Photo Collections

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Photo Collections 写真集　shashin shu

During the Bakumatsu Period and after the Meiji Restoration, many foreigners came to Japan and some of them left us great photo collections.

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The Meiji Restoration (明治維新 Meiji Ishin),
also known as the Meiji Ishin, Renovation, Revolution, Reform or Renewal, was a chain of events that restored practical imperial rule to Japan in 1868 under Emperor Meiji. Although there were emperors of Japan before the Meiji Restoration, the restoration established the practical abilities and consolidated the political system under the Emperor of Japan. The goals of the restored government were expressed by the new emperor in the Charter Oath.

The Restoration led to enormous changes in Japan's political and social structure, and spanned both the late Edo period (often called Late Tokugawa shogunate) and the beginning of the Meiji period. The period spanned from 1868 to 1912 and was responsible for the emergence of Japan as a modernized nation in the early twentieth century.
- - - More in the WIKIPEDIA !


. The BAKUMATSU aera 幕末 People visiting Japan .
between 1853 and 1867

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. Beato Felice Beato / Felix Beato .
(1832 – 1909)
... his influence in Japan, where he taught and worked with numerous other photographers and artists, was particularly deep and lasting.
- - - More in the WIKIPEDIA !

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Estebe Claude /  Claude Estèbe
Edition multilingue français, anglais

Yokohama Shashin (1860 - 1900)



- source : www.yellowkorner.com

French contemporary art photographer.
He is currently living in Paris where he teaches Japanese visual culture at INALCO University and works as an expert in photography for Guimet Museum.
He published “The Last Samourais” and was a fellow artist at French Villa Kujoyama in Kyoto in 2001.
In April 2013, he was one of the curators of the first edition of
“Kyotographie International Photography Festival”.
source :　tootyunggallery.com

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- - - - - Harvard College Library

Felice Beato (1834 or 1835-1909)
Brinkley, Francis
Adolfo Farsari (1841-1898)
Baron Raimund von Stillfried (1839-1911)
Ernest Goodrich Stillman
. Enami Nobukuni 江南信國(1859 - 1929) .
Kajima Seibei (1866-1924)
Kusakabe Kimbei (1841-1932)
Ogawa Kazumasa (1860-1929)
Shimooka Renjo (1823-1914)
Suzuki Shinichi (1855-1912)
Tamamura Kozaburo (b. 1856)
Uchida Kuichi (ca. 1844-1875)
- source : hcl.harvard.edu

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Baron Raimund von Stillfried: The photographer who invented Japan
by Lucy Alexander
Baron Raimund von Stillfried, a 19th-century pioneer of photography in Yokohama, was the first in Japan to recognize the new medium’s potential as a global marketing tool. Adept at producing theatrical souvenir photos, Stillfried also took the first ever photograph of Emperor Meiji and shocked Vienna when he imported Japanese teenage girls to the city to work in a mock teahouse.

“A Career of Japan” by Luke Gartlan
- source : Japan Times July 2016 -


"A Career of Japan" is the first study of one of the major photographers and personalities of nineteenth-century Japan. Baron Raimund von Stillfried was the most important foreign-born photographer of the Meiji era and one of the first globally active photographers of his generation. He played a key role in the international image of Japan and the adoption of photography within Japanese society itself. Yet, the lack of a thorough study of his activities, travels, and work has been a fundamental gap in both Japanese- and Western-language scholarship. Based on extensive new primary sources and unpublished documents from archives around the world, this book examines von Stillfried s significance as a cultural mediator between Japan and Central Europe.
It highlights the tensions and fierce competition that underpinned the globalising photographic industry at a site of cultural contact and exchange treaty-port Yokohama. In the process, it raises key questions for Japanese visual culture, Habsburg studies, and cross-cultural histories of photography and globalisation.
Luke Gartlan s book is a compelling and enjoyable read, and contributes major new perspectives to the growing field of Meiji photography. It will certainly be the authoritative work on Raimund von Stillfried, but it is also impressive for its contributions to other important areas of Meiji cultural studies, including representations of the emperor, photography of Hokkaido, and world s fairs.
Bert Winther-Tamaki (University of California, Irvine)"
- amazon com -


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A Career of Japan: Baron Raimund von Stillfried and Early Yokohama Photography

Book review by Luke Gartlan
- source : asianreviewofbooks.com/content -

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- - - - - Nagasaki University Database

Bauduin A.F. A.F.ボードイン [1820-1885] Netherlands
Beato F.ベアト [1834-] England. Yokohama.
Farsari, Adolfo ファサーリ [1841-1891] America.
Stillfried スチルフリード [1839-1911] Austria.

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Kusakabe, Kinbei 日下部金兵衛 [1841-1934] Kohfu. Kinhei Photo-studio at Yokohama.

Ogawa, Kazumasa 小川一真 [1860-1929] Gyota. Hohjun studio-Tokyo and his Company at Hiratsuka.

Suzuki, Shin-ichi 鈴木真一 [1835-1919] Shin-ichi Photo-studio at Yokohama,Tokyo.

Tamamura, Kozaburo 玉村康三郎 [1856-] Japan Photograph Company at Yokohama. Tamamura Photo-shop.

Tomishige, Rihei 冨重利平 [1837-1922] Yanagawa Tomishige Photo-studio at Kumamoto.

Uchida, Kuichi 内田九一 [-1876] Nagasaki. Kuichi-Do at Yokohama,Asakusa.

Ueno, Hikoma 上野彦馬 [1838-1904] Nagasaki. Ueno Photo-studio.

Usui, Shuzaburo 臼井秀三郎 [unidentified]

- source : oldphoto.lb.nagasaki-u.ac

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- - - - - National Diet Library, Japan
The Meiji and Taisho Eras in Photographs
- source : www.ndl.go.jp

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- - - - -- - - - - Old Japan

Old Japan is UK-based and was established in 1982.
Since that time, we have been buying and selling 19th Century photographs of Japan (inc. Meiji & Bakumatsu era), China and Korea. Our stock of Japanese photography in particular, is amongst the largest on the Web . . .
Terry Bennett
Wilhelm Burger
Karl Lewis
Michael Moser
Charles Parker
Pierre Rossier
H.F. Satow
T. Enami
Yokoyama Matsusaburo - and many more
- source : www.old-japan.co.uk

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- - - - - Kuniyoshi Project
Witty Work for Silhouettes
(Sono omokage hodoyoku utsushie, 其面影程能写絵) - utsushi-e
Publisher: Kadzusa-ya Iwazô (Kazusaya Iwazo)
- source : kuniyoshiproject.com ...

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- - - - - Old Photos of Japan
shows photos of Japan between the 1860s and 1930s. In 1854, Japan opened its doors to the outside world for the first time in more than 200 years. It set in motion a truly astounding transformation.

