@article{oai:rekihaku.repo.nii.ac.jp:00001499,
 author = {鈴木, 章生 and Suzuki, Shosei},
 journal = {国立歴史民俗博物館研究報告, Bulletin of the National Museum of Japanese History},
 month = {Mar},
 note = {application/pdf, 本稿のねらいは、『江戸名所図会』の挿絵のなかで、従来あまり紹介されていない隅田川流域の挿絵を取り上げ、隅田川名所の特徴を都市江戸の歴史と隅田川流域とのかかわりを視野に入れながら理解しようとするものである。
該当する名所絵は四十図。そのうち「隅田川上流」「隅田川西岸」「隅田川東岸」「隅田川両岸」という共通の表題を持つ二十一図（便宜的に隅田川シリーズと呼ぶ）を分析対象に、それぞれの構図や名所として描かれた図様の特徴を細かく分析する。さらに、「隅田川」を冠した名所絵がどのような背景のもとで成立し、またなぜ大川橋（吾妻橋）より北の隅田川上流部に集中したか、さまざまな観点から検討を試みるものである。
これまで隅田川の描写は、「江戸図屏風」などの江戸前期の都市図で、川の全域が描かれても古典的な名所が描かれる以外、詳細な情報は皆無に等しかった。天明元年（一七八一）に刊行された鶴岡蘆水の「隅田川両岸一覧」は、隅田川の流域を連続画面で構成した絵巻仕立てで大きなインパクトを与えた。天保五年・七年（一八三四・三六）に刊行された『江戸名所図会』では、版本の挿絵という性格から、個々の名所を単体の俯瞰図によって把握させることに主眼があった。しかも、大川橋以北から千住大橋までに限って隅田川名所を連続画面を用いていくつか展開させていることが把握できた。
隅田川シリーズが隅田川上流に集中して展開した理由は、寛政改革の一環で三派中洲が撤去されたことを契機に、文人や知識人たちの関心が当該地域に集中したことが要因のひとつとしてあげられる。自然あふれる田園地帯で古典と歴史の多く残る向島地域。三囲稲荷社の開帳、百花園の開園、七福神の成立、文芸や芝居での隅田川物の隆盛など、当該地域を舞台に数多くの文化的な活動が展開された。このことが隅田川上流部の名所を可視化させ、『江戸名所図会』で展開する背景となったと考える。, “Edo Meishozue” (“Famous Places in Edo”) is a geographic book of Edo published in 1834 and 1836. The book's illustrations include 21 pictures of famous places along the Sumida River, which until now have been the object of very little research. This paper identifies the distinctive features of the areas portrayed through a detailed study of these pictures that also takes into account the history of Edo.
The 21 illustrations of famous places along the Sumida River in the Edo Meishozue share the titles of “Upper Sumida River”, “Western Bank of the Sumida River”, “Eastern Bank of the Sumida River”, and “Both Banks of the Sumida River”. For the sake of convenience, these are referred to as the “Sumida River Series”. A detailed study is made of the features of the composition and perspective found in each of the illustrations, along with an examination of the reasons for the creation of these pictures which have the title of “Sumida River” in common. A fundamental feature shared by the “Sumida River Series” is that all 21 illustrations depict areas along the upper Sumida River situated north of the Asakusa Okawa Bridge, also known as the Azuma Bridge. There are various reasons for their concentration on these areas along the upper Sumida River north of Okawa Bridge.
Earlier depictions of the Sumida River such as those from the first half of the Edo period like the “Edo Zu Byobu” (“Folding Screens Depicting Edo”) tended to portray just one or two classical famous sites, even if the work showed the entire river. As such, they contained virtually no detailed information. The “Sumida-gawa Ryogan Ichiran” (“Views of Both Banks of the Sumida River”) by Tsuruoka Rosui that was printed in 1781 was a series of picture scrolls that formed a view of the full length of the Sumida River. They were indeed momentous, as they marked a shift from the partial portrayal of the Sumida River to a portrayal of the entire river. Thus, they paved the way for the depiction of famous sites along the Sumida River concentrated within the area north of the Okawa Bridge up to the Senju Ohashi Bridge about half a century later in 1834 and 1836.
One reason for the Sumida River Series' concentration on the upper Sumida River was the removal of the Nakazu entertainment district built on land fill in the Sumida River downstream from the area called Mitsumata as a result of the Kansei reforms. Consequently, the attention of literati and intellectuals turned to the district known as Mukojima. The Mukojima district was also a natural unspoiled pastoral area with many associations with the classics and history that was the site of many famous events. This is why famous places along the upper Sumida River were depicted through the medium of pictures. It was due to such cultural developments that the 21 pictures in the Edo Meishozue depict the upper Sumida River and not the entire river.},
 pages = {135--158},
 title = {『江戸名所図会』にみる隅田川名所と流域の地域特性},
 volume = {136},
 year = {2007},
 yomi = {スズキ, ショウセイ}
}