A study of the dairi (Imperial Palace) reconstruction process in the Kansei Era: an approach from architectural history to issues surrounding the reconstruction process in the traditional style

采用跨学科的方法对感性时代传统风格的大日重建过程中的问题进行了研究：研究的重点是建筑史，艺术史研究的成果也纳入了主体研究。以下是我们跨学科研究的结果。破译了感性时代研究大理重建的基本资料之一--《大理-大志-Goyou-ki》。我们还收集和整理了一些材料：Nakai-ke Monjo，现在由Mastopo Nakai拥有的Nakai-ke Monjo，Kigo家族和Tosa家族流传的材料。在分析Zoudairi-onsashizu-Goyou-ki等材料的基础上，我们考察了以传统风格重建Dairi的过程，以了解重建计划是如何实施的。这项检查揭示了什辛登、塞里约登、乔美门和Tsunegosho(包含…的住宅楼)是如何更多的皇室居住区)进行了设计和改造：设计过程大致分为两类，设计过程包括制作地板、立面和横断面图，以及装饰(整理)，包括内部整理和安装，库泰施工与邹萨库设计同步实施，这意味着过程控制得到了系统的实施。经证实，中海屋久的首席木匠之一冈岛邦介和木户家族木头家族的三名成员参与了Dairi的设计。Kigo Head家族是一个世袭的忠诚木匠家族，Kigo Harima、Kigo Janzaburo和Kigo Sakudayu参与了设计。在重建的早期阶段，中海屋町的冈岛口助被派去设计待重建建筑的库泰。冈岛使用当时最先进的木工技术完成了库泰的设计任务，同时努力遵守宫廷贵族的要求。Kigo Harima是忠诚的木匠家族的一员，他接过了Zousaku的设计任务，并以先例为指南发布了完工指导4。在宫廷贵族的命令下，Goyou-eshi的Tosa Mitsusada带头绘制了Shouheiga，使室内空间看起来令人印象深刻，并确定了fusuma的规格和每个房间的fusuma上应该画的画的标题，并为每个房间指定了一名画家。从这些画作的完成情况，包括有无色彩和画风，以及当时的画家队伍，我们可以总结出个别房间的等级。我们还知道绘画的实际设计：我们可以在Tosa家族的材料中找到Fusuma-e的粗略图样。较少

An interdisciplinary approach was used to carry out the study on issues surrounding the process of Dairi reconstruction in the traditional style in the Kansei Era: while the focus of the study was on architectural history, results of art historical study were also incorporated into the main study. Here are results of our interdisciplinary study.1. We deciphered Zoudairi-onsashizu-goyou-ki, which is one of the basic materials for studying the dairi reconstruction in the Kansei Era. We also collected and organized several materials: Nakai-ke monjo which is now in the possession of Masatomo Nakai, materials handed down in Kigo family and in Tosa family.2. On the basis of the analysis of materials, such as Zoudairi-onsashizu-goyou-ki, we examined the process of reconstructing the dairi in the traditional style to understand how the reconstruction plan was implemented. This examination uncovered how Shishinden, Seiryoden, Jomeimon gate and Tsunegosho (the residential building containing the … More emperor's living quarters) had been designed and reconstructed: design process was broadly divided into two categories, kutai (frame) which included making of floor, elevation and cross-section plans, and zousaku (finishing) which included interior finishing and fitting mounting, and kutai construction was implemented simultaneously with zousaku designing, which means that the process control was systematically implemented.3. It was confirmed that Okajima Kouzuke, one of chief carpenters of Nakai-yakusho, and three members of Kigo head family which is a hereditary loyal carpenter clan, Kigo Harima, Kigo Jinzaburo and Kigo Sakudayu had been involved in designing the dairi. In the early stages of reconstruction, Okajima Kouzuke of Nakai-yakusho was sent to design the kutai of the buildings to be reconstructed. Okajima used then-state-of-the-art carpentry technology to complete the kutai designing task while making efforts in complying with court nobles' requirements. Kigo Harima, a member of the loyal carpenter clan, took over the following task of zousaku designing and issued directions for finishing with precedents as a guide4. Under the orders of court nobles, Tosa Mitsusada, a goyou-eshi, took the lead in drawing shouheiga which gave an impressive look to the interior space, and determined specifications of fusuma and the title of the painting which should be drawn on the fusuma for each room as well as designating a painter for each room. From the finishing of those paintings, including presence or absence of coloration and painting style, and ranks of painters in those days, we could conclude grades of individual rooms. We also knew actual designs of paintings: we could find rough drawings of fusuma-e in the Tosa-family materials. Less