,34.90596025,"","",1,"棟","","春日神社","1902-04-17 00:00:00","","","","","","","","","瀬田川の支流信楽川沿いの、大石から信楽へぬける道筋に、南面して建つ。久寿元年（1154）奈良の春日社を勧請して創建したと伝え、現在の本殿は棟木銘から文保3年（1319）の建築になる。二間社であるところから本殿中央に柱が位置するという構造になり、全国的にも類例が少ない。蟇股には精巧な透彫がほどこされており、同じ大石地区の佐久奈度神社御旅所社殿の蟇股の意匠との関連が注目される。","","https://kunishitei.bunka.go.jp/heritage/detail/102/1366",""], [529,252018,529,"滋賀県","大津市","木造男神・女神坐像","もくぞうだんしん・じょしんざぞう","","","市指定有形文化財","美術工芸品","","大津市大石曽束１丁目","",null,null,"","",2,"躯","","貴船御霊神社","1971-08-01 00:00:00","","","","","","","","","男神は御霊神社の祭神で秦武智麿、女神は貴船神社の祭神で罔象女命と伝えられる。いずれも檜の一材から丸彫され、女神像の一部に墨による文様を描くほかは素地のままとする。体部は簡素な造りながら、表情は豊かである。鎌倉時代の作といわれる。虫害などによる朽損は惜しまれる。","","https://www.rekihaku.otsu.shiga.jp/db/bunka/detail.html?257",""], [530,252018,530,"滋賀県","大津市","木造薬師如来坐像(行者堂安置)","もくぞうやくしにょらいざぞう（ぎょうじゃどうあんち）","","","県指定有形文化財","美術工芸品","","大津市羽栗3丁目","",null,null,"","",1,"躯","","須賀神社","1981-04-24 00:00:00","","","","","","","","","須賀神社御旅所に隣接する法林寺境内行者堂に伝来した。厨子内の鏡の台脚にある「林宮本地」の墨書から、かつて本地仏として安置されていたことが判明する。像の全てを木心を右踵部にこめた檜の一材から丸彫するもので、内刳もない。仰月形の眼や太くいかめしい首から肩の造形が印象的である。鎬をまじえた衣文の彫法や量感のある体躯など古様で、制作期は10世紀も前半にさかのぼろう。","","https://www.rekihaku.otsu.shiga.jp/db/bunka/detail.html?264",""], [531,252018,531,"滋賀県","大津市","木造薬師如来坐像(薬師堂安置)","もくぞうやくしにょらいざぞう（やくしどうあんち）","","","重要文化財","美術工芸品","","大津市枝１丁目","",null,null,"","",1,"躯","","安楽寺","1905-04-04 00:00:00","","","","","","","","","安楽寺薬師堂の本尊。衣を偏袒右肩に着けて、左手に薬壺をのせ、右手は掌を前に向けて立てる通形の薬師像。何か朧ろな気分を漂わせる表情や抑揚を抑えた体躯の造形、浅い衣文の彫りなどから、12世紀の造像と思われる。ただし幹部前面材を浅く脚部材に組み込むように矧ぎ付けるのは古式の構造である。","","https://kunishitei.bunka.go.jp/heritage/detail/201/3173",""], [532,252018,532,"滋賀県","大津市","石造浮彫宝塔","せきぞううきぼりほうとう","","","市指定有形文化財","建造物","","大津市枝1-7-18","",135.9310794,34.94101824,"","",1,"基","","安楽寺","1965-05-06 00:00:00","","","","","","","","","花崗岩に浮彫された宝塔で、総高106cm、幅60cm、厚さ12cm。現在は下方が欠損しているので、当初は少なくとも総高約150cmはあったと思われる。塔身・屋根・相輪の均整がとれ、中世の仏画などにあらわれてくる宝塔の浮彫的表現とでもいえそうである。塔身は、矩形の中に梵字を彫り、上部はくびれて屋根を乗せる。屋根の立体的表現も独創的で、相輪は受花や宝珠のほか、鎖を下げたところまで彫り出している。","","https://www.rekihaku.otsu.shiga.jp/db/bunka/detail.html?83",""], [533,252018,533,"滋賀県","大津市","木造帝釈天立像(所在本堂)","もくぞうたいしゃくてんりゅうぞう（しょざいほんどう）","","","重要文化財","美術工芸品","","大津市黒津2丁目","",null,null,"","",1,"躯","","正法寺","1905-04-04 00:00:00","","","","","","","","","三眼をあらわし、フリル状のガイ襠衣を着して、右手に独鈷杵を握る帝釈天像。幹部を一材から造って前後にいったん割り、内部を刳り抜く構造で、内刳はかなり深くほどこされ、ために像の重量は著しく軽減されている。ほとんど素地をあらわしているが、漆箔の痕跡を残している。繊細な表情や控えめながら微妙な抑揚をもつ体部の造形から、京都を中心に活動した中央仏師の作とみられる。制作期は12世紀。","","https://kunishitei.bunka.go.jp/heritage/detail/201/3172",""], [534,252018,534,"滋賀県","大津市","木造聖観音立像","もくぞうしょうかんのんりゅうぞう","","","市指定有形文化財","美術工芸品","","大津市黒津2丁目","",null,null,"","",1,"躯","","正法寺","1990-02-01 00:00:00","","","","","","","","","当寺本尊。檜の一材から幹部を造り、内刳していない。用材に制約された感のある動きのない姿勢をとる。両前膊部は後補だが、左手に未敷蓮華をとり、右手はこれに添えて花びらを開こうとするかたちは延暦寺横川中堂の本尊像と共通する。