- - - - - Photographers featured
Adolfo Farsari
T.G. Ariga
Hanaya Kanbei
Henry Strohmeyer
Julian Cochrane
Kazumasa Ogawa
Kimbei Kusakabe
S. Kinoshita
Kozaburo Tamamura
Kuichi Uchida
Nobukuni Enami
Reiji Esaki
Studio Chidori
Teijiro Takagi
Y. Isawa
Yusa Studio
and many Unknown
- source : www.oldphotosjapan.com

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- - - - - Photos of Japan from over 100 years ago

Around 150 years ago in 1868, samurai rule was ended and Japan started moving forward into a new age. The whole system of govenment was changed and new technologies were introduced, but the “old Japan” Edo period atmosphere still lingered.



Yokohama
- source : waku2japan.com

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A Letter from Japan: The Photographs of John Swope(1908 - 1979)



As one of the first American photographers to set foot on Japanese soil at the end of World War II- - - even before Japan had officially surrendered -- John Swope experienced and recorded a critical, peculiar and fragile moment in the history of the East and of a war-torn world. His powerful photo essay is complemented here, as he had hoped it would be one day, by excerpts from the 144-page letter he wrote to his wife, the actress Dorothy McGuire, during the three weeks he spent traveling with an elite team of Edward Steichen Naval photographers tapped to document the release of Allied prisoners of war.

Swope went far beyond his official duties to convey the impact of World War II on the local population and the land, as well as the freed soldiers. Having visited Japan 15 years before, as a young man, he had a better sense than some of his colleagues of just what had been destroyed, and he struggled with it. His letter describes both his experiences and his emotional reactions to all that he saw; his photographs, together with those words, convey a poignant, highly personal view of this world in limbo, expressing a great sense of humanity and a profound sensitivity for the people on both sides of the conflict. A Letter from Japan presents 114 color plates, some of which, by way of contrast and background, cover Swope's work as a Hollywood photographer, his Life magazine career and his international travels from the 1930s to the 1970s.
source : www.amazon.com/dp

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John Swope (August 23, 1908 – May 11, 1979)
was a photographer for Life Magazine, and a pilot.
- - - A Letter from Japan: The Photographs of John Swope
- taken in August 1945 documents the devastation caused by World War II. This photographic essay was complemented by a 144-page letter to his wife Dorothy McGuire describing in detail his emotional experience when shooting these images.
- - - More in the WIKIPEDIA !

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. Japanese Architecture - cultural keywords used in haiku .

. - Doing Business in Edo - 商売　- Introduction .


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- ##shashin #photo #picture #photographer -
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woodwork in Edo

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. shokunin 職人 craftsman, craftsmen, artisan, Handwerker .
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Woodwork in Edo

Edo Moku-Chokoku (Wood Sculptures) 江戸木彫刻

Edo Moku-Hanga (Woodblock Prints) 江戸木版画

Edo Sashimono (Wood Joinery) 江戸指物

Kanda Kijichoo, kijimachi 雉子町 Kiji-Cho "pheasant district"　wood-craft workers

himonoshi 檜物師 "artisan making things from Hinoki cypress wood"

. kigu shokunin 木具職人 craftsman making wooden ritual tables .



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Edo Moku-Chokoku 江戸木彫刻 Wood Sculptures

■ Traditional Technologies and Techniques
1- 下絵 - For three-dimensional sculptures, the design is drawn directly on all four working surfaces. When preparing to carve deep-set reliefs or other works, working surface designs are drawn on paper using charcoal or a brush, etc
2- 木取り - When selecting timber, the craftsman pays close attention to the working surface of the wood, the reverse side of the wood and natural features such as knots.
3- 彫り - Chisels and engraving knives are used for wood carving, there being a work progression from rough carving to medium carving, and then finishing work. When the craftsman does light-set reliefs or other work, the process commences with medium carving tasks.
4- 仕上げ - When doing three-dimensional sculptures or deep-set reliefs, finishing involves the planing of the work. For light-set reliefs or other work, finishing involves either planing or polishing with scouring rushes.



■ Traditionally Used Raw Materials
Zelkova, Camphor, Cypress, Sandalwood, Paulownia, Cherry, etc.
ケヤキ、クス、ヒノキ、ビャクダン、キリ、サクラなど

■ History and Characteristics
The history of sculpture is very old. According to one theory, sculpting as a craft commenced along with the arrival of Buddhism in Japan in around the 6th century.

From the Heian through the Kamakura Periods (approx. 794-1333), there were a lot of Buddhist statues carved. Over time there was also a transformation from delicate and beautiful works admired by the aristocracy, to a flourishing of works that embodied the perceived heroism and ethos of the military classes.

On entering the Muromachi Period (1336-1573), the aesthetic simplicity of Zen Buddhism which did not require statuesque iconography came to the forefront. Therefore, the demand for statue sculptures was dwarfed by the demand for sculptures of decorative taste that could be applied to the pillars and transoms of shrines and temples. This field of application saw rapid development. Furthermore, during the Azuchi-Momoyama and early Edo Periods, a master carpenter called Hidari Jingoro 左甚五郎 rose to prominence.

Concerning architectural sculpting, in that it was a trade originally engaged in by carpenters, during the Edo Period from among the ranks of the master carpenters there was born a new class of craftsman called miyachoshi 宮彫師 (literally "palace sculptors"). These artisans specialized in the carving of decorative reliefs.

Whereas sculptors of Buddhist statues had previously separated the use of chisels and carving knives, the work of this new class of craftsman focused on the use of chisels.

Concerning buildings resplendent with sculpture in the vicinity of old Edo, the Yomei-mon Gate of Toshogu Shrine in Nikko 日光 - 東照宮の陽明門 is but one example.

During the Meiji Era (1868-1912), as western buildings began to appear in Japan, craftsmen who had previously been involved in the production of Buddhist iconography and the decoration of shrines and temples began to turn their attention to the carving of decorations in the western style. In the Diet Building constructed in the early Showa Era, there is a masterpiece of sculpting that was executed by a team of 300 craftsmen over period of more than three years.

Various timber species including Zelkova, Cypress, Cherry and Camphor, etc., are used in sculpting. Furthermore, the quality of finished work is as much dependent on preliminary sketches as on the carving skills of the craftsman. If the intent is to sculpt work that is in good taste, then in addition to an understanding of pictures and writing, the craftsman also requires knowledge of a wide range of other topics such as the Japanese art of the tea ceremony 茶道 and flower arrangement 華道.

Edo Wood Carving / Japan Wood Carving Federation
- source : www.sangyo-rodo.metro.tokyo.jp


. Hidari Jingoroo 左甚五郎 Hidari Jingoro .

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Edo Moku-Hanga 江戸木版画 Woodblock Prints

■ Traditional Technologies and Techniques
1- 絵師 - Artist (drawing of art)
The original drawing, known as a hanshita 版下, is a simple draft on thin paper which is created using black ink only. In that multiple colors will be applied to the artwork one at a time during the printing process, one copy of the hanshita is required for each color to be used. Once a hanshita drawing is created for each color, those areas to which that color is to be applied when printing are indicated using a light vermilion shading. Such areas shall remain raised (uncarved during the carving process).
2- 彫り師 - Carver (woodblock carving)
A hanshita drawing is pasted to a woodblock and the woodblock is then placed on the carving table. A carver's knife is used to carve the picture from the inner portion moving outward (starting at the center). Finally a special orientation reference mark known as a kento 見当 is engraved into the block. The kento helps align each individual woodblock during the printing process. The carving process is repeated in order to produce a carved woodblock for each of the colors to be printed. The color-specific hanshita are used during trial printing.
3- 摺り師 - Printer (application of colors)
Color pigments dissolved in water are applied to the surface of a carved woodblock using brushes. Paper is then placed face-down over the inked woodblock, and a disk-like hand tool called a baren ばれん is used to apply pressure to and rub the reverse side of the paper. The color-specific woodblocks created during trial printing are used to apply colors one at a time.



■ Traditionally Used Raw Materials
Woodblocks (cherry wood), Japanese traditional paper (predominately made from paper mulberry),
版木（桜材）、和紙（主として楮を原料）
color pigments (black, vermilion, red, green, purple, indigo, pink, gray)
絵具顔料（墨、丹、黄、紅、草、紫、藍、薄紅、鼠）

■ History and Characteristics
The Moku-Hanga (woodblock print) has an especially long history in Japan. Among the artifacts of the Shosoin Treasure House in Nara Prefecture, there is a picture of foreign origin that depicts such printing processes being employed to print designs on clothing approximately 1,200 years ago.

Furthermore, a woodblock print known as Hyakumanto Darani 百万塔陀羅尼 ("One Million Pagodas and Dharani Prayers") was also produced at around the same time.

Woodblock printing first achieved general acceptance when the nation entered the Edo Period (1603-1868), as Hishikawa Moronobu 菱川師宣 (1631-1694) began to produce ukiyo-e prints. At around the same time, the separation of production skills into those of the artist, the wood carver and the printer also occurred.

Initially only simple prints were produced (works printed from a single woodblock using black ink only). Later on, a method was devised for using vermilion in order to create color prints called tan-e. The use of more complex colors became established as time passed. From around the Tempo Era (1716-1735), beautiful hand-painted pictures called urushi-e 漆絵 (lacquer pictures) and beni-e 紅絵 (rouge-red pictures) began to be sold in Edo's markets.

Around the end of the Kanpo Era (1741-1743), a method of printing two-tone pictures in red and green was developed. Then, in the second year of the Meiwa Period (1765), Suzuki Harunobu 鈴木春信 (1725-1770) developed nishiki-e 錦絵 (brocade pictures). This represented a high-water mark for woodblock printing, no-longer was it a case of printing in just two or three colors. Rather, polychrome printing in 10 or more colors had arrived on the scene.

Woodblock printing techniques then approached completion as artists such as Kitagawa Utamaro 歌麿 (1753-1806) and Sharaku 写楽 (details unknown) created prints that were both graphic and offered elaborate expressionism. Moreover, at the end of the Edo Period, the landscapes of artists such as Katsushika Hokusai 北斎 (1760-1849) and Utagawa Hiroshige 広重 (1797-1858) demonstrated thoroughly the colorful nature of woodblock prints.

Ukiyo-e hanga 浮世絵版画 (ukiyo-e prints) represent a form of artistic expressionism in which an artist 絵師, a woodblock carver 彫師 and a printer 摺師 come together to work as one. The artist draws the original drawing on a thin piece of washi 和紙 (traditional Japanese paper). Using a carver's knife, the carver then carves the drawing that has been affixed to a woodblock (usually cherry wood). The carver repeats this process for each color to be printed. The work is then completed by the efforts of the printer who sets the paper to the inked woodblock and then uses a baren to apply pressure to it.

Please note that modern creative hanga prints in which a single person completes all production processes are not considered to be part of the traditional Moku-Hanga (woodblock print) craft.

Tokyo Traditional Wood-Block Print Craft Association
- source : http://www.sangyo-rodo.metro.tokyo.jp

- quote -
beni-e　紅絵

A black-line hand-colored woodblock print ukiyo-e 浮世絵 that began to be produced after tan-e 丹絵, although of similar technique.
Beni 紅 (a tawny yellow dye extracted from petals of safflowers) was applied to a black print, sumizuri-e 墨摺絵, with the brush instead of tan 丹, which has is a less delicate pigment.
It is said that this method was originated by a printmaker, Izumiya Gonshiro 泉屋権四郎, at the beginning of the Kyohou享保 era (1716-36).
It once was grouped with benizuri-e 紅摺絵 an early form of colored print, but these are now considered separately.
Among others, Okumura Masanobu 奥村政信 (1686-1764), Nishimura Shigenaga 西村重長 (1693?-1756), and Ishikawa Toyonobu 石川豊信 (1711-85) used this method.
The coloring was sometimes used in tandem with lacquered black outline prints urushi-e 漆絵, in the Kyoho era.
The word beni-e was first used at that time and the technique is seen in pictures by Okumura Masanobu and Nishimura Shigenaga.
Color prints using beni are found mostly in the Kyoho to Horeki 宝暦 eras (1716-64) and are the main technique apart from urushi-e.
Few such works survive from later times. Although beni-e precede urushi-e, they are technically very similar and the distinction is sometimes obscure.
Today these two are generally distinguished by the use of lustered China ink sumi 墨, painted with a brush.
- source : JAANUS -

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江戸指物 ー 下町職人の粋と意気
関保雄


sashimonoya 指物屋 furniture maker

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Edo Sashimono 江戸指物 Wood Joinery

■ Traditional Technologies and Techniques
1- 板の接合 - Furniture joinery techniques used in the production of Edo Sashimono include hagitsugi 矧接 (butted joints), hashibame 端嵌 接 (tongue and groove joints), hirauchitsugi 平打接 (flat braid joints), kumitetsugi 組手接 (box joints) and tometsugi 留接(wedge joints).
2- 框（棒）の接合 - The jointing of furniture frames involves aikakitsugi 相欠接 (halving joints), hozotsugi ほぞ接 (tenon joints) and tometsugi 留接 (wedge joints).
3- 塗り - When Edo Sashimono is lacquered, the following techniques are used:
・Fuki-urushi 拭漆: Raw lacquer is rubbed into the wood with a cotton cloth or brush and immediately wiped off before hardening. Repetition results in a coating that protects and strengthens the wood and highlights the beauty of its grain.
・Roiro-nuri ろいろ塗り: A polishing technique giving a high gloss. It is carried out by rubbing with a very fine abrasive such as pulverized deer horn applied to a cloth moistened with lacquer.
・Nuritate 塗り立 : A technique of applying a finishing coat of lacquer and allowing it to harden without subsequent polishing.
・Mehajiki-nuri 目弾き塗り: The application of lacquer to open-grained wood like Paulownia or Zelkova in such a manner that it is repelled by the grain, which thus remains visible.
If decorated, techniques such as maki-e 蒔絵 (sprinkled pictures) and raden 螺鈿(mother-of-pearl inlays) are used.




