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里重建过程进行研究：在研究的重点是建筑史的同时，艺术史研究的结果也被纳入主要研究。这是我们跨学科研究的结果。我们破译了《祖dairi-onsashizu-goyou-ki》，这是研究关西时代乳品重建的基础资料之一。我们还收集和整理了一些资料：现在由中井正友拥有的中井纹文条，木吾家族和土佐家族传下来的资料。在材料分析的基础上，如Zoudairi-onsashizu-goyou-ki，我们考察了传统风格的乳品室重建过程，以了解重建计划是如何实施的。这次考察揭示了新登、世良登、九美门和Tsunegosho（包含更多皇帝居住区域的住宅建筑）是如何设计和重建的。设计过程大致分为框架（包括楼面、立面和截面图的制作）和装修（包括室内装修和配件安装）两大类，施工与装修设计同时进行，过程控制是系统地进行的。经证实，中井屋的首席木匠之一冈岛广介和木吾家族的三名成员——木吾哈里马、木吾金三郎和木吾Sakudayu——参与了奶牛场的设计。木吾是一个世袭的忠诚的木匠家族。在重建的早期阶段，中井屋社的冈岛Kouzuke被派去设计要重建的建筑物的kutai。冈岛用当时最先进的木工技术完成了kutai的设计任务，同时努力符合宫廷贵族的要求。忠诚的木匠家族成员纪吾哈里马（Kigo Harima）接手了佐佐板的后续设计工作，并以先例为指导发布了完成指示。在宫廷贵族的命令下，宫女光田土佐（音）率先绘制了给室内空间以深刻印象的屏风，并确定了屏风的规格和每个房间应该画的画的标题，并指定了每个房间的画家。从这些画作的修饰，包括有无着色和画风，以及当时画家的等级，我们可以得出单个房间的等级。我们也知道绘画的实际设计：我们可以在土佐家族的材料中找到fusuma-e的草图。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