古様な構造だが、腹部の裳の折返しの舌状の形態など、平安時代後期の作風をみることができる。","","https://www.rekihaku.otsu.shiga.jp/db/bunka/detail.html?267",""], [535,252018,535,"滋賀県","大津市","不動寺本堂","ふどうじほんどう","","","重要文化財","建造物","","大津市田上森町","",135.9754915,34.92288546,"","",1,"棟","","不動寺","1924-04-15 00:00:00","","","","","","","","","不動寺は太神山の山頂に、園城寺の中興開山智証大師円珍によって創建されたと伝え、田上不動とも呼ばれている。本堂は懸造で、山頂の大岩によりかかるようにして西面して建つ。正面三間・奥行三間の正堂の奥に一間四方の内陣を構え、後ろを開放して岩屋内に須弥壇と厨子を納めている。建築年代は、室町時代前期と考えられている。礼堂と唐破風付の玄関は、後世に付け加えられたものである。","","https://kunishitei.bunka.go.jp/heritage/detail/102/1377",""], [536,252018,536,"滋賀県","大津市","石居廃寺跡","いしずえはいじあと","","","市指定史跡","","","大津市石居1-8-4、大津市国分1-8-43","",135.9254932,34.94669017,"","",null,"","","個人","1971-08-01 00:00:00","","","","","","","","","大戸川の北岸、石居の集落中に所在する寺院跡。当初の寺域と推定される範囲の西半分は民家が建ち並び、建物跡とわかるのは金堂跡と推定される土壇のみである。土壇の表面には、東西五列、南北四列の礎石が配列されていたが、現在はその内一五個が残っている。これまでに出土した軒丸瓦や軒平瓦から、白鳳時代後期の寺院跡と考えられる。瓦とは時代が異なるが、宝塔式の精巧な泥塔も出土しており、考古資料として市の指定となっている。","","https://www.rekihaku.otsu.shiga.jp/db/bunka/detail.html?435",""], [537,252018,537,"滋賀県","大津市","石居廃寺出土品","いしずえはいじしゅつどひん","","","市指定有形文化財","美術工芸品","","大津市石居1丁目","",null,null,"","",64,"点","","個人","1985-05-15 00:00:00","","","","","","","","","市の史跡に指定されている白鳳時代後期の石居廃寺跡から出土した、塼仏・塑像片・泥塔。塼仏は三点で、大型の一点は偏袒右肩で二重の同心円を描き、表面には金泊を貼った痕跡が僅かに残る。二点目は、蓮華座に坐し、腹前で印を結び、頭上には天蓋を配する。三点目は、胸元で合掌する立像である。塑像片は足先や衣文の見える破片や螺髪などがあり、泥塔は全て宝塔形式をとる。塼仏・塑像片は白鳳時代のものであるが、泥塔は平安時代後期と考えられる。","","https://www.rekihaku.otsu.shiga.jp/db/bunka/detail.html?393",""], [538,252018,538,"滋賀県","大津市","木造阿弥陀如来坐像","もくぞうあみだにょらいざぞう","","","市指定有形文化財","美術工芸品","","大津市牧１丁目","",null,null,"","",1,"躯","","真光寺","1978-02-01 00:00:00","","","","","","","","","真光寺境外仏堂の通称「あやめ堂」に安置される。頭・体部が箱形を呈し、癖のある相貌、屈曲の強い着衣のひだの表現、またその構造から、鎌倉時代末から南北朝時代頃の院派仏師の作とみられる。褪色は進むものの、盛り上げ彩色による具象的な文様表現もこの時代にふさわしい。銅製透彫の光背と蓮華座の多くも当初のものを伝えており、貴重である。","","https://www.rekihaku.otsu.shiga.jp/db/bunka/detail.html?268",""], [539,252018,539,"滋賀県","大津市","梵鐘","ぼんしょう","","","市指定有形文化財","美術工芸品","","大津市桐生１丁目","",null,null,"","",1,"口","","正休寺","1979-03-01 00:00:00","","","","","","","","","鐘楼に釣られている梵鐘で、鐘身は笠形を含めて四段の鋳繰り法とし、竜頭は別鋳して鋳付いでいる。竜頭は双竜式で、鐘身は袈裟襷文をほどこす乳は一区に四段五列に配し、二個の撞座は竜頭と平行する位置にあり、撞座の意匠は八葉蓮華文をかたどる。池の間の四方に陽刻された銘文から、延徳3年（1491）小倉掃部と佐伯道有が北野宮寺に奉献し、国久と輩下の左衛門の手によって鋳造されたことが知られる。また、明治2年（1869）正休寺の所蔵となったことを記す追刻がある。","","https://www.rekihaku.otsu.shiga.jp/db/bunka/detail.html?317",""], [540,252018,540,"滋賀県","大津市","草津川桐生堰堤（オランダ堰堤）","くさつがわきりゅうえんてい（おらんだえんてい）","","","県指定有形文化財","建造物","","大津市上田上桐生町","",135.9984246,34.9462868,"","",2,"所","","滋賀県","2011-03-24 00:00:00","","","","","","","","","草津川流域の水害を防ぐために、滋賀県と国の共同事業施工された石造堰堤。本堰堤は明治２２年(1889)、副堰堤は明治２４年竣工。本堰堤は、堤長３２．０メートル、堤高５．８メートルで、設計は田邊義三郎。副堰堤は、堤長３２．５メートル、堤高２．５メートルを測る。田上山系の近代砂防工事を代表する堰堤として、また、明治政府に招かれたオランダ人技師ヨハネス・デレーケが計画し、日本人技術者が設計に携わった石造堰堤として、重要である。なお、本堰堤は、大津市の史跡にも指定されている。","","https://www.rekihaku.otsu.shiga.jp/db/bunka/detail.html?623",""], [541,252018,541,"滋賀県","大津市","オランダ堰堤","おらんだえんてい","","","市指定史跡","","","大津市上田上桐生町","",135.9984246,34.9462868,"","",1,"基","","滋賀県","1988-11-11 00:00:00","","","","","","","","","上田上桐生町の草津川上流に建設された砂防ダム。明治政府のお雇いオランダ人技師ヨハネス・デ・レーケの指導により、田辺義三郎が設計したところから「オランダ堰堤」の愛称で親しまれる。下流法は、約40cm×45cm×120cmの花崗岩の切石を、段幅約15cmで一三段から一六段に積み上げる。田上山の治山治水事業は、明治政府の下で欧米の技術を導入して進められたが、階段状に割石を積むなど当時としては画期的な技術で築かれており、現在も砂防ダムとして活躍している。","","https://www.rekihaku.otsu.shiga.jp/db/bunka/detail.html?437",""], [542,252018,542,"滋賀県","大津市","石造宝篋印塔","せきぞうほうきょういんとう","","","市指定有形文化財","建造物","","大津市大鳥居13-16","",135.9512778,34.963277,"","",1,"基","","浄土寺","1975-01-04 00:00:00","","","","","","","","","大鳥居村内の元天台宗安楽寺にあったものが、同寺廃絶後浄土寺に移されたという。総高225cmで、相輪の最上部の宝珠を後世のもので補う他は全て揃っているが、風化が甚だしく受花部の彫刻など詳細は不明である。全体として形よく整っており、基礎の上に蓮弁を彫らないこと、笠の隅飾の茨が一つであることなどに特長が見られる。建立年代は、様式上から鎌倉時代中期〜末期と考えられる。なお、平成9年大戸川ダムの建設にともなう集落の移転によって、現在地に移された。","","https://www.rekihaku.otsu.shiga.jp/db/bunka/detail.html?84",""], [543,252018,543,"滋賀県","大津市","紙本著色蒲生忠郷像","しほんちゃくしょくがもうたださとぞう","","","市指定有形文化財","美術工芸品","","大津市瀬田2丁目","",null,null,"","",1,"幅","","雲住寺","1991-02-01 00:00:00","","","","","","","","","衣冠束帯して上畳に坐し、右手に笏を持ち、腰には太刀をはく。蒲生忠郷は会津六十万石の領主で、蒲生氏郷の孫にあたるが、寛永4年（1627）正月4日25歳の生涯を終える。没後嗣子がなかったため、所領を没収された。万治2年（1659）の大徳寺昌林院珪山宗【王寅】の賛によると、本像は弟の忠知が松山城下に創建した見樹院に祀られていたが、忠知の死と蒲生家の離散により、忠郷恩顧の家臣が氏郷の菩提寺大徳寺昌林院の珪山宗【王寅】に賛を乞い、蒲生家由緒の雲住寺に納めたという。","","https://www.rekihaku.otsu.shiga.jp/db/bunka/detail.html?162",""], [544,252018,544,"滋賀県","大津市","木造女神坐像","もくぞうじょしんざぞう","","","重要文化財","美術工芸品","","大津市神領１丁目","",null,null,"","",1,"躯","","建部大社","1905-04-04 00:00:00","","","","","","","","","三躯ともに下半部を失い、新しく台木をはめて立てている。三尊のように安置されるが、もとは別々のものであった。中尊の女神像は、一木丸彫とされることの多い神像彫刻にあっては珍しく、幹部を前後に矧いで内刳し、さらに両袖などに別材を矧ぎ付ける。羞恥をあらわすように、右袖で口許を覆い隠す表現は、他に例をみない。ふくよかな頬、そっと見ひらかれた眼など、女性の彫刻としても白眉のものである。平安時代後期の作。","","https://kunishitei.bunka.go.jp/heritage/detail/201/3192",""], [545,252018,545,"滋賀県","大津市","石燈籠","いしどうろう","","","重要文化財","美術工芸品","","大津市神領１丁目","",null,null,"","",1,"基","","建部大社","1962-06-21 00:00:00","","","","","","","","","建部大社本殿向かって右側に所在する花崗岩製六角形の石燈籠。基礎は側面に格狭間を彫り、竿は円筒形で、中帯の上下に「文永七年（1207）庚午五月七日造立之」の刻銘がある。中台は単蓮華文の仰蓮を彫り、火袋は正面と背面を火口とし、正面の左右面は丸窓、残りの二面は無地とする。笠は降棟を浅く彫りだし、一石から造られた宝珠と受花は後補のものである。意匠は簡潔で、総体にやや無骨、大らかにつくらた鎌倉時代後期の石燈籠である。","","https://kunishitei.bunka.go.jp/bsys/maindetails/201/6834",""], [546,252018,546,"滋賀県","大津市","堂ノ上遺跡","どうのうえいせき","","","国指定史跡","","","大津市神領3丁目","",135.9146661,34.96996711,"","",null,"","","","1978-03-14 00:00:00","","","","","","","","","近江国庁の南西、瀬田川を見下ろす小独立丘陵上に立地。昭和48年（1973）から51年の調査で、奈良時代末から平安時代前期の瓦葺礎石建ち建物群と、その後建て替えられ10世紀前半に廃絶した掘立柱建物群の遺構が確認された。ともに東西棟の前殿・後殿からなる正殿風建物と、南北棟の脇殿が配され、瓦葺建物群からは「承和十一年（844）六月」銘の瓦が出土。建物方位や出土瓦は近江国庁の主要建物群と性格が一致し、国庁との関連の深い勢多駅などの官衙とみられている。","","https://kunishitei.bunka.go.jp/heritage/detail/401/1604",""], [547,252018,547,"滋賀県","大津市","木造獅子狛犬","もくぞうししこまいぬ","","","重要文化財","美術工芸品","","大津市大江2丁目","",null,null,"","",1,"対","","若松神社","2015-09-04 00:00:00","","","","","","","","","当社本殿の縁側に安置されていた。ほぼ全体を一木から彫成し、内刳していない。上体をすっくと持ち上げ、大きな目鼻だちが重厚な気分を漂わせる。たてがみが体に密着する様に平安時代後期の作風も看取されるが、阿形は左斜め下方、吽形は斜め右方に首を振り、これに応じて少し足を踏み出す動きはまことに自然で、実際の制作期は鎌倉時代に入るかとも思われる。大津市域はもちろん、滋賀県域全体においても、狛犬遺品中、屈指の優作のひとつである。","","https://kunishitei.bunka.go.jp/heritage/detail/201/00011668",""], [548,252018,548,"滋賀県","大津市","大江の鉾振り","おおえのほこふり","","","県選択無形民俗文化財","","","大津市大江二丁目","",135.9145111,34.97909149,"","",null,"","","若松神社鉾保存会","2004-04-16 00:00:00","","","","","","","","","県指定無形民俗文化財(選択)。大津市大江にある若松神社の春祭り。３本の鉾を数え年42才の本厄の人が振り、神輿に先行して御旅所まで渡る鉾振りの行事である。３本の鉾は、大・中・小と呼び分け、１本の鉾に３〜４人が付き交替しながら鉾を振る。御所から下げ渡されたという古い鉾(享保20年銘）を伝存する。この鉾は現在使用していないが、地元では鉾が下賜されて以後鉾振り行事が始められたと伝承していることから、江戸中期以降伝承されてきたといえ、京都市内で盛んな鉾差し行事が近江にも伝わった証左として貴重である。","","https://www.rekihaku.otsu.shiga.jp/db/bunka/detail.html?595",""], [549,252018,549,"滋賀県","大津市","木造阿弥陀如来立像(裸形)","もくぞうあみだにょらいりゅうぞう（らぎょう）","","","県指定有形文化財","美術工芸品","","大津市大江3丁目","",null,null,"","",1,"躯","","浄光寺","1982-03-31 00:00:00","","","","","","","","","着衣を一切あらわさず、下腹部に蓮華形をつけるだけのいわゆる裸形阿弥陀像。寺伝によれば、もと摂津国多田村（兵庫県川西市）に伝来したという。裸形像は阿弥陀の他にも地蔵菩薩や弁才天などの例があるが、遺品は鎌倉時代以降のものが知られる。布製の衣を着せることにより、より現実的な表現をめざしたのであろう。本像の左手は通常の来迎印とは異なって掌を後方に向けており、礼拝者への何らかのはたらきかけの動作を示すものかもしれない。","","https://www.rekihaku.otsu.shiga.jp/db/bunka/detail.html?271",""], [550,252018,550,"滋賀県","大津市","近江国府跡　国庁跡　惣山遺跡　青江遺跡　中路遺跡","おうみこくふあと　こくちょうあと　そうやまいせき　あおえいせき　ちゅうろいせき","","","国指定史跡","","","大津市大江3丁目他","",135.9168918,34.97761175,"","",null,"","","","1973-03-15 00:00:00","","","","","","","","","国庁は律令期における地方政庁の中心施設で、近江国庁跡は昭和38年（1963）以降の発掘調査によって、全国で初めてその実態が明らかとなった。国庁は国府域の南部中央の東西二町・南北三町の外郭とその内部に築地で囲まれた内郭とで構成される。内郭の政庁建物はほぼ南北主軸にとり、左右対称の「コ」字形配置で、瓦葺建物の前殿・後殿の正殿や両脇殿からなる。最近、中門の東方400m地点の惣山遺跡内や、南300m地点の青江遺跡内で関連遺構が発見され、附指定となっている。","","https://kunishitei.bunka.go.jp/heritage/detail/401/1597",""], [551,252018,551,"滋賀県","大津市","瀬田丘陵生産遺跡群","せたきゅうりょうせいさんいせきぐん","","","国指定史跡","","","大津市一里山1丁目他","",135.9277079,34.98458737,"","",null,"","","滋賀県他","2005-07-14 00:00:00","","","","","","","","","琵琶湖の東南部、瀬田地区南部から草津にかけての瀬田丘陵とその周辺地域で発見された古代の製鉄、製陶にかかる遺跡群。昭和６０年（1985）に史跡指定されていた草津市の野路小野山製鉄遺跡に、４基の須恵器窯と工房及び灰原を検出した山ノ神遺跡（一里山三丁目）、４基の精錬炉を検出した源内峠遺跡（瀬田南大萱町）を加え、名称を改めた。大津宮の時代から奈良時代にかけて、生産活動のありかたを具体的に示すとともに、古代国家を支えた生産遺跡として貴重である。","","https://kunishitei.bunka.go.jp/heritage/detail/401/1608",""], [552,252018,552,"滋賀県","大津市","木造阿弥陀如来立像","もくぞうあみだにょらいりゅうぞう","","","市指定有形文化財","美術工芸品","","大津市月輪2丁目","",null,null,"","",1,"躯","","新福寺","1979-03-01 00:00:00","","","","","","","","","当寺本尊。いま来迎印を結ぶ阿弥陀如来像として祀られるが、両手先は後補であり、当初は施無畏・与願印（ないし持薬壺）の薬師如来像であったかもしれない。肉髻と地髪との間に段差をつけない形式も、天台系の薬師像に多いといわれる。厳しい表情、抑揚に富んだ重厚な体部の造形、太い衣文の刻み方などから、9世紀末から10世紀前半にかけての作とみられる。寺伝では京都・誓願寺の旧像といい、別の所伝では草津・矢倉から寺が移されたという。","","https://www.rekihaku.otsu.shiga.jp/db/bunka/detail.html?272",""], [553,252018,553,"滋賀県","大津市","比叡山鉄道ケーブル坂本駅舎　　","ひえいざんてつどうけーぶるさかもとえきしゃ","","","登録有形文化財","建造物","","大津市坂本本町4244","",135.8642291,35.06953923,"","",1,"棟","","比叡山鉄道株式会社","1997-07-15 00:00:00","","","","","","","","","","","https://kunishitei.bunka.go.jp/heritage/detail/101/00000250",""], [554,252018,554,"滋賀県","大津市","比叡山鉄道ケーブル延暦寺駅舎　","ひえいざんてつどうけーぶるえんりゃくじえきしゃ","","","登録有形文化財","建造物","","大津市坂本本町4244","",135.8642291,35.06953923,"","",1,"棟","","比叡山鉄道株式会社","1997-07-15 00:00:00","","","","","","","","","","","https://kunishitei.bunka.go.jp/heritage/detail/101/00000251",""], [555,252018,555,"滋賀県","大津市","本家鶴喜そば主屋　　","ほんけつるきそばしゅおく","","","登録有形文化財","建造物","","大津市坂本4-11-40","",135.8702655,35.07059666,"","",1,"棟","","個人","1997-09-03 00:00:00","","","","","","","","","","","https://kunishitei.bunka.go.jp/heritage/detail/101/00000297",""], [556,252018,556,"滋賀県","大津市","近江神宮本殿　　","おうみじんぐうほんでん","","","登録有形文化財","建造物","","大津市神宮町1-1","",135.8515856,35.03228393,"","",1,"棟","","近江神宮","1998-10-09 00:00:00","","","","","","","","","","","https://kunishitei.bunka.go.jp/heritage/detail/101/00000832",""], [557,252018,557,"滋賀県","大津市","近江神宮祝詞舎　　","おうみじんぐうのりとしゃ","","","登録有形文化財","建造物","","大津市神宮町1-1","",135.8515856,35.03228393,"","",1,"棟","","近江神宮","1998-10-09 00:00:00","","","","","","","","","","","https://kunishitei.bunka.go.jp/heritage/detail/101/00000833",""], [558,252018,558,"滋賀県","大津市","近江神宮渡廊　　","おうみじんぐうわたりろう","","","登録有形文化財","建造物","","大津市神宮町1-1","",135.8515856,35.03228393,"","",1,"棟","","近江神宮","1998-10-09 00:00:00","","","","","","","","","","","https://kunishitei.bunka.go.jp/heritage/detail/101/00000834",""], [559,252018,559,"滋賀県","大津市","近江神宮中門　　","おうみじんぐうちゅうもん","","","登録有形文化財","建造物","","大津市神宮町1-1","",135.8515856,35.03228393,"","",1,"棟","","近江神宮","1998-10-09 00:00:00","","","","","","","","","","","https://kunishitei.bunka.go.jp/heritage/detail/101/00000835",""], [560,252018,560,"滋賀県","大津市","近江神宮翼廊（北部）　　","おうみじんぐうよくろう（ほくぶ）","","","登録有形文化財","建造物","","大津市神宮町1-1","",135.8515856,35.03228393,"","",1,"棟","","近江神宮","1998-10-09 00:00:00","","","","","","","","","","","https://kunishitei.bunka.go.jp/heritage/detail/101/00000836",""], [561,252018,561,"滋賀県","大津市","近江神宮翼廊（南部）　　","おうみじんぐうよくろう（なんぶ）","","","登録有形文化財","建造物","","大津市神宮町1-1","",135.8515856,35.03228393,"","",1,"棟","","近江神宮","1998-10-09 00:00:00","","","","","","","","","","","https://kunishitei.bunka.go.jp/heritage/detail/101/00000837",""], [562,252018,562,"滋賀県","大津市","近江神宮後門　　","おうみじんぐううしろもん","","","登録有形文化財","建造物","","大津市神宮町1-1","",135.8515856,35.03228393,"","",1,"棟","","近江神宮","1998-10-09 00:00:00","","","","","","","","","","","https://kunishitei.bunka.go.jp/heritage/detail/101/00000838",""], [563,252018,563,"滋賀県","大津市","近江神宮神庫　　","おうみじんぐうしんこ","","","登録有形文化財","建造物","","大津市神宮町1-1","",135.8515856,35.03228393,"","",1,"棟","","近江神宮","1998-10-09 00:00:00","","","","","","","","","","","https://kunishitei.bunka.go.jp/heritage/detail/101/00000839",""], [564,252018,564,"滋賀県","大津市","近江神宮透塀（北部）　　","おうみじんぐうすきしべい（ほくぶ）","","","登録有形文化財","建造物","","大津市神宮町1-1","",135.8515856,35.03228393,"","",1,"棟","","近江神宮","1998-10-09 00:00:00","","","","","","","","","","","https://kunishitei.bunka.go.jp/heritage/detail/101/00000840",""], [565,252018,565,"滋賀県","大津市","近江神宮透塀（南部）　　","おうみじんぐうすきべい（なんぶ）","","","登録有形文化財","建造物","","大津市神宮町1-1","",135.8515856,35.03228393,"","",1,"棟","","近江神宮","1998-10-09 