カテゴリー Ⅰ 日本建築学会計画系論文集第 81 巻第 720 号, ,2016 年 2 月 J. Archit. Plann., AIJ, Vol. 81 No. 720, , Feb., 2016 DOI

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1 カテゴリー Ⅰ 日本建築学会計画系論文集第 81 巻第 720 号, ,2016 年 2 月 J. Archit. Plann., AIJ, Vol. 81 No. 720, , Feb., 2016 DOI 20 世紀初頭における天安門広場の開放と新たな用途に関する研究 THE OPENING AND NEW USES OF TIANANMEN SQUARE AT THE BEGINNING OF TWENTIETH CENTURY * 市川紘司 Koji ICHIKAWA This paper aims to grasp the changes of Tiananmen Square at the beginning of the 20th century by using public documents, newspapers, and other literature. In the Ming and Qing eras, Tiananmen Square was originally a "forbidden square", however after the Boxer Rebellion and the Xinhai Revolution, the square became a public space on New Year s Day in After opening to the public, several new gates were built in order to improve the accessibility of Tiananmen Square. Some organizations even planed to turn the square into a commercial district, but it failed to realize. On the contrary to the newly allowable public access, the security of Tiananmen became stricter, and the Beijing Government monopolized the square sometimes and used it for some events such as Yuan Shikai s military parades on National Foundation Day in 1913 and It can be said that Tiananmen Square had characters of both a forbidden square and a public space at this time. Keywords : Tiananmen Square, Beijing, Yuan Shikai, Boxer Rebellion, Xinhai Revolution, Urban Renewal * 東京藝術大学院美術学部建築科教育研究助手修士 ( 工学 ) Research Assoc., Dept. of Architecture, Faculty of Fine Arts, Tokyo University of the Arts, M.Eng. 499

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ᇛෆ 㛤ᨺࡍ ࡃࠊࡑ ᇛቨࡀ ࠎ ᔂࡉ ࠊኳᏳ㛛๓ ᗈሙ ᥋ࡍ ᇛቨ ᵝ ࡗࡓࠋࡍࡄ 㛗Ᏻ 㛛እ ᇛቨ ᧔ཤ ࡉ ࠊᮾす ᪂タࡉ ࡓ ࡘ ࠕ༡ụᏊ㛛 ࠕ༡㛗㛛 ࠊ ᖺ 㛛 ࡋ ഛࡉ 㸧㸦ᅗ 㸧ࠋ ᪂タ ࡗ ࠊ ᇛෆ ኳᏳ㛛๓ᗈሙࡀ༡ ᥋ ࡍ ࠊࡇ ᇛ ༡ ࡀ ࡁࡃᨵၿࡉ ࡓࠋኳᏳ㛛 ๓ᗈሙ༡ ࡍ ṇ㝧㛛እ ࠊᙜ ᴗ ᚰᆅ ࡗࡓ ࡓ ࠊᇛෆ 㒊 ࡑࡇ ࢡࢭࢫࡀᐜ ࡗࡓࡇ ᕷẸ ά ࡁ ౽ ࡓ

