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

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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