Changes

The ''ôhiroma'' contained three platforms of different heights, called ''dan'', allowing the shogun to sit not only at a distance from his formal visitors, but also physically above them. These were arranged from north to south, with the shogun sitting in the north, facing south, much as the Chinese emperor did at [[Forbidden City|imperial palaces in China]].<ref>The shogun sat in the upper ''dan'', at the northern end of the hall, for special events including the reception of foreign or Imperial envoys, shogunal succession ceremonies, and certain portions of New Year's festivities, but for more regular occasions, the shogun often took a seat in the lower ''dan'', and faced east toward retainers seated in the ''ni-'' and ''san-no-ma''. ''Edojô: Shikai o shiroshimesu tenka no fujô'' 江戶城 : 四海をしろしめす天下の府城, Tokyo: Gakushû Kenkyûsha (1995), 120.</ref> Only the highest-ranking retainers and guests were permitted to sit within the ''ôhiroma'', and then only in certain ''dan'', in accordance with their rank. Wrapping around an inner garden, and thus forming a U-shape with the three ''dan'', were three antechambers, known respectively as the ''ni-'', ''san-'', and ''yon-no-ma''. The ''shiroshoin'' was arranged similarly, though on a smaller scale, with two ''dan'', two audience rooms, and two antechambers.<ref>Mitani, xxv.</ref> The far north wall of the Ôhiroma was adorned with a large painting of a pine tree, which would have appeared to canopy the shogun as he sat there in the upper ''dan''; the pine, being long-lived and evergreen, was meant to represent the eternal power of the shogunate. To the shogun's left (northeast corner of the hall) was a small set of doors, where he and others would enter and exit the room, as well as a small ''tokonoma'' filled with ''chigaidana'' for displaying various objects of seasonal or occasional significance. These doors were inconspicuously painted with birds sleeping on branches of ''nanten'' (nandina) flowers; ''nanten'' puns on 「難転」　(''nanten'', "turning away danger"), while the sleeping birds represent peace, such as the shogunate enforced throughout the realm.<ref>Timon Screech, ''Obtaining Images'', University of Hawaii Press (2012), 39-40, 45.</ref> This upper ''dan'', along with the rest of the hall, was adorned with a continuing composition of [[shochikubai|pines, bamboo, and plums]], and cranes and tortoises, all symbols of the strength and longevity of Tokugawa rule. The ceilings featured images of [[phoenixes]], various flowers, and a spiral design known as ''karakusa moyô'' (lit. "Chinese grasses design"). The entryways surrounding the hall also featured motifs of [[peonies]], ''[[kirin]]'', [[monkeys]] in snow, lions, and tigers by waterfalls. The ''ni-no-ma'' ("second room"), attached perpendicular to the main sections of the Great Audience Hall, featured a particularly large and impressive painting of a pine tree. Its trunk was located on the north wall, and its branches extended around to the sliding doors on both the east and west sides. Cranes and harvested fields appeared on the walls of the ''san-no-ma'' ("third room"), and the ''yon-no-ma'' ("fourth room") featured a wintry snow scene. Later attached rooms (''ato-no-ma'') featured spring and summer scenes. This entire program of paintings is believed to have been designed originally by [[Kano Tanyu|Kanô Tan'yû]], and was reproduced faithfully each time the palace burned down and was rebuilt.<ref>Chino Kaori 千野香織, “Edojō shōhekiga no shitae” 「江戸城障壁画の下絵」, in ''Shōgun no goten – Edojō shōhekiga no shitae'' 将軍の御殿－江戸城障壁画の下絵－, Nagoya: Tokugawa Art Museum (1988), 114-115.</ref>

