• Journal of East-Asian Urban History
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• v.1
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• pp.99-134
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• 2019

In the Edo period, there were many samurai residences with gardens in Edo. In the 20^th century, some of these gardens were inherited and new gardens were also cultivated in Tokyo. Because of this, Tokyo in the 20^th century has been a garden city since the Edo period. This study shows the characteristics of gardens inherited today from the 20^th century and the succession process of these gardens in the 20^th century.

• Fashion & Textile Research Journal
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• v.5 no.1
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• pp.43-52
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• 2003

The purpose of this study was to investigate the characteristics of traditional blue color between Korean and Japanese traditional costumes. Korea and Japan as the neighboring country of geographically and historically, but showed obvious difference in traditional color. In this study we investigated the blue color characteristics that appear on Korean and Japanese traditional costumes. We researched the characteristics of blue color on color names and color tones through the old Korean and Japanese literatures, costume remains and restoration dyeing fabrics. This study researched the Chosun Period in Korea and Edo Period in Japan. The results of this study Were as following; Many differentiation colors appeared in Chosun and Edo period than former ages. These differentiation colors were made giving differences gradually in basic color, hue, value and chroma. The blue color names appeared 40 names in Chosun Period and 57 names in Edo Period. In these blue color names of Chosun and Edo Period, the common color name was not more 'indigo'. The most highly appearanced blue color hues of costume remains in Chosun and restoration dyeing fabrics in Edo Period were blue and purplish blue. The most highly appearanced blue color tones were dull and moderate. By result of preceding descriptions, the characteristics of national color were not come from difference of dye and dyeing method, could know that come from difference of society and cultural environment.

• Proceedings of the Korea Water Resources Association Conference
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• 2008.05a
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• pp.19-25
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• 2008

Nihombashi district, which is located in a heart of Tokyo Metropolitan area, has been flourished as a Japanese economic and cultural center since Tokyo was developed as a capital. Nihombashi district has still remained the Edo idea of stylishness since the government of Edo was established in 1603. During Edo period, population of Edo (former name of Tokyo) reached one million. Edo became one of big city around the world. Nihombashi district has been transformed as economical, financial and cultural center, along with modern transformation of Tokyo. During high economic growth (1955-1975), Nihombashi Bridge and River, which used to a symbol of Tokyo, have been covered with elevated highways. The river was polluted whereas the river does not have any relationship with people's daily activities. Since Japan has focused on environment concern in 80's, people and companies in Nihombashi district and Nihombashi River also requested to restore Nihombashi district and Nihombashi River. There are a lot of projects going on related to regenerate the river and the community, such as to remove highways covered with the river, restore river environment and run water navigation. This article mentioned to introduce the project of Nihombashi River and Nihombashi district that regenerate the community to capitalize history and geographic characteristics in Nihombashi district, to run water navigation through the river, and to review outcomes through various projects.

• Journal of the Korea Fashion and Costume Design Association
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• v.18 no.4
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• pp.117-124
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• 2016

This study considered about freaky design of men's wear in Edo period, and also compared and analyzed it to modern men's wear. The purpose for this study is to contribute to the development of modern men's wear by this analysis. Edo period was a male dominated period, so culture of showing off their powers appeared in their fashion as symbols of skulls, monsters or tattoos. Kabuki culture used this kind of social background and it incited the actors roles and clothes to become more famous. 2016-17 F/W, 2017 S/S modern men's wear expressed more various freaky design, so it was able to be classed as shapes, pattern, materials and total coordination. Edo period just expressed freaky design by symbols however, freaky design in modern men's wear is showing more various expressions. This study can conclude that freaky design usually shows weird, peculiar, scary and dampish images. Also freaky design showed in the persuit of various choices including parade of power in modern men's wear.

• Journal of East-Asian Urban History
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• v.3 no.1
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• pp.83-120
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• 2021

This article analyzes the publicness of early modern cities and the character of samurai residences as urban dwellers through the water supply and use of the Edo period in Japan. Firstly, in Edo, a megacity with a population of about one million, the Shogunate organized samurai residences (mainly those of feudal lords, Daimyo) into geographical organizations, and samurai residences paid for the repair of water facility and the water fee, just the same as the townspeople. Next, in Fukui (provincial castle town), samurai residence (Daimyo's vassal) organization for waterway didn't exist. The samurai residences were relieved of the burden of maintaining the waterways due to poverty. And, before the later Edo period, samurai vassals were not punished for violating the rules on water use, but they were eventually included in the punishment. The gap in feudal status between samurai and townspeople narrowed. It was a process of creating a modern urban society composed of equal dwellers. Although Edo and Fukui belonged to the same category as castle towns, the urban publicness and the position of samurai residences were different due to their dissimilar political positions as the Shogunate capital city and the Daimyo's provincial castle town.

• Cross-Cultural Studies
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• v.25
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• pp.775-798
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• 2011