■ Traditionally Used Raw Materials
The following types of wood are used in the manufacture of Edo Sashimono: Mulberry, Zelkova, Paulownia and Cypress. Other timbers with similar properties may also be used.
木地は、クワ、ケヤキ、キリ、スギ又はこれらと同等の材質を持つ用材とする。
Natural lacquers are used. 漆は、天然漆とする。

■ History and Characteristics
"Sashimono" is a term derived from the traditional practice of using a woodwork ruler (or a "monosashi" in Japanese) to carefully measure timber materials in order to create box-shaped items of furniture, such being equipped with precise-fitting lids and drawers.

In Kyoto, the "sashimono" tradition enjoys a very long history, it being possible to trace the associated joinery skills back to the court culture of the Heian Period (approx. 794-1185). In those days, such furniture was made by hand by carpenters. The "sashimono" skills of dedicated "sashimonoshi" (specialized furniture joiners) evolved from the Muromachi Period (1337-1573) onwards, as furniture such as shelving, chests of drawers and desks all saw greater usage in samurai households. Furthermore, in accordance with the development of the tea-ceremony culture, it is said there was an increased demand for box-shaped items of furniture such as "sashimono".
Thus, the craft of the "sashimonoshi" 指物師 diverged from the carpentry profession along with a number of other artisan trades including "toshoji" 戸障子 (craftsmen of doors and shoji screens), "kudenshimiyashi" kuden shi miya shi 宮殿師みやし （宮大工） (craftsmen specializing in temple and shrine work) and "himonoshi" 桧物師ひものし or "magemonoshi" 曲物師 (craftsmen of bentwood products).

In Kyoto, "sashimono" developed into furniture that was used within the imperial court and among the aristocracy, as well as being used within the context of the tea ceremony. It was also loved as a genre whose designs touched on matters of elegance and simplicity.

By contrast, Edo Sashimono saw service with samurai families such as those of the Shogun and of the various daimyo (the feudal lords). Furthermore, much "sashimono" was made for the merchant class that rose from the middle of the Edo Period (1603-1868), and also for the use of Edo's Kabuki actors (in the form of theatrical chests).

The true spirit of craftsmen can be felt in Edo Sashimono in a number of ways. Firstly, there is the use of timbers with beautiful grains such as Mulberry, Zelkova and Paulownia, etc. Secondly, there is the skillful use of techniques even in locations that cannot be seen. Thirdly, there is an almost total absence of nails in the construction of "sashimono".

Behind the "sashimono" skills summarized as the arts of cutting, planing, sealing and carving, it is possible to feel the uniqueness of the craftsmen.

In that timber, derived from a living organism is what is used in the production of Edo Sashimono, the variety of unique adjectives such as "hardness," "sweetness," "dullness," "subtleness," "well-rounded," and "raw," etc., that could be used to describe the timber might be said to tell a story in themselves.

Edo Sashimono Cooperative Association
- source : www.sangyo-rodo.metro.tokyo.jp


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. shokunin 職人 craftsman, craftsmen, artisan, Handwerker in Edo .


source :　takeb777.at.webry.info

Kijichoo. Kiji machi 雉子町 Kiji-Cho "pheasant district"　- wood-craft workers
(a pun with the sound of kiji　木地 plain wood)
now in 千代田 Chiyoda, 神田司町二丁目 Kanda Tsukasamachi second sub-district

Kanda Kijibashi bridge 雉子橋 Kiji-Bashi, now in 千代田区神田 Chiyoda ward

. kiji gangu 木地玩具 toys from plain wood .

kijishi 木地師 maker of wooden items, wood turner
kijiya 木地屋 dealer, vendor of wooden items

They made bowls and plates to eat food, trays and other things for the daily life of the people. Many of the items were round and they worked them on a rokuro 轆轤 artisan's wheel, that was equipped with a special blade
rokuroganna　轆轤鉋　Kanna blade tool to shave wood.



The wheel was moved by a helper who pulled on two strings attached to the tool. The strings were made from leather and later from strong vines.
The blades and hooks for shaving the inside of bowls had to be adjusted to the purpose, to the Kijishi had also to be a sort of blacksmith.

To get the wood for sturdy bowls many craftsmen had to climb into the mountain forests to get it. Above a certain hight of a mountain they were allowed to cut trees for their trade.



.......................................................................

Other sources say Kiji-Cho was the hunting ground for pheasants, providing a favorite meat, of Tokugawa Ieyasu. There were also large cages to keep the birds.
He entertained the ambassadors from Korea with pheasant dishes during their visits in Edo.


source :　National Diet Library.
Outside View of 雉子橋 Kiji-Bashi (Bridge)

Saito Gesshin 斉藤月岑, the ward representative (nanushi)
Edo Culture: Daily Life and Diversions in Urban Japan, 1600-1868
By Matsunosuke Nishiyama, Gerald Groemer
- source : books.google.co.jp -

Saito Gesshin 斉藤月岑 (1804 -1878) lived at Nr. 8 banchi 神田雉子町八番地.
He compiled all kinds of books about Edo.

- quote -
雉子町（司町2丁目のうち）の名主、斉藤月岑（げっしん）
斉藤家は徳川家康入府の頃からの草創名主として雉子町ほか五町の名主を勤めていました。その一方前述の「多町市場」を監督する傍ら現在の江戸研究者にとって必読の書である『江戸名所図会』『東都歳時記』『武江年表』などをまとめあげています。
その郷土の誇る文化人である月岑の生家が神田雉子町八番地（現司町2丁目6番地と8番地の境辺り）です。
- source : daisuki-kanda.com/guide -

Kiji-Cho was also the home of the "bathouse" cum brothel, Tanzenburo　丹前風呂. This was erected before (zen 前) the grounds of the residence of (tan 丹)
Hori Tango no Kami Naoyori 堀直寄 丹後守 (1577 - 1639).



