Relic Or Icon? the Place and Function of Imperial Regalia*
Chapter 14 Relic or Icon? The Place and Function of Imperial Regalia* Akira Akiyama Even though the studies of Christian and Buddhist art have long had respec- tive traditions, only rarely are their research results compared. This essay at- tempts to take up a comparative religious art historical investigation.1 There is no guarantee that such a comparison will bring about remarkable results; however, through the process of comparing it is possible, by juxtaposing differ- ent perspectives on similar kinds of objects, at least to gain some stimuli, ideas, and expertise vis-à-vis the fields of both Western and Japanese or East Asian art historical research. We thus explore here the regalia of the Holy Roman Empire, Reichskleinodien or Reichsinsignien, and the imperial regalia of Japan, Sanshu-no-Jingi (Three divine objects). Regalia are some of the most popular objects in many cultures, and are often newly made at the coronation of a sovereign. In this respect the imperial regalia of the Holy Roman Empire and of Japan make interesting exceptions, because in both cases they have a long tradition and history. By comparing the dynamics of portable sacred objects— their translation into different local contexts—we discover that regalia func- tion as both relics and icons to differing degrees in various situations. Further still, the ambiguity of place in the series of moves, compounded by issues of visibility, complicates the function of sacred imagery. While relics are prin- cipally not duplicable, but dividable, icons are not dividable, but duplicable. Japanese imperial regalia, in contrast to those of the Holy Roman Empire, have not only a relic-like character, but also an icon-like character.
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