The ''ôhiroma'' contained three platforms of different heights, called ''dan'', allowing the shogun to sit not only at a distance from his formal visitors, but also physically above them. These were arranged from north to south, with the shogun sitting in the north, facing south, much as the Chinese emperor did at [[Forbidden City|imperial palaces in China]].<ref>The shogun sat in the upper ''dan'', at the northern end of the hall, for special events including the reception of foreign or Imperial envoys, shogunal succession ceremonies, and certain portions of New Year's festivities, but for more regular occasions, the shogun often took a seat in the lower ''dan'', and faced east toward retainers seated in the ''ni-'' and ''san-no-ma''. ''Edojô: Shikai o shiroshimesu tenka no fujô'' 江戶城 : 四海をしろしめす天下の府城, Tokyo: Gakushû Kenkyûsha (1995), 120.</ref> Only the highest-ranking retainers and guests were permitted to sit within the ''ôhiroma'', and then only in certain ''dan'', in accordance with their rank. Wrapping around an inner garden, and thus forming a U-shape with the three ''dan'', were three antechambers, known respectively as the ''ni-'', ''san-'', and ''yon-no-ma''. The ''shiroshoin'' was arranged similarly, though on a smaller scale, with two ''dan'', two audience rooms, and two antechambers.<ref>Mitani, xxv.</ref> The far north wall of the Ôhiroma was adorned with a large painting of a pine tree, which would have appeared to canopy the shogun as he sat there in the upper ''dan''; the pine, being long-lived and evergreen, was meant to represent the eternal power of the shogunate. To the shogun's left (northeast corner of the hall) was a small set of doors, where he and others would enter and exit the room, as well as a small ''tokonoma'' filled with ''chigaidana'' for displaying various objects of seasonal or occasional significance. These doors were inconspicuously painted with birds sleeping on branches of ''nanten'' (nandina) flowers; ''nanten'' puns on 「難転」　(''nanten'', "turning away danger"), while the sleeping birds represent peace, such as the shogunate enforced throughout the realm.<ref>Timon Screech, ''Obtaining Images'', University of Hawaii Press (2012), 39-40, 45.</ref> This upper ''dan'', along with the rest of the hall, was adorned with a continuing composition of [[shochikubai|pines, bamboo, and plums]], and cranes and tortoises, all symbols of the strength and longevity of Tokugawa rule. The ceilings featured images of [[phoenixes]], various flowers, and a spiral design known as ''karakusa moyô'' (lit. "Chinese grasses design"). The entryways surrounding the hall also featured motifs of [[peonies]], ''[[kirin]]'', [[monkeys]] in snow, lions, and tigers by waterfalls. The ''ni-no-ma'' ("second room"), attached perpendicular to the main sections of the Great Audience Hall, featured a particularly large and impressive painting of a pine tree. Its trunk was located on the north wall, and its branches extended around to the sliding doors on both the east and west sides. Cranes and harvested fields appeared on the walls of the ''san-no-ma'' ("third room"), and the ''yon-no-ma'' ("fourth room") featured a wintry snow scene. Later attached rooms (''ato-no-ma'') featured spring and summer scenes. This entire program of paintings is believed to have been designed originally by [[Kano Tanyu|Kanô Tan'yû]], and was reproduced faithfully each time the palace burned down and was rebuilt.<ref>Chino Kaori 千野香織, “Edojō shōhekiga no shitae” 「江戸城障壁画の下絵」, in ''Shōgun no goten – Edojō shōhekiga no shitae'' 将軍の御殿－江戸城障壁画の下絵－, Nagoya: Tokugawa Art Museum (1988), 114-115.</ref>

''Daimyô'' and others were divided, by rank, into association with particular waiting rooms, where they would be escorted upon entering the ''honmaru'' palace, and where they would wait until they were called upon, e.g. in the case of coming up to the castle for a formal audience with the shogun.<ref>Gallery label, "[https://www.flickr.com/photos/toranosuke/11269336136/ Daimyô no kakushiki]," Edo-Tokyo Museum.; Yamamoto Hirofumi, ''Edo jidai - shôgun bushi tachi no jitsuzô'', Tokyo Shoseki (2008), 67.</ref> These room assignments were known as ''shikôseki'' 伺候席, or "seats [where one sat] in attendance." Though ''daimyô'' were called upon for their audiences in a set order in accordance with rank and status, they were not actually assigned seats within each of these waiting rooms; while waiting, they arranged themselves freely.<ref>Ogawa Kyôichi 小川恭一, ''Shogun omemie sahô'' 将軍お目見え作法, ''Tokyojin'' 東京人 (1995/1), 82.</ref> The shogun's ability to keep even powerful ''daimyô'' waiting, whether in these waiting rooms, or in the audience hall itself, further impressed upon the ''daimyô'' their submission to his power.<ref>Walthall, 342.</ref>