00:00:00","","","","","","","","","","","https://kunishitei.bunka.go.jp/heritage/detail/101/00000841",""], [566,252018,566,"滋賀県","大津市","近江神宮登廊　　","おうみじんぐうのぼりろう","","","登録有形文化財","建造物","","大津市神宮町1-1","",135.8515856,35.03228393,"","",1,"棟","","近江神宮","1998-10-09 00:00:00","","","","","","","","","","","https://kunishitei.bunka.go.jp/heritage/detail/101/00000842",""], [567,252018,567,"滋賀県","大津市","近江神宮内拝殿　　","おうみじんぐうないはいでん","","","登録有形文化財","建造物","","大津市神宮町1-1","",135.8515856,35.03228393,"","",1,"棟","","近江神宮","1998-10-09 00:00:00","","","","","","","","","","","https://kunishitei.bunka.go.jp/heritage/detail/101/00000843",""], [568,252018,568,"滋賀県","大津市","近江神宮内院廻廊（北部）　　","おうみじんぐうないいんかいろう（ほくぶ）","","","登録有形文化財","建造物","","大津市神宮町1-1","",135.8515856,35.03228393,"","",1,"棟","","近江神宮","1998-10-09 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[649,252018,649,"滋賀県","大津市","佐野家住宅主屋　　","さのけじゅうたくしゅおく","","","登録有形文化財","建造物","","大津市中央2-6","",135.8656244,35.00746138,"","",1,"棟","","個人","2010-04-28 00:00:00","","","","","","","","","","","https://kunishitei.bunka.go.jp/heritage/detail/101/00008136",""], [650,252018,650,"滋賀県","大津市","佐野家住宅土蔵　　","さのけじゅうたくどぞう","","","登録有形文化財","建造物","","大津市中央2-6","",135.8656244,35.00746138,"","",1,"棟","","個人","2010-04-28 00:00:00","","","","","","","","","","","https://kunishitei.bunka.go.jp/heritage/detail/101/00008137",""], [651,252018,651,"滋賀県","大津市","初田家住宅主屋　　","はつだけじゅうたくしゅおく","","","登録有形文化財","建造物","","大津市中央2-14","",135.8662123,35.00769883,"","",1,"棟","","個人","2010-04-28 00:00:00","","","","","","","","","","","https://kunishitei.bunka.go.jp/heritage/detail/101/00008138",""], [652,252018,652,"滋賀県","大津市","初田家住宅土蔵　　","はつだけじゅうたくどぞう","","","登録有形文化財","建造物","","大津市中央2-14","",135.8662123,35.00769883,"","",1,"棟","","個人","2010-04-28 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[656,252018,656,"滋賀県","大津市","小川家住宅土蔵　　","おがわけじゅうたくどぞう","","","登録有形文化財","建造物","","大津市京町3-219","",135.8669892,35.00526599,"","",1,"棟","","個人","2011-07-25 00:00:00","","","","","","","","","","","https://kunishitei.bunka.go.jp/heritage/detail/101/00008712",""], [657,252018,657,"滋賀県","大津市","森本家住宅主屋　　","もりもとけじゅうたくしゅおく","","","登録有形文化財","建造物","","大津市浜町33-1","",135.8673551,35.00972518,"","",1,"棟","","個人","2011-07-25 00:00:00","","","","","","","","","","","https://kunishitei.bunka.go.jp/heritage/detail/101/00008713",""], [658,252018,658,"滋賀県","大津市","森本家住宅門塀　　","もりもとけじゅうたくもんへい","","","登録有形文化財","建造物","","大津市浜町33-1","",135.8673551,35.00972518,"","",1,"棟","","個人","2011-07-25 00:00:00","","","","","","","","","","","https://kunishitei.bunka.go.jp/heritage/detail/101/00008714",""], [659,252018,659,"滋賀県","大津市","豆信料亭棟　　","まめしんりょうていとう","","","登録有形文化財","建造物","","大津市長等3-308","",135.8605009,35.01058541,"","",1,"棟","","個人","2011-10-28 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[663,252018,663,"滋賀県","大津市","木村家住宅土蔵　　","きむらけじゅうたくどぞう","","","登録有形文化財","建造物","","大津市長等2-809","",135.8603722,35.00924366,"","",1,"棟","","個人","2012-08-13 00:00:00","","","","","","","","","","","https://kunishitei.bunka.go.jp/heritage/detail/101/00009312",""], [664,252018,664,"滋賀県","大津市","中野家住宅主屋　　","なかのけじゅうたくしゅおく","","","登録有形文化財","建造物","","大津市中央1-208","",135.8635443,35.00879169,"","",1,"棟","","個人","2012-08-13 00:00:00","","","","","","","","","","","https://kunishitei.bunka.go.jp/heritage/detail/101/00009313",""], [665,252018,665,"滋賀県","大津市","中野家住宅離れ　　","なかのけじゅうたくはなれ","","","登録有形文化財","建造物","","大津市中央1-208","",135.8635443,35.00879169,"","",1,"棟","","個人","2012-08-13 00:00:00","","","","","","","","","","","https://kunishitei.bunka.go.jp/heritage/detail/101/00009314",""], [666,252018,666,"滋賀県","大津市","中野家住宅土蔵　　","なかのけじゅうたくどぞう","","","登録有形文化財","建造物","","大津市中央1-208","",135.8635443,35.00879169,"","",1,"棟","","個人","2012-08-13 00:00:00","","","","","","","","","","","https://kunishitei.bunka.go.jp/heritage/detail/101/00009315",""], [667,252018,667,"滋賀県","大津市","中野家住宅主屋　　","なかのけじゅうたくしゅおく","","","登録有形文化財","建造物","","大津市中央1-209","",135.8635443,35.00879169,"","",1,"棟","","個人","2012-08-13 00:00:00","","","","","","","","","","","https://kunishitei.bunka.go.jp/heritage/detail/101/00009316",""], [668,252018,668,"滋賀県","大津市","阪本屋店舗兼主屋　","さかもとやてんぽけんしゅおく","","","登録有形文化財","建造物","","大津市長等1-240他","",135.859404,35.00743072,"","",1,"棟","","個人","2013-03-29 00:00:00","","","","","","","","","","","https://kunishitei.bunka.go.jp/heritage/detail/101/00009498",""], [669,252018,669,"滋賀県","大津市","橋本家住宅（旧正蔵坊）主屋　","はしもとけじゅうたく（きゅうしょうぞうぼう）しゅおく","","","登録有形文化財","建造物","","大津市小関町88","",135.8540774,35.00725126,"","",1,"棟","","個人","2013-03-29 00:00:00","","","","","","","","","","","https://kunishitei.bunka.go.jp/heritage/detail/101/00009499",""], [670,252018,670,"滋賀県","大津市","滋賀県庁本館　","しがけんちょうほんかん","","","登録有形文化財","建造物","","大津市","",135.8575556,35.01452778,"","",1,"棟","","滋賀県","2014-12-19 00:00:00","","","","","","","","","","","https://kunishitei.bunka.go.jp/heritage/detail/101/00010315",""], [671,252018,671,"滋賀県","大津市","宮本家住宅主屋　","みやもとけじゅうたくしゅおく","","","登録有形文化財","建造物","","大津市音羽台字垣内212-2","",135.8621698,35.00047723,"","",1,"棟","","個人","2014-12-19 00:00:00","","","","","","","","","","","https://kunishitei.bunka.go.jp/heritage/detail/101/00010316",""], [672,252018,672,"滋賀県","大津市","旧多田家住宅主屋　","きゅうただけじゅうたくしゅおく","","","登録有形文化財","建造物","","大津市京町2-39","",135.8650895,35.00624849,"","",1,"棟","","個人","2014-12-19 00:00:00","","","","","","","","","","","https://kunishitei.bunka.go.jp/heritage/detail/101/00010317",""], [673,252018,673,"滋賀県","大津市","龍谷大学瀬田学舎樹心館　","りゅうこくだいがくせたがくしゃじゅしんかん","","","登録有形文化財","建造物","","大津市瀬田大江町字熊ケ谷3-14他","",135.9345782,34.96457391,"","",1,"棟","","学校法人龍谷大学","2015-08-04 00:00:00","","","","","","","","","","","https://kunishitei.bunka.go.jp/heritage/detail/101/00010625",""], [674,252018,674,"滋賀県","大津市","奥村家住宅主屋　","おくむらけじゅうたくしゅおく","","","登録有形文化財","建造物","","大津市長等2-408-1","",135.8603722,35.00924366,"","",1,"棟","","個人","2017-10-27 