One of the ladies of these establishments called herself
Tanzenburo Katsuyama Tanzen Buro Katsuyama 丹前風呂勝山
三代目歌川豊国 Utagawa Toyokuni 3rd

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himonoshi 檜物師 "artisan making things from Hinoki cypress wood"
also called magemonoshi 曲物師 craftsmen of bentwood products
kurimono 刳物 "bent things"



Since the 15th century, they were specialized in bentwood products and other wooden items for daily use
(造物 tsukurimono).
Bentwood items were made of thin plates of cypress, bent into containers for keeping rice, for example
magewappa and kept together with the bark of kaba 樺 birch trees or sakura 桜 cherry trees.
Apart from cypress wood, sugi 杉 cedar and maki 槙 Maki conifers was also used.
Tsukurimono were square instead of bent.
They used all kinds of blades to cut the wood. The small slips for the bark were made with a took called
mesashi　目さし (eye-opening knife).
They also made hishaku 柄杓（ひしやく）ladles，sanbo 三宝　stands for the altar，meshibitsu 飯櫃（めしびつ）rice containers ，oboke 苧桶（おぼけ），seiro 蒸籠（せいろう）bamboo steamers，furui 篩（ふるい）sieves and about 40 other things.


source :　katodesuryohei desu
檜物師（横浜市歴史博物館編)

They worked in a hot enrivonment, because they needed fire (for hot water and heating metal frames) to soften and bent the wood. So in the summer heat they worked almost naked.
This was a kind of ijoku 居職 work done at the home of the craftsman.
The vendors of their products were called himonoya 檜物屋.


. magewappa まげわっぱ / 曲げわっぱ / マゲワッパ round bento box .

. hinoki 檜 or 桧 Japanese cypress .

.......................................................................

. Legends and Tales from Japan　伝説 - Introduction .

In Osaka 大坂立売堀中橋町
there lived a Himono maker in a rented shop. Once around 1655 there was a tremblor around six in the morning and then water from the sea welled up on his kitchen floor. When he wiped it off, it was soon back again. Next some fine earth came falling down from the ceiling. And something like a priest's ceremonial robe came down from the sky and hang on his roof.

In 富山県 Toyama, 備中国 Bitchu province
there lived a Himono maker with his daughter, O-Matsu. One night she came down with a high fever and the next morning, she had turned into a boy.

- source : yokai database nichibun -

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. tansu 箪笥 / 簞笥 -- たんす chest of drawers, Kommode .
tansuya 箪笥屋 Tansu cest maker in Edo

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Himonochoo　檜物町 / 檜物丁　Himono-Cho District in Edo
close to Nihonbashi - 東京都中央区八重洲一丁目・日本橋三丁目

The Eastern side of this district was the 外堀 Sotobori canal.



Following Tokugawa Ieyasu to Edo, the craftsman of Hinoki wood from Hamamatsu named
Hoshino Mataemon 星野又右衛門　settled here first in 1590 and became the headman of the craftsmen following him. His family held the title for many generations.

Another famous person who lived here was

. Tokiwazu Moji Tayuu　常磐津 文字太夫 Tokiwazu Mojitayu .
(1709 - 1781)
The was a narator and reciter of Joruri and began the Tokiwazu-bushi in 1747.
Jooruri 浄瑠璃 Joruri Bunraku Performance


. Himonya 碑文谷 Himonya district .
This is a very old district, dating back to the Muromachi period, when it was called
Himonoyoya 檜物屋 District of woodworkers with Japanese cypress
Now part of 目黒区 Meguro Ward.
Its name is a kind of pun with the sound and meaning of himon 碑文 meaning "inscription on a stone".


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. Japanese Architecture - cultural keywords used in haiku .

. shokunin 職人 craftsman, craftsmen, artisan, Handwerker .

. - Doing Business in Edo - 商売　- Introduction .

. senryu, senryū 川柳　Senryu poems in Edo .


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- #woodworkedo #edowoodwork #tokiwazu #himonocho -
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chizu maps

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. kiriezu, kirie-zu 切絵図 detailed maps of Edo .
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chizu　地図 maps of Edo

. chizu　日本地図 Japan maps as art motives .
- Introduction -

. Tozai Nanboku 東西南北 The Four Directions .
- Introduction -

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Five Maps of Tokyo / Edo


Edo 1844–48

snip
Mount Fuji last erupted in 1707, covering Tokyo in a layer of ash. A similar eruption today would be a major threat to the capital, as ash would likely paralyze transportation networks, leaving millions to make their way home on foot. This map, produced by the Cabinet Office’s disaster management team, is a composite based on prevailing winds in all seasons showing how much ash could fall. Tokyo (the pink section at upper right) looks set to get at least a few centimeters.
- source : Peter Durfee

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Map from 1752



European maps based on Kaempfer show a formal European-style garden at the heart of the palace. This is from a closed auction describing it as
"1752 [from] Prevost's Historie Generale des Voyages,"
- source : Bob on facebook 2017 -

Map from 1862
Bushu Toshima-gun Edo shozu 武州豊嶋郡江戶庄圖


- CLICK for enlargement !
- source : ... rare-map-of-tokyo... -

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National Archives of Japan 国立公文書館




- Exhibition catalogue -
- quote
「変貌－江戸から帝都そして首都へ－」
平成15年10月4日～10月19日


平成15年は、江戸開府400年にあたり、関係各方面で多彩な記念事業が行われました。
本展示会では、慶応4年（1868）に江戸から名を改めた東京が「首都」として徐々に成長し、関東大震災や戦災による大打撃を乗り越え、戦後は「首都圏」を形成するほどまで発展を遂げた足跡を、写真・地図・図面などを含む当館の所蔵資料約70点によって、ふりかえりました。
- source : www.archives.go.jp




- source : www.archives.go.jp/english

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Map of Edo castle, honmaru goten
明暦の大火前後の江戸城本丸図



- source : khori/Edo_castle_plan -


- discussion and more maps - Bob on facebook -

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Visit Edo with Google Earth
Google Earthで街並散歩（江戸編）


CLICK for more photos !