From Post-Modern Edo-language of Japan, it is possible to find expression formats related to current Tokyo language. However, in some cases, Tokyo language and Edo-language has the same format but different usage. One example is the ending portion of a sentence. This research investigates conclusive expressions of Edo-language in literary works excluding the usage of "ダ". Various formats of conclusive expressions appear in a conversation, and the usage is closely related to the speaker's sex, age, and social status. Also from the study, it was possible to see that the social relationship between a speaker and a listener and a conversation circumstance has an effect on the usage of conclusive expressions. In addition, usage does not conform to the current standard Japanese. 1. Currently "である(dearu)" format is seldom used in speaking, it is used with "だ" only in writing. The study found no case of "である(dearu)" in conclusive expressions but some use of "であろうて(dearoute) であらうな(dearouna)" "であったのう(deattanou) であったよ(deattayo)" only in old aged male. 2. "であります(dearimasu)" format is a typical Edo-language used by society-women (Japanese hostess who has a good education and an elegant speaking skills). This format was used once in "浮世風呂"(ukiyoburo) and 14 times in "梅?"(umegoyomi), but speakers were always a female. The reason for 14 occurrences in "梅?" is closely related to the fact that the main characters are society-women and genre is "人情本(ninjoubourn)" which is popular type of cultural literature (based on humanity and romance) in late Edo period. 3. "でござる" format is originally used as a respect-language but later changed to a polite language. The format is always used by male. It is a male language used by old aged people with a genteel manner such as a medical doctor, a retired man, or a funny-song writer. 4. "ございます(gozaimasu) ごぜへます(gozeemasu)" The study found the speaker's social status has a connection with the use of "ごぜへます(gozeemasu)" format. Which is "ございます(gozaimasu)" format but instead of [ai], long vowel [eː] is used. "ごぜへます(gozeemasu)" is more used by a female than a male and only used by young and mid-to-low class people. The format has a tough nuance and less elegant feel, therefore high class and/or educated ladies have a clear tendency to avoiding it

• Proceedings of the Korean Society of Surveying, Geodesy, Photogrammetry, and Cartography Conference
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• 2002.04a
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• pp.25-33
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• 2002

Historical maps are precious materials, which show spatial distribution of land use, streets and so on at the time when the maps were produced. In analysis of historical maps, the most practical method is to compare them with the present ones, for instance by overlaying them. However, the low precision, in the geometrical sense, of the historical maps makes the task of comparison very difficult. This drawback brings us the idea to incorporate the historical maps into GIS after rubber-sheet transformation, i.e. geometric correction, of them. It makes comparing and overlaying multiple maps from different time periods. Furthermore, it gives map-scales to the historical maps, which are not in general represented on the old maps, and if we allow ourselves to ignore the changes in terrain from past to present, it will make overlaying of present contour lines on the historical maps. As a result, we can bring the points of view of quantitative consideration and three-dimensional visualization into analyses of historical map. We have addressed incorporating historical maps produced in Edo period (1603-1867) in Japan into our GIS for Tokyo. This article shows the outline of our procedures and some applications, e.g., overlaying different maps from Edo period to present, quantitative analyses of land use in Edo, and visualization of landscape of Edo.

• Korean Journal of Human Ecology
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• v.13 no.5
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• pp.799-809
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• 2004

Our study found that the types and forms of patterns of Japan, although they are similar to those of Korea and China, hold their own distinctive aesthetic awareness. They were made so, because the Japanese had not simply copied the patterns from other countries and also had changed them in various ways for ages. Especially, geometric patterns were widely used on some types of kimono costumes and belts in Edo period. One of the most widely used patterns was called Suk Chup Mun, and Tatewaku pattern was another. The San Gil Mun and Chil Bo Mun pattern was least used. In the patterns combination, that of animal and plant patterns was general. A single geometric pattern was not used, but if any, it was in Sima patterns and latticed patterns. On the other hand, the combination of geometric and plant patterns was more frequently used as composite patterns than any other pattern, such as geometric pattern with home tools, or one with animal patterns or nature patterns. The geometric patterns that had appeared in Edo period were combined in paintings along with animal and home tools patterns, so it could become a representative pattern of the age.

• Korean Journal of Human Ecology
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• v.18 no.1
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• pp.189-200
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• 2009

In the Edo period speaking of hair culture, common women wore decorative pigtail ribbons on the right, and twisted from side to side their tressed hair in such a manner as ungeunmeori and traemeori. Instead of gachae, common women used gogae made of their own hair, ungeunmeori on forehead, or jjokjinmeori at the back of head. During the Edo period, people women naturally exposed their necklines as a way of exposing their faces in the aesthetically ceremonial act of wearing make-up. As for lipsticks, they rouged extracts from red petals of safflowers mainly on their lips, and sometimes on their cheeks by blending this with white powder. Samurai families disliked women who wore thick lip makeup. In the latter period, women painted their necklines or foreheads black, applied a small amount of rouge on their cheeks thinly or thickly, and colored a reddish color into their fingernails by using petals and leaves of balsam flowers. Despite the chronological and spatial proximity of the King Jeongjo period and the Edo period, it was found that there were no similarities between two countries' cosmetic cultures. Moreover, it was discovered that current TV dramas were being produced, even not based on historical evidence in the Jeongjo period.

• Journal of Fashion Business
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• v.20 no.4
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• pp.1-14
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• 2016

Japan has several unique traditional colors. The traditional colors of Japan include a collection of colors used in traditional Japanese literature, textiles such as the kimono, and other Japanese arts. Japanese color system has a long history, leading to some consistencies in color and naming. During the Edo period(1603~1867), the unique color sense of 'iki' produced many color names that are often related to mouse(nezumi) and tea(cha), and fashion color originated as kabuki actors. As for colors named after animals, the most popular appears to be the mouse, which is used to express grey tones. Recently, many fashion companies in Japan have been working on reviving an interest in traditional Japanese colors. Ordinary people of Edo named even slightly different color tones, each with individual exquisite and mind valuing 'iki' senses. They translated these into their livelihood and culture. The colorimetry result of 49 restored dyed fabrics were as follows; Hue difference was 7.8, value difference was 2.9, chroma difference was 1.8 of prefix siro. Hue difference was 3.8, value difference was 1.6, chroma difference was 1.7 of prefix usu. Hue difference was 3.5, value difference was 1.5, chroma difference was 1.4 of prefix cha. Hue difference was 6.4, value difference was 1.1, chroma difference was 1.6 of prefix koi. Hue difference was 7.5, value difference was 0.8, chroma difference was 3.3 of prefix nezumi.