@article{oai:rekihaku.repo.nii.ac.jp:00002781,
 author = {大久保, 純一 and Okubo, Junichi},
 journal = {国立歴史民俗博物館研究報告, Bulletin of the National Museum of Japanese History},
 month = {Nov},
 note = {application/pdf, 文化・文政期以後の江戸の町では数多くの料理茶屋が営業をおこなっていたが、それらの宣伝には引札類もさることながら、見立番付などの一枚刷、あるいは絵双六や錦絵などが実質的に大きな役割を果たしていた。なかでも視覚効果の高い錦絵の持つ広報機能は高かったと想像され、江戸名所絵の第一人者である歌川広重の錦絵揃物「江戸高名会亭尽」は店の内外の情景を詳細かつリアルに描き出したものとして注目される。
この揃物の成立に関しては、描かれた料理茶屋からの入銀(出版資金提供)の可能性が議論されてきていた。本稿はその点に関して、主に描かれた内容の分析や同時代の料理茶屋番付の比較検討を通して、考察するものである。
全三〇図からなる本揃物に関しては、広重の署名の書体から、天保八、九年頃に制作されたグループと天保十年から十一年頃と思われるグループに二分できる。この二つを成立年代が近いと考えられる料理茶屋番付「八百善御料理献立」と照合すると、前者は番付の上位に位置づけられる店が多く、後者は下段もしくは番付中に名前が見いだされない店が多いことに気づかされる。描写に関しても、前者は店の内観、もしくは建物に視野を限定しているものが多いのに対し、後者では店の周囲の名所景観とともに描かれるものが目につく。後者に関しては、店の所在場所の情報を示すという機能を持たされているとも考えられる。こうした点を考慮すると、「江戸高名会亭尽」は、まず著名な店を描いた図を制作・出版し、その後、その宣伝効果を下位ランクの店に提示して出版資金の提供を促したのではないかと考えられる。すなわち、この揃物は少なくとも出版の途中から、料理茶屋に関する明確な宣伝機能を意図して描かれたものと考えられるのである。, Many ryōri-jaya (restaurants) conducted business in urban Edo during and after the Bunka-Bunsei period. Hikifuda flyers were of course used to promote them, but practically speaking mitatebanzuke (various rankings similar to sumo-banzuke) or other ichimai-zuri (single sheet prints) as well as e-sugoroku (picture-sugoroku game including collections of images) and nishiki-e (a type of woodblock ukiyo-e print) also played a major role in promotion. Among these it is thought that nishiki-e, with their strong visual impact, were especially effective for advertising. Utagawa Hiroshige, a leading artist well-known for depicting famous places of Edo, produced a series of nishiki-e called Famous Restaurants of Edo (Edo-kōmei-kaitei-zukushi), which is noted for depicting the interior and exterior of establishments in realistic detail.
Regarding the creation of this series (soroi-mono), there have been debates about whether the restaurants depicted in the images potentially provided funds for publishing (nyu-gin). This paper considers this possibility mainly through analysis of the depictions themselves along with comparisons to restaurant banzuke (rankings) from the same period.
Made up of 30 images total, the series can be divided into two groups based on Hiroshige’s calligraphic style: one produced in the 8th and 9th years of the Tenpo-era (1837-1838), and another thought to be from the 10th and 11th years of the Tenpo-era (1839-1840). When cross-referenced with Yaozen Oryo-ri Kondate, a banzuke of restaurants believed to be contemporary with these two groups, it is notable that the earlier group of works includes many top -ranked restaurants, whereas the later works contain many restaurants whose name lower ranked or not written in the banzuke. Also, in terms of the depictions of the restaurants, the earlier images show either indoor scenes or exterior images of only the building, while the later works depict restaurants together with nearby famous sights and scenery. Thus, the latter is thought to have served to inform people of the location of the restaurants. From this one can imagine that Famous Restaurants of Edo was an effort to create and publish illustrations of well-known restaurants, whose effectiveness as promotion was then presented to lower-ranking restaurants in an effort to get them to provide funds for publishing. In other words, this series of works can be considered to have been intentionally created for the clear purpose of promoting restaurants, starting from at least the middle period of its production.},
 pages = {81--100},
 title = {[論文] 錦絵に見る料理茶屋情報 : 「江戸高名会亭尽」を中心に},
 volume = {222},
 year = {2020},
 yomi = {オオクボ, ジュンイチ}
}