- source : yasuda.iobb.net -

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Most old maps show the four directions (the compass rose):



But there are some where the North is missing



for example
Tōkaidō bunken ezu 東海道分間絵図 ('shinpan' 新版 editions from 1752 and 1772)

- Join the discussion, October 2016
Edo compass rose without 'north'?
- source : PMJS listserve -

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東京の古地図
- source : hakkou-s.co.jp/chizutokyo/tokyomap... -

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文化江戸図 Bunka Edo Chizu 1811 - Tokyo

- source : lapis.nichibun.ac.jp/chizu ... -
International Research Center for Japanese Studies, Kyoto

日本王国図 (1735年)

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九州　Kyushu

- source : crcao.fr/2022/07... -

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Japoniae Insulae Descriptio (Descriptions of Japanese islands), 1595.
Luís Teixeira

This is not a Japanese painting, but it could be very interesting for all of us.
This map, drawn by the Portuguese Luis Teixeira, was the first printed map of Japan to appear in a Western atlas.
It shows all of Japan, part of Korea, and part of China.
The map is ornated with the title cartouche in the upper center and
a decorative scale of mileage in the lower right corner.
The 'privilegium' is written on the upper right side.
Villages and towns are shown as miniature views, and the map is further ornated with 3 ships.
- source: robynbuntin.com/ ... -

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- quote
Map of Banchō (Banchō Ezu 番町絵図)

Maps of Edo were originally printed on a single page, but as it grew into a major city,
it could not be fitted into a single map, while a larger map was difficult to carry around.
So, zonal maps dividing Edo into different areas
came to be published in the final days of the Tokugawa shogunate.
This map was the first one that went on sale.
- source : Tokyo Metropolitan Library -

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新発見- A new map was found
九州〜東北ほぼ全域！室町時代に描かれた日本最古級の地図が発見されました

. source : mag.japaaan.com/archives.... .


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. Famous Places and Powerspots of Edo　江戸の名所 .


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- #chizumap #mapchizu #chizu #maps
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bugyo in Edo

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. Edo bakufu 江戸幕府 The Edo Government and Administration .
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bugyoo, bugyō 奉行 Bugyo officials in the Edo government


source :　hakuzou.at.webry.info

江戸の名奉行 Famous Bugyo Governor from Edo
丹野顕 - Tanno Akira

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- quote from wikipedia -
Bugyō (奉行), often translated as "commissioner" or "magistrate" or "governor," was a title assigned to samurai officials of the Tokugawa government in feudal Japan; other terms would be added to the title to describe more specifically a given commissioner's tasks or jurisdiction.

During the Edo period, the numbers of bugyō reached its largest extent. The bureaucracy of the Togukawa shogunate expanded on an ad hoc basis, responding to perceived needs and changing circumstances.
- reference : wikipedia

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- - - ABC - List (to be updated) - - -

Doochuu bugyoo 道中奉行 - Dochu Bugyo - responsible for controlling the five routes out of Edo (Gokaido), their branch routes and related matters
. Edo Gokaidoo 江戸五街道 Edo Gokaido, Gokaidō - Edo Five Ruotes .

Edo machi-bugyō machibugyoo 江戸町奉行 – Magistrates or municipal administrators of Edo.
. Kita-machi-bugyō (北町奉行) – Kitamachibugyo - North Edo magistrate .
--
-- Minami-machi-bugyō (南町奉行) – South Edo magistrate.
- - - More in the WIKIPEDIA !

. Tooyama 遠山景元 Toyama Saemon no Jo Kagemoto .
(1793 – 1855) Edo Machibugyo


Fukiage-bugyō 吹上奉行 - Supervising the Fukiage park 吹上御苑
..... 吹上花畑奉行, 吹上御花畑奉行

Fushin-bugyō 普請奉行 – Superintendents of Public Works.
- - - More in the WIKIPEDIA !

Gaikoku-bugyō 外国奉行 – Commissioners in charge of trade and diplomatic relations with foreign countries after 1858.
- - - More in the WIKIPEDIA !

Gunkan-bugyō 軍鑑奉行 – Commissioners in charge of naval matters (post-1859).
- - - More in the WIKIPEDIA !


Gusoku-bugyō 具足奉行 – Commissioners in charge of supplying the shogunal armies.
- - Bugu-bugyō 武具奉行 – Commissioners in charge of supplying the shogunal armies (post-1863), replaced Gusoku-bugyō.


Hakodate bugyō 箱館奉行 – Overseers of the port of Hakodate and neighboring territory of Ezo / Hokkaido.
- - - More in the WIKIPEDIA !

. Haneda bugyō 羽田奉行 Haneda Bugyo governor .
commissioners of coastal defenses near Edo (post-1853).

Hata bugyo 旗奉行　- Oversees the flags.

Hyōgo bugyō 兵庫奉行 – Overseers of the port of Hyōgo (post-1864). In the Amagasaki domaine.
- - - More in the WIKIPEDIA !


Jisha-bugyō 寺社奉行 – Ministers or administrators for religious affairs; overseers of the country's temples and shrines.
- - - More in the WIKIPEDIA !

Jiwari-bugyō 地割奉行- Commissioners of surveys and surveying. ...official with responsibility for surveying land ..


Kanagawa bugyō 神奈川奉行 – Overseers of the port of Kanagawa (post-1859).
- - - More in the WIKIPEDIA !

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Kanjō-bugyō 勘定奉行 – Kanjo Bugyo - Ministers or administrators for Shogunal finance (post-1787).
- - - More in the WIKIPEDIA !

-- Gundai 軍代　– Deputies.
-- Daikan (代官)- Assistant deputies.
. Daikanyama 代官山 - Shibuya .

-- Kane-bugyō 金奉行 – Superintendents of the Treasury.
- - - More in the WIKIPEDIA !

-- Kura-bugyō 倉庫奉行 – Superintendents of Cereal Stores.
- - - More in the WIKIPEDIA !

-- Kinza 金座 – Gold za or monopoly office (post-1595).
- - - More in the WIKIPEDIA !

--　. Ginza 銀座 . Silver za or monopoly office (post-1598).
- - - More in the WIKIPEDIA !

-- Dōza 銅座 – Copper za or monopoly office (post-1636)[14] and (1701–1712, 1738–1746, 1766–1768).
- - - More in the WIKIPEDIA !

-- Shuza 朱座 – Cinnabar za or monopoly office (post-1609).
- - - More in the WIKIPEDIA !

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Kanjō-ginmiyaku 　勘定吟味役　– Supervisor of Financial affairs.

Kantō gundai 　関東郡代　– Kantō deputies.

Kinzan-bugyō 金山奉行 – Commissioners of mines.

Koshimono no bugyoo 腰物奉行 - Superintendant of the Government swords and armour
..... 御腰物奉行, 御腰物頭. 御腰物番頭

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Kyoto shoshidai 京都所司代 -- Shogunal deputies in Kyoto.
- - - More in the WIKIPEDIA !

-- Kyoto machi-bugyō 京都町奉行 – Magistrates or municipal administrators of Kyoto.
- - - More in the WIKIPEDIA !

-- Fushimi bugyō 伏見奉行 – Magistrates or municipal administrators of Fushimi (post-1620).
- - - More in the WIKIPEDIA !

-- Nara bugyō 奈良奉行 – Governors of Nara.
- - - More in the WIKIPEDIA !

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Machi-bugyō, machibugyoo 町奉行 – Magistrates or municipal administrators in shogunal cities: Edo, Kyoto, Nagasaki, Nara, Nikkō, and Osaka.
- - - More in the WIKIPEDIA !

