This paper offers a preliminary examination of structural changes in festival floats -- yama, hoko, and yatai-- within urban rituals, viewed in relation to shifts in the consciousness of tradition bearers. It proposes analyzing these tangible objects through three elements: structural framework, artistic design, and constructed ornamentation. Focusing on the structural framework, generally considered least subject to change, the study centers on the Kyoto Gion Festival, with an appendix on the Hachiōji and Chichibufestivals in the Kanto region. The Gion Festival's hoko floats underwent “fixation of furyū” around the Ōnin War, transforming from ephemeral creations into refined artistic works, which in turn required structural reinforcement. Among the hikiyama, roofs were added in the mid-Edo period, later enlarged, leading to the removal of the mountain element -- aprocess termed “conversion into hoko,” exemplified byTakayama. From the late 18th to early 19th century, hikiyama adopted large roofs and auxiliary supports, approximating hoko structures. Although hoko frameworks were completed by the 17th century, later modifications -- such as stage reinforcement and vertical pillars -- responded to heavier ornamentation and the rising prominence of musicians. The appendix highlights modernstructural changes in Kanto floats, suggesting that beyond infrastructure, the intentions of tradition bearers warrant consideration. This study underscores the need to link structural evolution with social dynamics and cultural logic.
T. MURAKAMI (Tue,) studied this question.