ࠕᐩ ࠕ ᅄ ᥋ ࡍ Ỵ ࡓࠋ ࠊࡇ ᮾす㛛 ࠊ Ẹᅜᮇ ࡉ ࡓ ᇛᆅᅗ 㸦 ᪂ ᆅᏛ ᖺ ᕷ ᅗ 㸧 ࡑ Ꮡᅾࡀグ ࡉ ࠊ 㒔ᕷ ௦ 㛵 ࡍ 㸧 ࠊࡑ ᘓタ ᮇ ពᅗࡀ ࡉ ࡇ ࡗࡓ ࠋ ᅗ㸳 Ṍᗯ᧔ཤᚋ ኳᏳ㛛๓ᗈሙ㸦 ᪧᙳ Ẹ ฟ ࠊ ᖺ㸧 ࠉᙜ ࠊࡇ 㛛㛛 ࡋ ᡂࡉࡏ ࡃసᴗࡀ㐍 ὒᨻᗓ タ ࡉ ࡓ 㒔ᕷᘓタ㛵ࡍ ᑓ㛛ᶵ㛵ࠕ 㒔ᕷᨻබ ࡓ ࠋࡋ ࡋ ᕤ ࡗࡓࡓ ಽቯࡋ ᡤ ᴗ ሗ

5 ᇛෆ 㛤ᨺࡍ ࡃࠊࡑ ᇛቨࡀ ࠎ ᔂࡉ ࠊኳᏳ㛛๓ ᗈሙ ᥋ࡍ ᇛቨ ᵝ ࡗࡓࠋࡍࡄ 㛗Ᏻ 㛛እ ᇛቨ ᧔ཤ ࡉ ࠊᮾす ᪂タࡉ ࡓ ࡘ ࠕ༡ụᏊ㛛 ࠕ༡㛗㛛 ࠊ ᖺ 㛛 ࡋ ഛࡉ 㸧㸦ᅗ 㸧ࠋ ᪂タ ࡗ ࠊ ᇛෆ ኳᏳ㛛๓ᗈሙࡀ༡ ᥋ ࡍ ࠊࡇ ᇛ ༡ ࡀ ࡁࡃᨵၿࡉ ࡓࠋኳᏳ㛛 ๓ᗈሙ༡ ࡍ ṇ㝧㛛እ ࠊᙜ ᴗ ᚰᆅ ࡗࡓ ࡓ ࠊᇛෆ 㒊 ࡑࡇ ࢡࢭࢫࡀᐜ ࡗࡓࡇ ᕷẸ ά ࡁ ౽ ࡓ ࡋࡓࠋ ࠉᮾす ࡘ ᨵၿࡀᅗ ࡓࠋኳᏳ㛛๓ᗈሙ ᖹ㠃ᙧ ࡀ ᅗ㸲 ༡ụᏊ㛛㸦 ᪧ ほ㸸 Ẹ Ẹ ᅜฟ ࠊ ᖺ㸧 ࠕ7 Ꮠ ࡍ ࡇ ๓ ࡔࡀࠊࡇ ࠕ7 Ꮠ ᵓᡂ ࡍ ᇛቨ 㛛ࡀ᪂タࡉ ࠋసᴗ ᖺ ᐇ ࡉ ࠋࡇ ࠊṇᘧ 㑅ฟࡍ ࡓ 㑅ᣲ ᘓᅜグᛕ ࡍ ࡀ ᇛኴ Ẋ ᣲ ࡉ ࡇ ࡀỴ ࠊࡇ ദ ከ ཧ ࡀ ᐃࡉ ࡓࠋࡑ 㔞 ࡉ ࡃᑐᛂ ࡋ ᇛ㛛᪂タ ࡗࡓ 㸧ࠋᇛ㛛 ࠊᗈሙᮾす ศᕸࡍ ኸᐁᗇ ᮾす ࠕᐩ ࠕ ᅄ ᥋ ࡍ Ỵ ࡓࠋ ࠊࡇ ᮾす㛛 ࠊ Ẹᅜᮇ ࡉ ࡓ ᇛᆅᅗ 㸦 ᪂ ᆅᏛ ᖺ ᕷ ᅗ 㸧 ࡑ Ꮡᅾࡀグ ࡉ ࠊ 㒔ᕷ ௦ 㛵 ࡍ 㸧 ࠊࡑ ᘓタ ᮇ ពᅗࡀ ࡉ ࡇ ࡗࡓ ࠋ ᅗ㸳 Ṍᗯ᧔ཤᚋ ኳᏳ㛛๓ᗈሙ㸦 ᪧᙳ Ẹ ฟ ࠊ ᖺ㸧 ࠉᙜ ࠊࡇ 㛛㛛 ࡋ ᡂࡉࡏ ࡃసᴗࡀ㐍 ὒᨻᗓ タ ࡉ ࡓ 㒔ᕷᘓタ㛵ࡍ ᑓ㛛ᶵ㛵ࠕ 㒔ᕷᨻබ ࡓ ࠋࡋ ࡋ ᕤ ࡗࡓࡓ ಽቯࡋ ᡤ ᴗ ሗ 㒔ᕷᨻ もぢ ࠊ Ṍᗯ ᗈሙෆ ᶞ ࡋ ࠊ ᒁࠊᕧᮌ 㡬㒊 ࡅ ᪉㛛 ࡋ ᘓᅜグᛕ ๓ ᮌ ᖺ ᧔ཤࡋࡓ グ㘓ࡀ 㸧㸦ᅗ 㸧ࠋ ᡂ ࡓ 㸧ࠋグᛕ ᚋ ࠊ 㤿 ࡁ 㠃 ഛ ㄽࡀᨻᗓෆ ࡉ ࡓ ᐃ ࡀࠊ Ṍᗯ ࡀ ࡇ ࠊ ❹ᕤࡍ 㸧ࠋࡇ ࡋ ࠊኳᏳ㛛๓ ࡓኳᏳ㛛๓ᗈሙ ᴗᆅ ィ㡻 ࡋࡓ ࠋ ᗈሙ ᮾす ࠊ㛗Ᏻᕥ 㛛 ຍ ࠊᗈሙ ࠉࡓࡔࡋࠊ Ṍᗯࡀ᧔ཤࡉ ࡀぢ ࠋ ᶓ ࡍ ࡀㄌ ࡋࡓࠋ௨ ࠊ᪂タࡉ ࡓᅄࡘ 㛛 ᖺᮎ ᖺጞ ࡅ ࠊኳᏳ㛛ᗈሙ ኪᕷ 㛤ദࡍ ࡇ ࠊኳᏳ㛛๓ᗈሙ ࠊ ᇛ ༡ ᮾす ࡍ ࠎࡀ ࡀỴᐃࡉ ࡓ ࡔࠋሗ㐨 ࡇ ࠋࠕ ᐹᗇ ࠊ᪂ᖺ ࠕ せ ᆅ ࡋ ᛶ᱁ ࠎᙉ ࡗࡓࠋ ᑠ㈨ᮏ ᗑ ᩆ ᥦၐࡍ ࡓ ࠊᮏ ᖺ ᴗᆅ ィ ṇ㝧㛛 ኪᕷ ఇ Ⴀᴗࡉࡏ ࠊ ࠉ௨ ࠊ Ẹᅜᡂ ᚋ ኳᏳ㛛๓ᗈሙ ᨵၿࡀ㐍 ᖺ ࠊ 㛛ෆ୧ഐ ኪᕷ 㛫 ຍࡍ ࡘ ࡓࡀࠊࡑ ࠊᗈሙ ༢ ᆅ ࡉ ࠋ ษᆅ ᚩ ࡋ 㸧ࠋᖺᮎᖺጞ ఇ ᮇ㛫 ࠊ ᴗ ᚰ ࠊ᪂ࡓ ࡀ ウࡉ ࠋኳᏳ㛛๓ᗈሙ ᴗᆅ ィ ᆅ ṇ㝧㛛እ ኪᕷ ࠊᑠ㈨ᮏ ᗑ ពᅗ ࠋࡇ ィ ࠊඛ ᮾす㛛 ᵝࠊ Ẹᅜᮇ ࠊኳᏳ㛛ᗈሙ ᣑᙇࡉࡏ ࡅ ࠋ 㸧㛵ࡍ ษ ウࡉ ࠋ ࠉ ࡃࡋ ࠊ ᖺᮎ ᖺጞ ࠊኳᏳ㛛๓ᗈሙ ᴗ ࠉᗈሙ ᴗᆅ ィ ࠊ ࡃ ᖺ ᾋ ࡋ ࠋࠕ ࡀ ᐇ ࡋࡓࠋࠕ 㛛ෆ ᕷሙ 㛤ᨺࡋࠊࡑ ᗑ 㛛௨ෆኳᏳ㛛 ༡୧ഐ ᡣ 㛫 ᗫ ࠋᆅ᪉ ሙ ΰ㞧ࡋ ࡇ ࡃࠊ௬タⲔ㤋㤋㠀ᖖ ᶵ㛵 ࡍ ࠊෆ 㒊 ࠊࡇ ᡣ ᗑ 㛤タࡋ Ⴀᴗࡍ ࡓ ࡀࡗ 㸧 ሗ㐨ࡀぢ ࠊࡇ ᮇ㛫㈤ㄏ ࡍ ࡋ ᥦ ࡋ ࡓ 㸧 ሗ㐨 ࠊࡇ ኳᏳ㛛๓ᗈሙ ࡀࡗࡓ ࠋᗈሙ௨እ ࠊඛ ᴗᆅ ィ ࡀᆅ᪉ ᶵ㛵 ࡉ ࡓࡇ ࡀศ ࠋࠕ ᡣ ቭࡀ㛤ᨺࡉ ࠎ 㐟ぴ ౪ࡉ ࠊ ᇛෆ せᡤ 㛫 ࠊ ࡘ ኸᐁᗇ ᙺ ᇳ ᗜ ࡋ ࡉ Ṧ ࡀ㛤ദࡉ ࡓࠋ ࡓ Ṍᗯ ᣦࡍ ࡔ ࠋΎᮅ ஸ ࡑ ႙ኻࡋࠊࠕ 㛗 ࡋࡓ Ṍᗯ ࡍ ࡇ ࠊኳ ᪂ࡓ ᘧ Ᏻ㛛๓ᗈሙ ᴗᆅ ࡋ ィ ࡋࡓ ࠋ ᅜẸယ ࠉ ሗ㐨 ࠊࡇ ィ ෆ 㒊チ ᚓ ࠊࠕᮌ ಖᏑ ࠉ ᖺඖ 㛛㛗Ᏻᕥ 㛛ࡀ㛤ᨺࡉ ࡇ ࠊኳᏳ๓ ࡉ ࡓ ᮌ ࡋ 㛤タࡍ ᗈሙ ࠕ ᚷ ᗈሙ ࠕ せ ᆅ ኚㇺ㐙ࡆࡓࠋࡑࡋ ᗘㄪᰝࡍ ࡋ ࠋࡋ ࡋࠊࡑ ᚋ ᪂ グ ࡗ ࡑ ࢫ ࢫ ࡍ ࡃ ᴗᆅ ィ ࡀ ࡉ ࠊ Ṍᗯ ᗑ ィ㛵ࡍ ሗࡀぢᙜࡓ ࠋ ࡋ ࠊ ࡓࠋࡋ ࡋࠊࡇ ィ ᐇ ࡋࡓ 㡻 ࡋ ࡋ ࡗ 503

ࡓࠋ㛤ᨺᚋ ᗈሙ ࠊࡍࡄ ᐇ ᶵ ࡀ ࡉ ࡓ ኳᏳ㛛๓ᗈሙ ࠊ ᇛ ࡘ ࡌ ኳᏳ㛛ෆ ࡕ ࡅ ࡗࡓ ࠋ ධ ࡇ ࡀ ࡁ ࡗࡓࠋኳᏳ㛛๓ࡀᙜ ࠊ ഛᙉ ࡉ ࡓࡇ ࠉ ࡋ ࠊ㛤ᨺᚋ ኳᏳ㛛๓ᗈሙ ᚩ ぢ ࠊ Ύ ๓ 㸦 ❶ 㸧 ࠋኳᏳ㛛 ቃ ࡋ ࠊ ௦ ࡘ ࡌ ࠊ ᶒຊ 㛵 ദ ᣲ ࠋ ࡑ ༡ ࠕ せ ᆅ ࡋ බඹ 㛫 ࡋ 㒔ᕷᗈሙ ࠊ ᮏㄽ ᮏ❶ ࡆ ࠊࠕᅜẸယ 㜀රᘧ ࡘ ᪧ ௦ ᆅ ࡁ ࠕ ᆅ

ࡋࠕယ ᅜᡂ ௨ᚋ ኳᏳ㛛๓ᗈሙ ᣲ ࡉ ࡓദ ࡅ ᗈሙ ࠊ ࠎ チᐜࡋࡘࡘ ኳᏳ㛛ෆ ᇛ ᖺ ࠕᅜẸယ ࠋ ࡇ ࠊ ࡑ ๓ 㸦㸧 ࡕධ ཧ ศ ࡍ ࠕ 㛫 ࢱ ᶵ ᯝ ཤࡋࡓ㝯 ኴ ᘫ ᘧ ࠋᪧΎᮅ ᪘ 㝯 ࡓࡋࡓ ࠋ ࠊᐉ ᖇ Ỵ ࠊ Ẹᅜᨻᗓ ࡋ ࡌ ୡถ 㜀රᘧ ࡇ チࡉ ࡗࡓࡓ ࠊࡑ ⴿ ࡇ ࠉ ᖺ ᘓᅜグᛕ ࠊኳᏳ㛛๓ᗈሙ༡➃ 㛛 ᚲせࡀ ࡗࡓ ࠋࠕယ ᖺ ᢨ㟢 ࡀࡉ ࡓࡀࠊࡑ ᪉

6 ࡓࠋ㛤ᨺᚋ ᗈሙ ࠊࡍࡄ ᐇ ᶵ ࡀ ࡉ ࡓ ኳᏳ㛛๓ᗈሙ ࠊ ᇛ ࡘ ࡌ ኳᏳ㛛ෆ ࡕ ࡅ ࡗࡓ ࠋ ධ ࡇ ࡀ ࡁ ࡗࡓࠋኳᏳ㛛๓ࡀᙜ ࠊ ഛᙉ ࡉ ࡓࡇ ࠉ ࡋ ࠊ㛤ᨺᚋ ኳᏳ㛛๓ᗈሙ ᚩ ぢ ࠊ Ύ ๓ 㸦 ❶ 㸧 ࠋኳᏳ㛛 ቃ ࡋ ࠊ ௦ ࡘ ࡌ ࠊ ᶒຊ 㛵 ദ ᣲ ࠋ ࡑ ༡ ࠕ せ ᆅ ࡋ බඹ 㛫 ࡋ 㒔ᕷᗈሙ ࠊ ᮏㄽ ᮏ❶ ࡆ ࠊࠕᅜẸယ 㜀රᘧ ࡘ ᪧ ௦ ᆅ ࡁ ࠕ ᆅ ࡗࡓࠋࠕယ ࠊኳ ᘧ ࠋࡇ ࡘ ࠊ ❶ ᣲࡋࡓኳᏳ㛛๓ᗈሙ 㛵ࡍ Ᏻ㛛༡ ࡅ 㛫 ᛶ᱁ 㐪 ࡀ ࡓࠋ ࡑ Ꮡᅾࡀ ㄆࡉ ࠊヲウ ࠉࡑ ࠊࠕယ ኳᏳ㛛๓ᗈሙ ࠊࡓࡋ ᇛ ࡉ ࡁ ࠋࡇࡇ ᪂ グ ࡀ ࠊࡇ ࡀ య ࡉ ᘧ 㛫 ࡗࡓ ࠊ Ύ ௦ ࠕ㡺ペ ࢭࢫ ᐇ ࡉ ࡓ ࡃศᯒࡍ ࠋ ᪉ ࡁࡃ ゝ ࡁ ࠋ Ύ ᮅ ᘧ ࠉᙜ ห ࡉ ࡓ᪂ 㡰 ࡗ ཧ ࡍ ࡂ ࠊ Ẹ ࠊᗈሙ ᇛ ࡌ ᚷ 㛫 ࡗࡓࠋࡋ ࡋࠕယ ᅜᡂ ௨ᚋ ኳᏳ㛛๓ᗈሙ ᣲ ࡉ ࡓദ ࡅ ᗈሙ ࠊ ࠎ チᐜࡋࡘࡘ ኳᏳ㛛ෆ ᇛ ᖺ ࠕᅜẸယ ࠋ ࡇ ࠊ ࡑ ๓ 㸦㸧 ࡕධ ཧ ศ ࡍ ࠕ 㛫 ࢱ ᶵ ᯝ ཤࡋࡓ㝯 ኴ ᘫ ᘧ ࠋᪧΎᮅ ᪘ 㝯 ࡓࡋࡓ ࠋ ࠊᐉ ᖇ Ỵ ࠊ Ẹᅜᨻᗓ ࡋ ࡌ ୡถ 㜀රᘧ ࡇ チࡉ ࡗࡓࡓ ࠊࡑ ⴿ ࡇ ࠉ ᖺ ᘓᅜグᛕ ࠊኳᏳ㛛๓ᗈሙ༡➃ 㛛 ᚲせࡀ ࡗࡓ ࠋࠕယ ᖺ ᢨ㟢 ࡀࡉ ࡓࡀࠊࡑ ᪉ ࠊ ᮾᇛᙇ ᛅ ࡍ ィ㛫ᣲ ࡉ ࡓࠋ ሙ ᇛ 㛛๓ ࠋ ᗓ 㸧 ࠕ 㜀ර ࡀ ࡇ ࡓࠋᮾ༢ ᪂ᶫ ࠊ ὒᨻᗓ 㛛 ቭ タ ࡋࠊ㛛๓ᗈሙ 㔞ࡍ ࡇ ༡ 㝲 ࡀᮅ᪉ ࡍ ࠊ㒊㝲㝲ࡈ ᐜ ᢕᥱࡍ ࠊせ ఇ ᘓ ᗓෆ ධ ࠊ௬タࡋࡓ㜀ර ࡘ ୡถ ᥋ぢࡍ ẁ ࠊ ᘧ ࡅࡓ ഛ 㛤ጞࡋࡓ ࠋ ࠊ ๓ 㛫 ࡗ ᐇ ࡉ ࡓ 㸧ࠋ 㛫 ᘧ ࠊ ࡎ 㸦㸧 ๓ ࠊ ὒᨻᗓ 㛵 ࠉ௨ᚋࠊ ୡถ ࠊᘓᅜグᛕ ࡅ 㜀රᘧ ᜏ ࡋࡓࠋ ᅋయࠊ 㑅ᢤࡉ ࡓ௦ ࡀᗈሙ 㞟 ࡗ ယ ព Ύᮅᐉ ᖇࡀ ࡋࡓ ࠊᏞ ᒣ ࡅ Ẹᅜ ࡋࠊ ᚋ 㸦㸧 ࠊ ᴗ ࡀ 㛫ࡈ ᑵ ࡋࡓ ୡถ ࡀࠊࡑ ᶒຊ ᨭ ࡓ ᙉ ຊ ධ ᤝࡆࡓࠋ ࢫࢣࢪ ᖺ ᅜ ࠋᘓᅜグᛕ 㜀රᘧ ᶒຊ ᡤᅾ ࡍ ࡀ 㸧 Ẹယ 㘓グ ࡉ ࠋ ᚋ ࢫࢣࢪ ᣲࡆ ࠊ ࠕ ࠊ ࠊ ᨻඪࠊ ሗ ࠊ ࠊ ᅇ 㐨 ᩍ 㸧 ࠋ ࠉከ ཧ ࡀධ ࡕ௦ ᇛ ゼ ࠕယ ࠊࢱ ࢫࢣࢪ ࡎ ཝᐦ ᐃ ࡓࠋ グ㘓 ཧ ࡁ᪉ ࡍ ᅗ㸦ᅗ 㸧ࡀῧ ࡉ ࠊࡇ ࠊཧ ࡎᮾ ᗙ㛛ෆ ពࡉ ࡓ ሙ 㤿㝆 ࠊᚐṌ 㛗Ᏻᕥ㛛 ኳᏳ㛛๓ᗈሙ ධ ࠋ ࡑࡋ ኳᏳ㛛 ➃㛛㛛 ᮾ㛛 ᢤࡅ 㛛๓ ࠊཧᣏ ࡋࡓ ࡕࠊ ᗘ ࡉࡁ 㐣ࡋࡓ 㛛す㛛 ᢤࡅࠊ ