A person's food preferences clearly reflect their personality and status.

　Lively green wasabi, firmly formed white sesame tofu, translucent dashi with caramel color, served on elegant tableware, such as a cold plate named "kenzan-utsushi-tatsutagawa-mukozuke" (*1). A lacquered meal tray, as well as rikyubashi chopsticks (*2) with cedar scent from Yoshino district of Nara and a chopstick restraint with an autumn grass pattern.

　The guest room of a Sukiya style structure (*3) is filled with a fresh scent of tatami mats and equipped with a moss garden. The ink painting depicting the landscape by Tessai (*4) is being hung in the alcove of the room. The scent of incense wafts through the air.

　The entrance with an elegant shop curtain is faintly bright and roji the entrance way (*5) is moderately moist. They remind the guests of the way they've been walking here, which includes Eikando Temple covered by red maple leaves which they visited during the day.

　It is crucial to bring out the delicious flavors of ingredients, completing the dishes to their highest standard. At the same time, chefs of Japanese cuisine establishes the best harmony between the dishes and a variety of elements as mentioned above. The aesthetic consciousness that exists in Japanese cuisine creates a harmonious beauty, bringing together flavors and aesthetic elegance. This beauty is what chefs want to portray to their guests above all else; and when this resonates it creates emotion and pleasure.

(*1) kenzan-utsushi-tatsutagawa-mukozuke: A series of small plates, created by Ogata Kenzan, Kyoto-born potter in the 17^th century, featuring the pattern of the flow of a river and a unique plate shape formed by their patterns.

(*2) rikyubashi chopsticks: Devised by Sen no Rikyu, a great master of Way of Tea in the Momoyama era (16^th century), particularly for kaiseki dishes developed based upon the tea ceremony.

(*3) Sukiya style structure: An architectural style of ceremonial tea house.

(*4) Tessai: Kyoto-born literati painter, Tomioka Tessai (1836-1924), well-known for works of magnificent scale, painted with unrestrained brush strokes.

(*5) roji the entrance way: A type of a Japanese garden usually attached to a tea ceremony room.

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Today, Kaiseki-iyori, a multi-course Japanese cuisine, is widely used to serve guests. However, research shows that Kaiseki-ryori dishes were often used to enjoy liquor (sake) during the middle of the Edo period. However, few studies have analyzed this aspect, and the development is not clear. The purpose of this study is to clarify how the use of these dishes developed and to examine the characteristics of Kaiseki-ryori dishes using cookbooks, magazines, and essays.

Dishes for honzen and tea ceremonies are well-known in Japanese cuisine. They are used to serve rice and side dishes during a meal, and sake and snacks (syuko) afterwards. Conversely, Kaiseki-iyori dishes were often used to serve sake and snacks before rice.

A form of dish similar to Kaiseki-ryori has existed before Kyoho period (1716-35).There were several names for this type of dish, and they were served with various menus. Because there was no formality to their presentation, it was easy to arrange these dishes at a restaurant.

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This study aims to clarify the characteristics of the utensils for tea-ceremony in Japanese Traditional Furniture Reference Books-concept of architecture-. The trait of a historical transition and the description of the utensils for tea-ceremony in 40 Books were analyzed. The conclusions are as follows.
The number of items of tea-utensils in a functional classification is most, and the main content. It expresses the importance of tea-utensils among various furniture in books. As the characteristics of the description, several kinds are collected about one tool or furniture, the design size is detailed sometimes shown in old-rin-unit, and details like the material and finish, etc. are described as for the design.

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The philosophy running through the Nanpōroku 南方録 focuses on the aesthetic and spirit of rustic sōan hut-style tea 草庵 through contrasts with the luxurious daisu-style tea 台子 of shoin reception rooms. This philosophy is influenced by the beliefs expounded in the Lotus sūtra and in Zen Master Dōgen’s Shōbōgenzō and at the same time is given significance by these texts. The concept of sōan tea was also influenced by the codified regulations that governed daily monastic life at Zen temples, known as the “zenrin no shingi” 禅林ノ清規, and is considered characteristic of the Zen thought in the Nanpōroku. This paper examines what “zenrin no shingi” refers to in the Nanpōroku, and how these regulations influence the philosophy propounded in this text. It concludes that the term “zenrin no shingi” used here refers specifically to the Yuan-dynasty Chan master Zhongfeng Mingben’s 中峰明本 Huanzhuan qinggui 幻住庵清規 （J. Genjū’an shingi） text of monastic regulations, and that the philosophy of the Nanpōroku is influenced not only by the Lotus sūtra and the Shōbōgenzō but also by the Huanzhuan qinggui. In short, it can be said that the concept of the sōan, which emphasizes simplicity and asceticism, underlies the Zen philosophy of the Nanpōroku.

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With the aim of making historical and cultural evaluations of Japanese architectural method, we analyze the changes and repercussions of Dogu-Hinagata (Japanese Traditional Furniture Reference Book) on architecture. Firstly, Dogu-Hinagata can be categorized into 2 types: One that emphasizes the concept of courtesy, and the other that elucidates the design aspect. We already analyzed the books of the former type bibliographically and typologically. In this paper, we have concentrated on the latter type and organized 40 works into 10 types based on their bibliographical backgrounds. The 10 groups consists of 6 types among the 33 works on Buke houses, and 4 types among the 7 works on Teahouses.

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Kindai-Sukisha (a master of the tea ceremony in modern age) made many wooden high-class Japanese style residences. ‘Inakaya’ (country cottage) is a kind of teahouse by Kindai-Sukisha.
This article regarded ‘Inakaya’ as a style of the residence in modernization. And it aims at clarifying the origin of ‘Inakaya’ and the process of change from the descriptions in the tea party records by Kindai-Sukisha.
The house called an ‘Inakaya’ changed from the small hut to the reconstructed big farmhouse. The point of view of ‘Inakaya’ is that create new style of teahouse by Kindai-Sukisha himself, without an architect or a master of tea.

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Paintings of craftsmen, Shokunin-e, portray people of various occupations. While early Shokunin-e paintings in the medieval period illustrate craftsmen without any background, Shokunin-e paintings in the early modern period depict people working at their workshops, and the Kitain-version is the most notable example of the latter. The previous studies argue that the Kitain-version's depictions are taken out from those of paintings of the scenes in and around the capital (Rakuchu-Rakugau-zu). This paper, however, argues that, while the Kitain-version is obviously under some influence of Rakuchu Rakugai-zu and other genre paintings, important features of the Kitain-version, which are different from depictions in other genre paintings, should be examined. Based on discussions on these features with comparisons to other early modern genre paintings, this paper concludes as follows. First, paintings with focus on the life of ordinary people gained popularity in the early 17th century, and its root lied in the Oda-Toyotomi era. Second, the Kitain-version, however, is more than just depicting citizen's life. By incorporating traditional Shokunin-e style, it illustrates craftsmen as people with distinguished skill and social status. The purpose of the Kitain-version was not just to illustrate ordinary people but also to honor them, which was innovative compared to its contemporary genre paintings.

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