@inproceedings{oai:kokubunken.repo.nii.ac.jp:00002642,
 author = {腮尾, 尚子 and AGIO, Naoko},
 book = {国際日本文学研究集会会議録, PROCEEDINGS OF INTERNATIONAL CONFERENCE ON JAPANESE LITERATURE},
 issue = {24},
 month = {Mar},
 note = {pdf, Various kinds of the map-type printings based on the idea that a human life was a journey were printed in the late Edo era, which are now called jinsei dôchûzu. These printings are generally categorized as a kind of maps and often examined relating to the map study.
With the careful look at the details of jinsei dôchûzu, however, you would notice the comical effects from the witty names played on words of mountains, rivers and buildings in the picture. Their essential nature can be regarded as a kind of gesaku of a pictorial text. I would like to examine how the pattern of the pictures was determined through what process, recognizing jinsei dôchûzu as the pictorial texts.
And, I would like to point out the fact that the pattern of jinsei dôchûzu was transformed as gradually increasing emphasis on the Buddhist lessons toward the modem times.
Needless to say, the spokewise crossroads called Rokudô no tsuji are in the center of the picture. Rokudô means six dimensions of Ten, Ningen, Shura, Chikushô, Gaki, Jigoku in which human reincarnate, and they are literally drawn as six “roads”. Later on they began to put a Chinese letter of “kokoro”, mind in it and then set it in the middle of Rokudo no tsuji. I assume that such change of the pattern was occurred probably in order to emphasize the lesson that the direction would be decided by the state of mind.
With the fact that many Buddhist pictures which had scenes of Rokudô and Jikkai around the main letter of “kokoro” were then published jinsei dôchûzu had transformed their own patterns adopting the style of the Buddhist pictures of the same period of time.},
 pages = {189--213},
 publisher = {国文学研究資料館},
 title = {研究発表　越境する画像　所謂「人生道中図」とその変容},
 year = {2001},
 yomi = {アオギ, ナオコ}
}