''Daimyô'' and others were divided, by rank, into association with sixteen waiting rooms, where they would be escorted upon entering the ''honmaru'' palace, and where they would wait until they were called upon, e.g. in the case of coming up to the castle for a formal audience with the shogun.<ref>Gallery label, "[https://www.flickr.com/photos/toranosuke/11269336136/ Daimyô no kakushiki]," Edo-Tokyo Museum.; Yamamoto Hirofumi, ''Edo jidai - shôgun bushi tachi no jitsuzô'', Tokyo Shoseki (2008), 67.</ref> These room assignments were known as ''shikôseki'' 伺候席, or "seats [where one sat] in attendance." Though ''daimyô'' were called upon for their audiences in a set order in accordance with rank and status, they were not actually assigned seats within each of these waiting rooms; while waiting, they arranged themselves freely.<ref>Ogawa Kyôichi 小川恭一, ''Shogun omemie sahô'' 将軍お目見え作法, ''Tokyojin'' 東京人 (1995/1), 82.</ref> The shogun's ability to keep even powerful ''daimyô'' waiting, whether in these waiting rooms, or in the audience hall itself, further impressed upon the ''daimyô'' their submission to his power.<ref>Walthall, 342.</ref>

#Ôrôka: Members of the ''gosanke'' and ''gosankyô'', along with a few of the highest-ranking ''daimyô'' (such as the [[Maeda clan]] of [[Kaga han]], [[Shimazu clan]] of [[Satsuma han]], and [[Matsudaira clan (Echizen)|Matsudaira clan]] of [[Fukui han]]) were associated with the ''Ôrôka'', or "great corridor."

#Ôrôka: Members of the ''gosanke'' and ''gosankyô'', along with a few of the highest-ranking ''daimyô'' (such as the [[Maeda clan]] of [[Kaga han]], [[Shimazu clan]] of [[Satsuma han]], and [[Matsudaira clan (Echizen)|Matsudaira clan]] of [[Fukui han]]) were associated with the ''Ôrôka'', or "great corridor."

#Tamari-no-ma: Collateral houses of the Tokugawa, typically known as ''shinpan'' or ''kamon'', including the various [[Matsudaira clan]] branch families of [[Aizu han]], [[Kuwana han]], and [[Takamatsu han]], sat with the [[Ii clan]] of [[Hikone han]] and up to six other ''fudai daimyô'' and ''rôjû'' in the ''tamari no ma'', adjacent to the ceremonial chambers, and closest of all the ''daimyô'' waiting rooms to the shogunal residence.

#Tamari-no-ma: Collateral houses of the Tokugawa, typically known as ''shinpan'' or ''kamon'', including the various [[Matsudaira clan]] branch families of [[Aizu han]], [[Kuwana han]], and [[Takamatsu han]], sat with the [[Ii clan]] of [[Hikone han]] and up to six other ''fudai daimyô'' and ''rôjû'' in the ''tamari no ma'', adjacent to the ceremonial chambers, and closest of all the ''daimyô'' waiting rooms to the shogunal residence.

#Kari no ma: ''Fudai daimyô'' of castle-holding (''shiro-mochi'' or ''shiro-nushi'') rank and above were seated in the ''kari-no-ma'', a room located between the ''shiro'' and ''kuroshoin'', and decorated with paintings of geese (''kari''). The ''daimyô'' assigned to this waiting room were also known as the ''tsumeshû'', and as the ''oyakuke'' ("office houses"), the latter referring to the fact that the ''[[roju|rôjû]]'' and certain other top-ranking offices were selected from among these relatively low-ranking ''daimyô'' houses.<ref>Yamamoto Hirofumi, ''Edo jidai'', 67.</ref>

#Kari no ma: ''Fudai daimyô'' of castle-holding (''shiro-mochi'' or ''shiro-nushi'') rank and above were seated in the ''kari-no-ma'', a room located between the ''shiro'' and ''kuroshoin'', and decorated with paintings of geese (''kari''). The ''daimyô'' assigned to this waiting room were also known as the ''tsumeshû'', and as the ''oyakuke'' ("office houses"), the latter referring to the fact that the ''[[roju|rôjû]]'' and certain other top-ranking offices were selected from among these relatively low-ranking ''daimyô'' houses.<ref>Yamamoto Hirofumi, ''Edo jidai'', 67.</ref>

#Kiku no ma: ''Fudai daimyô'' not of castle-holding rank were seated in the "chrysanthemum room," or ''kiku-no-ma'', a room located between the ''kari-no-ma'' and the ''shiroshoin''. These included the [[Ooka clan|Ôoka]] of [[Nishi-Ohira han|Nishi-Ôhira]], the [[Oseki clan|Ôseki]] of [[Kurobane han]], the [[Yamaguchi clan]] of [[Ushihisa han]], and the [[Tanuma clan]] of [[Sagara han]].