Nagasaki bugyō 長崎奉行 – Governor of Nagasaki. He enjoyed a lot of freedom with the foreigners.
- - - More in the WIKIPEDIA !

Niigata bugyō 新潟奉行 – Overseers of the port of Niigata.
- - - More in the WIKIPEDIA !

Nikkō bugyō 日光奉行 – Overseers of Nikkō.
Nikkō houses the mausoleum of shogun Tokugawa Ieyasu (Nikkō Tōshō-gū)
- - - More in the WIKIPEDIA !


Ongoku bugyoo 遠国奉行 - magistrates placed at important areas directly controlled by the government

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Osaka jōdai 大阪城代 – Overseers of Osaka Castle.
- - - More in the WIKIPEDIA !

-- Osaka machi-bugyō (大阪町奉行) – Magistrates or municipal administrators in shogunal cities.
- - - More in the WIKIPEDIA !

-- Sakai bugyō 堺奉行 – Overseers of the town of Sakai, a significant trade center
- - - More in the WIKIPEDIA !

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Rōya-bugyō 牢屋奉行 – Roya Bugyo Commissioners of the shogunal prison.
His official residence was immediately adjoining the same prison, in Kodenma-chō, Kodenmacho.
- - - More in the WIKIPEDIA !
. Kodenmachō 小伝馬町 Kodenmacho district .


. Sado Bugyo 佐渡奉行 Governor of Sado Island . - Niigata

Sakuji-bugyō 作事奉行 – Commissioners of works, architecture and construction matters (post-1632).
- - - More in the WIKIPEDIA !

Shimoda bugyō 下田奉行 – Overseers of the port of Shimoda and foreign trade in the area..
- - - More in the WIKIPEDIA !

Shomotsu bugyoo 書物奉行 - "Writing Magistrate - Since 1633
..... Go Shomotsu Bugyoo 御書物奉行
..... Momijiyama Bunko


Sunpu jōdai 駿府城代 – Overseers of Sunpu Castle (Shizuoka Castle).
- - - More in the WIKIPEDIA !


Uraga bugyō 浦賀奉行 – Overseers of the port of Uraga.
a port of inspection for Japanese coastal vessels
- - - More in the WIKIPEDIA !

Yamada bugyō 山田奉行 - Representatives of the shogunate at Ise Yamada 伊勢.
to supervise pilgrims and shrines in the area of the Grand Ise Shrine
The town of Ujiyamada 宇治山田,
- - - More in the WIKIPEDIA !

Yari bugyoo 槍奉行 - magistrate of spears

. Yoseba bugyoo 寄場奉行 Yoseba Magistrate .
ninsoku yoseba 人足寄場 rehabilitation facility for criminals / Ishikawajima 石川島 Ishikawa Island in 1790.
Hasegawa Heizô 長谷川平蔵　Hasegawwa Heizo

to be updated
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- quote -
Law Enforcement in the Edo Period
A COMPLICATED PATCHWORK
The system for maintaining law and order during the Edo period differed fundamentally from our modern system in that law enforcement and criminal justice were carried out by the same organs. That is to say, one agency or office carried out the functions that are today performed separately by police, prosecutors, and the courts. This means that the administrative and judicial functions of government were merged rather than deliberately separated as they are in modern democratic states.
- snip -
A PREMODERN POLICE COMMISSIONER
The third commissioner was the machi bugyô, literally “town commissioner,” sometimes translated as magistrate. The machi bugyô was the top law enforcement official of the most important shogunal domain of all, the city of Edo. If one were forced to choose a corresponding contemporary post, it would have to be that of police commissioner, but it would be more accurate to call the machi bugyô a combination of metropolitan governor, police commissioner, and district court chief justice, since his duties included the adjudication of civil and criminal cases and general administration, as well as administration of the city’s police functions. For this reason, separate police organs were established from time to time to supplement the functions of the machi bugyô. One of these was a special police force called the hitsuke tôzoku aratamekata, which was set up to crack down on vicious gangs of armed robbers; its chief was also selected from among the hatamoto.

Among the men who at one time or another served as magistrate or as chief of the hitsuke tôzoku aratamekata, the most famous evolved into legendary heroes glorified in Japanese novels, movies, and television series—a phenomenon recalling the depiction of Marshall Wyatt Earp in American novels, movies, and TV shows about the wild West.

In Edo there were at any given time two appointed magistrates referred to as the minami (south) and kita (north) bugyô. However, these names are misleading, giving rise to the misconception that each was in charge of half of the city. In fact, the two alternated on active duty, rotating each month; the south and north merely refer to the location of the two magistrates’ offices.

Working beneath the magistrates were supervisors called yoriki and lesser officers known as dôshin. Each magistrate’s office generally had 25 yoriki and somewhere around 120 dôshin (the exact number fluctuated over time). Thus, with the staff for the north and south combined, the entire Edo police force amounted to a mere 50 yoriki and 240 dôshin for a population estimated to have been at least 1 million from the eighteenth century on. To be sure, the magistrate’s office also employed low-ranking officials called chûgen and komono, but these merely provided supporting clerical and other services; only the yoriki and dôshin had police authority. Moreover, as noted above, the magistrate’s office handled not only the investigation and adjudication of criminal cases but also civil suits and general administration. Under the circumstances, how was such a small force able to maintain law and order in such a large city? In the following section, we will examine two important factors.

One factor that allowed the machi bugyô to get by with such a meager staff was the use of unofficial assistants. The dôshin, who handled the criminal investigations, all had working under them community informants known as meakashi or okappiki. These were common townsfolk, not samurai, with no official connection to the magistrate’s office. In many cases they were themselves criminals or even yakuza gang leaders. But they were useful resources for the dôshin because their familiarity with Edo’s underworld often put them in a position to provide information critical to a crime investigation.

Most of these undercover informants ran a business of some type as a means of supporting themselves and, in some cases, their henchmen; many owned restaurants or neighborhood vaudeville theaters. For their services, the dôshin paid them a small amount out of their own pockets. Of course, the use of underworld characters in criminal investigations was problematical in many ways, and the shogunate frequently issued edicts prohibiting the practice, but it seems the dôshin were unable to do without them.

The second factor facilitating the maintenance of law and order in Edo was the important role of community self-government associations. Each neighborhood (called machi or chô) in Edo had an organization made up of the area’s property owners and their managers or superintendents, and headed by someone referred to as the nanushi. The superintendents, known as ienushi or ôya, were in frequent contact with the tenants, who regarded them as powerful authority figures—a relationship frequently portrayed in the comic rakugo monologues of the period.

