This paper is a study on the construction and subsequent history of Tokujin-do at Koishikawa Korakuen Garden, a site designated as a Special Historic Site and a Place of Special Scenic Beauty, located in Bunkyo Ward in Tokyo. Tokujin-do was reroofed and partially repaired from December 2012 to March 2014, during which time the building was examined from both an architectural and historical point of view.
 Until now, Tokujin-do was thought to have been built by Tokugawa Mitsukuni (1628-1701), the second feudal lord of Mito Domain, as a worship hall dedicated solely to Boyi and Shuqi, two ancient Chinese wise men he revered. However, historical sources have revealed that it was actually rebuilt during the period of July 1665 (Kanbun 5) to January 1668 (Kanbun 8) to enshrine the images of Boyi and Shuqi, which had originally been placed in Isei-do, together with the image of Taibo formerly enshrined in Shitoku-do. Furthermore, after the death of Mitsukuni, the name of the building was changed firstly to Koshi-do, then to Shaka-do. After 1718 (Kyoho 3), the name was changed again to Hachiman-do when the God Hachiman was transferred from Sanuki, the hometown of Munetaka, who was the fourth feudal lord of Mito Domain. Later in 1820 (Bunsei 3), the building enshrined solely the images of Boyi and Shuqi, changing its name once again to Tokujin-do. At this time, the images of Boyi and Shuqi together with the image of Taibo, which had until then been stored in a different place, were lost in a fire; thereafter the images of Boyi and Shuqi were made anew.
 As stated above, so far, the changes made to Tokujin-do have by and large been revealed purely from the analysis of historical sources and not from an architectural study of the building itself. Therefore, the building was architecturally examined with a focus on and around the alcove where the images were enshrined in order to shed light on the history of Tokujin-do. The following points were made clear in the study. 1. At the time of construction, the width of the frontage of the alcove was 2 bays with one circular pillar to the east of the center of the building. The western side of the alcove was wide and shelves were placed on the eastern side. 2. In the mid-Edo period, the alcove was renovated by replacing the original circular pillars with 2 new circular pillars and changing the width of the frontage to 1 bay. 3. In the late Edo period, the ornamental beam was raised and the sheets of timber that constituted the side walls were removed. 4. The renovation process of the alcove is not inconsistent with the placement and removal of the images that occurred according to historical sources.
 From this study, it is evident that the history of the enshrined images and the renovation process in and around the alcove is divided into 3 periods: 1. At the time of construction from 1665 to 1668 (Kanbun 5 to 8): Taibo, Boyi, Shuqi 2. From 1718 (Kyoho 3) onward: God Hachiman 3. From 1820 (Bunsei 3) to the present: Boyi, Shuqi.

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Shinsen Man’yōshū is the first anthology of waka (tanka) in the Heian period, compiled in the last decade of the 9^th century. It is well-known that there is a kanshi (qiyan jueju: four-lined seven-syllabic regulated verse in classical Chinese) in tandem with every waka, forming waka-kanshi pairs.

　Although the two sides of the pairs share many similarities in content, the kanshi are not translations of the waka. This paper focuses on the differences in the images of seclusion of the pairs, especially those including expressions about mountains.

　On the waka’s side, secluding into mountains refers to Buddhist practice, whereas on the kanshi’s side, it usually represents an ideal haven for Taoist hermits. This Buddhism vs. Taoism comparison shows that the purpose of the compiler(s) and kanshi composer(s) was to present a comparative perspective of the two literary traditions, as we know from the first volume’s preface that the kanshi were composed after the waka’s compilation.

　The perspective achieved above should not be limited within Shinsen Man'yōshū. It offers us insight into the Heian poets’ comprehension of the waka-kanshi correlation. Therefore, it is fully viable to apply the perspective in the explanation of waka in Kokin Wakashū, which was compiled about ten years later than Shinsen Man’yōshū .

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 This paper is a study based on surveys conducted for Tokujin-do at Koishikawa Korakuen Garden, a site designated as a Special Historic Site and a Place of Special Scenic Beauty, located in Bunkyo Ward in Tokyo. Tokujin-do was reroofed and partially repaired from December 2012 to March 2014 during which time traces and marks left in the building were examined and historical materials were analysed.
 A separate study discusses Tokujin-do from a historical point of view while also investigating the changes made to the alcove and the images which it enshrined. However, previous studies which focus mainly on the early modern period have not examined changes that occurred thereafter. Furthermore, there is no reference to an architectural examination of the building other than its alcove. Since the latest surveys conducted for the building have revealed that parts of the roof and some of the fixtures had been renovated during and after the late modern period, this study will analyse the survey results and summarize the changes made to Tokujin-do from its construction to the present.
 Based on this study, the changes made to Tokujin-do can be summarized as follows. (1) Tokujin-do was constructed during the period of 1665 and 1669 (Kanbun 5-9) to enshrine the images of Tai Bo, Boyi and Shuqi. It is possible that vegetal materials were used for the roof covering. (2) During the period of 1700 and 1702 (Genroku 13-15), the building changed its name firstly to Koshi-do, then to Shaka-do. Tile roofing was used at this point. (3) After 1718 (Kyoho 3), the name was changed to Hachiman-do and the alcove was made smaller. This was also when the images of Tai Bo, Boyi and Shuqi were transferred to a different place. (4) In 1820 (Bunsei 3), when the building was renamed Tokujin-do once again, the frontage of the alcove was widened to hold the newly created images of Boyi and Shuqi. Thereafter, the building and images were partially repaired during the Edo period. (5) During the first half of the Meiji period (1868-1887), extensive repair works took place, which involved the dismantling of the roof truss, frame and its surroundings as well as the floor face. The roof covering was made with shingles. (6) From then on until this day, the building has been repeatedly reroofed using different roofing material such as iron sheets and copper sheets.
 This study examines Tokujin-do from historical sources as well as from surveys and an analysis of the building itself. The findings from the paper will not only help explain the importance of Tokujin-do in relation to Confucianism architecture, but should also contribute to further studies of garden design history as well as in the fields of politics, philosophy and religion.

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応永二十三年（一四一六）七月、桂川のほとりに、地蔵菩薩の石像が忽然と現れたという。その地蔵菩薩像の「示現」が巻き起こした祝祭の渦を描き出した『桂川地蔵記』は顧みられることの稀な書であるが、その記述には、室町時代の真名をめぐるリテラシーとレトリックの水準の高さが現れている。この真名表記テキストは、類書、往来物としての本質を生かし、名詞の列叙、用言の列叙を駆使して、世界の豊かさ、活力と秩序を表象している。そこには、吏の漢学から類書・往来物の漢学へと展開した数百年にわたる知の伝統が息づいている。この広範に流通した知の系脈の内実と意義を捉えることは、古代から中世に至る日本の表現史、文化史、学問史の帰趨を明らかにする上で不可欠である。

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