［英語要約］Titel: Art Historiography and Ideology in the German－speaking Countries in the Twentieth Century: The Reception of the Middle Ages in Hans SedlmayrThis paper reports the results of the archival investigation of the art historian Hans Sedlmayr （1895－1984） at the Salzburger Landesarchiv. The investigation was conducted under the collaboration agreement between the Kajima Foundation for the Arts and the Central Institute of Art History in Munich. Part of this report was presented during a research presentation on June 14 at the Central Institute for Art History.When Sedlmayr was appointed as a professor of art history at the University of Munich in 1951, controversy arose due to his previous involvement with the Nazis. The Central Institute of Art History, located in an area deeply connected to the Nazi past, has maintained a critical stance against such ideologies. The critical perspective reflected in this paper testifies to this stance.The period from the 1940s to the 1950s marked an incredibly active time for the study of Gothic cathedrals, led by some eminent art historians, including Erwin Panofsky, Louis Grodecki, and of course, Sedlmayr. Particularly in Sedlmayr's research on cathedrals, a trend towards the ideologization of Gothic was apparent, as a movement to idealize the Middle Ages out of distrust for modern society had been evident since the early 20th century. Sedlmayr criticized the "decadence" of modern art and aimed for idealized Gothic cathedrals. His research on Gothic cathedrals, thought to be conceived in conjunction with criticism of the modern era, is also seen as politicized. However, it's necessary to distinguish between the political and social factors under which the research was conducted, and the actual content of the research. What political aspects are present in his research on cathedrals?In 1950, Sedlmayr published "The Genesis of the Cathedral （Die Entstehung der Kathedrale）", a comprehensive study of the origins, inheritance, and decline of cathedrals, presenting a new theory that regards Gothic cathedrals as an "image （Abbild）". This theory suggests that the church is a physical manifestation of the ⒁ Sedlmayr, Die Entstehung der Kathedrale, p. 9（『大聖堂の生成』、四三頁）.―585――585―
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