本稿の目的は，京都を訪れた旅人の居住地や身分・職業などの属性によって，名所の選択に生じる差異とその要因を明らかにすることである。そこで，武蔵国からの旅人を，江戸居住者と江戸近郊居住者に分類した。そして，名所訪問を行った日数，訪れた名所や，両者のルートなどの比較を行った。その結果，以下の知見が得られた。まず，江戸居住者は近郊居住者よりも長い日数を名所見物に費やし，多くの名所を訪れていた。次に，両者では選択したルートに差異がみられた。ルートが定型化する近郊居住者とは異なり，江戸居住者の行動は多様であり，広範囲の名所を網羅的に訪れていた。そして，江戸居住者は近接した名所をすべて訪れる傾向がみられた。これは，彼らには「知識人」といえる性格を持つ者が含まれ，時間的に余裕があっただけではなく，名所に関する知識・教養を持っていたためである。

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.

 The purpose of this study is to clarify the characteristics of the positions of Jizo in Kyoto through analyzing the newspaper articles and photos especially about Jizo and Jizo-bon festival from early modern period to today. In this paper, we clarified the transformation of the social position of Jizo that had been emerged by the social problems through Jizo.

 The results of this study are as follows.

 After the order in 1871 to remove Jizo on the street, there were 4 periods the number of articles of Jizo increases as follows. ①The first period from 1887 to 1892 that the revival of Jizo-bon festival was paid attention as the curious affair. After this period Jizo and Jizo-bon festival became to be general as the usual situation before the order. ②The second period from 1929 to 1941 that Jizo and Jizo-bon festival had been the object of deeper and various interests, and after the outbreak of the Shino-Japanese War and the Pacific War, had been influenced strongly and utilized enhancing national prestige. ③The third period from 1952 to 1958 that Jizo-bon festival was appealed for the purpose of the democratic education after the war as the festival mainly for and by the children. ④The fourth period from 1971 to 1984 that the most interest was drawn, and the Jizo-bon festival was recognized to be necessary for the community work or the community formation, and such the recognition became established.

 The revival of Jizo-bon festival was reported from 1881, and it became established again as the urban festival in Kyoto city in around 1899. And the changes of the road environment influenced to remove the location of the Jizo-bon festival in the 30’s of Showa period.

 Through this study the process of the Jizo’s re-position facing to the street has been clarified that the position of the Jizo in usual situation was seen in some of Cho in around 1892, and they began to be positioned under the eaves of the shop house facing to the street in around 1900. Before early Showa period such the positions became general.

 Analyzing through the newspaper photos, the outside location of Jizo-bon festival had been changed from the road into the other outside space like the alley, the rooftop, the temple, the park or the primary school, or into the inside space of the house or the temple. And the elements of the festival became to be composed from the long-term setting materials into the short-term ones. These changing terms were from the 30’s to the 50’s centering the 40’s of Showa period, and these periods overlap with the changing periods of the road environment.

Originally a medieval Buddhist folk event, Rokusai-nenbutsu (nenbutsu means Buddhist invocation) in Kyoto largely changed into a more entertaining folk performing art in the latter half of the early modern period, i. e., from the late 18th to the early 19th century. Some of the most distinctive features of the invocation can be seen in its performers’ geographic movements and distribution. That is, the performers were peasants who lived in Kyoto’s surrounding villages. Organizing community-based associations (kochu) for the invocation, however, they came to the city to perform at shrines and temples and on the street there.

This article reveals the regional relationship between Kyoto and its surrounding villages in the early modern period by analyzing Rokusai-nenbutsu, what it was and how it changed.

According to my analysis based on many historical documents, the invocation in the latter half of the early modern period, and its performers’ geographic movements and distribution, demonstrate a stronger relationship with Kyoto City than in the earlier period.

This is because Rokusai-nenbutsu became more entertaining, thus popular in the city, which also meant that the performer-peasants could expect extra income in their off-season. They therefore needed to form a stronger relationship with Kyoto as the place where they could be rewarded both aesthetically and financially.

This stronger relationship can be also interpreted as a reflection of Kyoto’s cultural influence over its surrounding villages, and how strongly they became culturally connected to each other. This can be demonstrated by the distribution of Rokusai-nenbutsu associations, their concentration within an approximately eight-kilometer radius from the center of the city, which occurred during that period. This phenomenon can be regarded as the city’s cultural influence that manifested as “a selection of cultural phenomena (based on a major geographic factor).”

Not only the Rokusai-nenbutsu but also city festivals in Kyoto in those days showed a similar pattern, i. e., a stronger cultural relationship between the city and its surrounding villages. This can be contextualized in the larger flow of the social and cultural history of the “behavioral culture” that gained popularity nationwide.