Working out of an office called the jishinban, the ienushi was charged with settling all kinds of disputes in the neighborhood, at least on a temporary basis, and otherwise keeping order within the community. This sort of self-governing capability no doubt contributed significantly to the maintenance of law and order in Edo. Of course, the communities were only autonomous within the limits set by the shogunate, and the system could be criticized for fostering an atmosphere of suspicion in which people’s activities were continually monitored by their neighbors. However, it also seems clear that it helped keep the peace in Edo by supporting the work of the city’s very modest police force.

We might also note that when the dôshin went on patrol, the jishinban was one of the regular stops along their route. The jishinban was also where suspects were temporarily taken into custody and questioned. All of this suggests that the jishinban was in fact the forerunner of the kôban (police boxes) for which the modern Japanese police system is known.

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- source : japanecho.com/sum/2004 - YOSHINO Jun -

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. sankin kootai 参勤交代 Sankin Kotai Daimyo attendance in Edo
daimyoo gyooretsu, daimyō gyōretsu 大名行列　Daimyo procession .


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. Japanese Architecture - cultural keywords used in haiku .

. - Doing Business in Edo - 商売　- Introduction .

. senryu, senryū 川柳　Senryu poems in Edo .


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- #bugyo #edomachibugyo #edobakufu -
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hatamoto samurai

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hatamoto 旗本 samurai class
A direct retainer of the Tokugawa Shôgun.　"bannerman"


. . . . .  hatamoto

- quote
A hatamoto (旗本, "under the banners") was a samurai in the direct service of the Tokugawa shogunate of feudal Japan. While all three of the shogunates in Japanese history had official retainers, in the two preceding ones, they were referred to as gokenin　御家人.
However, in the Edo period, hatamoto were the upper vassals of the Tokugawa house, and the gokenin were the lower vassals. There was no precise difference between the two in terms of income level, but hatamoto had the right to an audience with the shogun, where gokenin did not. The word hatamoto literally means "at the base of the flag" and is often translated as "bannerman".
Another term for the Edo-era hatamoto was jikisan hatamoto (直参旗本), sometimes rendered as "direct Shogunal hatamoto", which serves to illustrate the difference between them and the preceding generation of hatamoto who served various lords.

- History -
The term hatamoto originated in the Sengoku period. The term was used for the direct retainers of a lord; as the name suggests, the men who were grouped "at the base of the flag". Many lords had hatamoto; however, when the Tokugawa clan achieved ascendancy in 1600, its hatamoto system was institutionalized, and it is to that system which we mainly refer today when using the term.

In the eyes of the Tokugawa Shogunate, hatamoto were retainers who had served the family from its days in Mikawa onward. However, the ranks of the hatamoto also included people from outside the hereditary ranks of the Tokugawa house. Retainer families of formerly defeated provincial strongmen like Takeda, Hōjō, or Imagawa were included, as were branch families of feudal lords. Also included were heirs to lords whose domains were confiscated (for example, Asano Daigaku, the brother of Asano Naganori), local power figures in remote parts of the country who never became daimyo; and the families of Kamakura Period and Muromachi Period Shugo (Governors) : some of these include the Akamatsu, Besshō (branch of the Akamatsu), Hōjō, Hatakeyama, Kanamori, Imagawa, Mogami, Nagai, Oda, Ōtomo, Takeda, Toki, Takenaka (branch of the Toki), Takigawa, Tsutsui, and Yamana families.
The act of becoming a hatamoto was known as bakushin toritate (幕臣取立て).

The hatamoto remained retainers of the main Tokugawa clan after the fall of the Shogunate in 1868, and followed the Tokugawa to their new domain of Shizuoka. The hatamoto lost their status along with all other samurai in Japan following the abolition of the domains in 1871.

- Ranks and roles -
The line between hatamoto and gokenin, especially amongst hatamoto of lower rank, was not rigid, and the title of hatamoto had more to do with rank rather than income rating. In the context of an army, it could be compared to the position of an officer.
Throughout the Edo period, hatamoto held the distinction that if they possessed high enough rank, they had the right to personal audience with the shogun (these hatamoto were known as ome-mie ijō　目見以上).
All hatamoto can be divided into two categories, the kuramaitori　蔵米取, who took their incomes straight from Tokugawa granaries, and the jikatatori 地方取, who held land scattered throughout Japan.
Another level of status distinction amongst the hatamoto was the class of kōtai-yoriai　交代寄合, men who were heads of hatamoto families and held provincial fiefs, and had alternate attendance (sankin kotai　参勤交代) duties like the daimyo. However, as kōtai-yoriai were men of very high income in terms of the spectrum of hatamoto stipends, not all jikatatori hatamoto had the duty of alternate attendance. The dividing line between the upper hatamoto and the fudai daimyo　—　the domain lords who were also vassals of the Tokugawa house　—　was 10,000 koku.

Some hatamoto could be granted an increase in income and thus promoted to the rank of fudai daimyo　譜代大名. However, this did not happen frequently. One example of such a promotion is the case of the Hayashi family of Kaibuchi (later known as Jozai han), who began as jikatatori hatamoto but who became fudai daimyo and went on to play a prominent role in the Boshin War, despite their domain's relatively small size of 10,000 koku.

The term for a hatamoto with income in the neighborhood of 8,000 koku or greater was taishin hatamoto 大身旗本　("greater hatamoto").

The hatamoto who lived in Edo resided in their own private districts and oversaw their own police work and security. Men from hatamoto ranks could serve in a variety of roles in the Tokugawa administration, including service in the police force as yoriki inspectors, city magistrates, magistrates or tax collectors of direct Tokugawa house land, members of the wakadoshiyori council　若年寄, and many other positions.

The expression "eighty thousand hatamoto" (旗本八万旗 hatamoto hachimanhata) was in popular use to denote their numbers, but a 1722 study put their numbers at about 5,000. Adding the gokenin brought the number up to about 17,000.
- source : wikipedia


. bugyoo, bugyō 奉行 Bugyo officials in the Edo government .


. sankin kootai 参勤交代 Sankin Kotai attendance in Edo
daimyoo gyooretsu 大名行列　Daimyo Gyoretsu procession .

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Hatamoto Taikutsu Otoko 旗本退屈男 : Ichikawa Utaemon 市川右太衛門
The Idle Vassal - The Bored Hatamoto



source : www.samuraidvd.com 　　



source : blogs.yahoo.co.jp/rsjjr083



source : roystudio.web.fc2.com


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THE ETA MAIDEN AND THE HATAMOTO
An old legend - Once upon a time, . . .


GENZABURÔ'S MEETING WITH THE ETA MAIDEN

. Eta and Burakumin 穢多 (えた) / 部落民 .


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. Japanese Architecture - cultural keywords used in haiku .

. - Doing Business in Edo - 商売　- Introduction .

. senryu, senryū 川柳　Senryu poems in Edo .


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