00:00:00","","","","","","","","","","","https://kunishitei.bunka.go.jp/heritage/detail/101/00011974",""], [675,252018,675,"滋賀県","大津市","川村家住宅主屋　","かわむらけじゅうたくしゅおく","","","登録有形文化財","建造物","","大津市中央1-102","",135.8635443,35.00879169,"","",1,"棟","","個人","2017-10-27 00:00:00","","","","","","","","","","","https://kunishitei.bunka.go.jp/heritage/detail/101/00011975",""], [676,252018,676,"滋賀県","大津市","粋世主屋　","いなせしゅおく","","","登録有形文化財","建造物","","大津市長等3-301","",135.8605009,35.01058541,"","",1,"棟","","個人","2018-03-27 00:00:00","","","","","","","","","","","https://kunishitei.bunka.go.jp/heritage/detail/101/00012166",""], [677,252018,677,"滋賀県","大津市","橋和田家住宅主屋　","はしわだけじゅうたくしゅおく","","","登録有形文化財","建造物","","大津市中央1-115、115-2","",135.8635443,35.00879169,"","",1,"棟","","個人","2020-04-03 00:00:00","","","","","","","","","","","https://kunishitei.bunka.go.jp/heritage/detail/101/00013267",""], [678,252018,678,"滋賀県","大津市","橋和田家住宅土蔵　","はしわだけじゅうたくどぞう","","","登録有形文化財","建造物","","大津市中央1-115","",135.8635443,35.00879169,"","",1,"棟","","個人","2020-04-03 00:00:00","","","","","","","","","","","https://kunishitei.bunka.go.jp/heritage/detail/101/00013268",""], [679,252018,679,"滋賀県","大津市","藤原家住宅","ふじわらけじゅうたく","","","登録有形文化財","建造物","","大津市中央1-115-5","",135.8635443,35.00879169,"","",1,"棟","","個人","2020-04-03 00:00:00","","","","","","","","","","","https://kunishitei.bunka.go.jp/heritage/detail/101/00013269",""], [680,252018,680,"滋賀県","大津市","川上家住宅","かわかみけじゅうたく","","","登録有形文化財","建造物","","大津市中央1-115-3","",135.8635443,35.00879169,"","",1,"棟","","個人","2020-04-03 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[684,252018,684,"滋賀県","大津市","岩崎家住宅主屋　","いわさきけじゅうたくしゅおく","","","登録有形文化財","建造物","","大津市木戸字西替戸1008","",135.9202538,35.19961676,"","",1,"棟","","個人","2020-04-03 00:00:00","","","","","","","","","","","https://kunishitei.bunka.go.jp/heritage/detail/101/00013274",""], [685,252018,685,"滋賀県","大津市","近江八景（堅田落雁）","おうみはっけい（かたたのらくがん）","","","登録記念物","","","大津市本堅田1-16-18","",135.9209815,35.10969917,"","",null,"","","宗教法人満月寺","2009-02-12 00:00:00","","","","","","","","","","","https://kunishitei.bunka.go.jp/heritage/detail/411/00003638",""], [686,252018,686,"滋賀県","大津市","近江八景（三井晩鐘）","おうみはっけい（みいのばんしょう）","","","登録記念物","","","大津市園城寺町246","",135.851061,35.01134331,"","",null,"","","宗教法人園城寺","2009-02-12 00:00:00","","","","","","","","","","","https://kunishitei.bunka.go.jp/heritage/detail/411/00003637",""], [687,252018,687,"滋賀県","大津市","琵琶湖の漁撈用具及び船大工用具","びわこのぎょろうようぐおよびふなだいくようぐ","","","登録有形民俗文化財","","","大津市京町4-4-1","",135.8707214,35.00485766,"","",2437,"点","","滋賀県","2018-03-08 00:00:00","","","","","","","","","","","https://kunishitei.bunka.go.jp/heritage/detail/311/00000311",""], [688,252018,688,"滋賀県","大津市","田上の衣生活資料","たなかみのいせいかつしりょう","","","登録有形民俗文化財","","","大津市牧1-8-32","",135.9642805,34.9588335,"","",1358,"点","","宗教法人真光寺","2019-03-28 00:00:00","","","","","","","","","","","https://kunishitei.bunka.go.jp/heritage/detail/311/00000313",""] ]}