#Kiku no ma: ''Fudai daimyô'' not of castle-holding rank were seated in the "chrysanthemum room," or ''kiku-no-ma'', a room located between the ''kari-no-ma'' and the ''shiroshoin''. These included the [[Ooka clan|Ôoka]] of [[Nishi-Ohira han|Nishi-Ôhira]], the [[Oseki clan|Ôseki]] of [[Kurobane han]], the [[Yamaguchi clan]] of [[Ushihisa han]], and the [[Tanuma clan]] of [[Sagara han]].

On special occasions, ''daimyô'' and others would be seated in and around the audience hall in accordance with their rankings by waiting room. To give an example, at the accession ceremony for Shogun [[Tokugawa Ietsugu]], held on [[1713]]/4/2, ''[[sobayonin|sobayônin]]'' [[Manabe Akifusa]] sat behind him in the upper ''dan'' of the ''ôhiroma'', along with a number of maids, and on the western side of the room, the [[Konoe family]] former regent and [[Kujo family|Kujô family]] General of the Left. Envoys from the Imperial court, from the Retired Emperor, and from the empress, sat on the western side of the middle ''dan'', and the ''[[Tairo|Tairô]]'' & ''[[kamon-no-kami]]'' (head of cleaning), a member of the [[Ii clan]], sat on the east side of the middle ''dan''. Four ''rôjû'' sat on the east side of the lower ''dan''. Members of the ''gosanke'', along with the ''wakadoshiyori'', sat in the veranda or corridor (''engawa'') on the west side of the middle ''dan'', while ''daimyô'' of the ''tamari-no-ma'' and ''[[koke|kôke]]'' (protocol chiefs) sat on the veranda to the west of the lower ''dan''. ''Kunimochi daimyô'' sat in the ''ni-no-ma''. Other ''daimyô'' sat in the ''san-no-ma'', and other officials in the ''yon-no-ma''.<ref>Fukai, ''Edo-jô wo yomu'', 26-27.</ref> This not only put the relative statuses of each of the ''daimyô'' on display for the shogun, but also for one another, such that each retainer not only witnessed the relative positions of those around him, but would have also felt his own position, keenly.<ref>Walthall, 336.</ref>

On special occasions, ''daimyô'' and others would be seated in and around the audience hall in accordance with their rankings by waiting room. To give an example, at the accession ceremony for Shogun [[Tokugawa Ietsugu]], held on [[1713]]/4/2, ''[[sobayonin|sobayônin]]'' [[Manabe Akifusa]] sat behind him in the upper ''dan'' of the ''ôhiroma'', along with a number of maids, and on the western side of the room, the [[Konoe family]] former regent and [[Kujo family|Kujô family]] General of the Left. Envoys from the Imperial court, from the Retired Emperor, and from the empress, sat on the western side of the middle ''dan'', and the ''[[Tairo|Tairô]]'' & ''[[kamon-no-kami]]'' (head of cleaning), a member of the [[Ii clan]], sat on the east side of the middle ''dan''. Four ''rôjû'' sat on the east side of the lower ''dan''. Members of the ''gosanke'', along with the ''wakadoshiyori'', sat in the veranda or corridor (''engawa'') on the west side of the middle ''dan'', while ''daimyô'' of the ''tamari-no-ma'' and ''[[koke|kôke]]'' (protocol chiefs) sat on the veranda to the west of the lower ''dan''. ''Kunimochi daimyô'' sat in the ''ni-no-ma''. Other ''daimyô'' sat in the ''san-no-ma'', and other officials in the ''yon-no-ma''.<ref>Fukai, ''Edo-jô wo yomu'', 26-27.</ref> This not only put the relative statuses of each of the ''daimyô'' on display for the shogun, but also for one another, such that each retainer not only witnessed the relative positions of those around him, but would have also felt his own position, keenly.<ref>Walthall, 336.</ref>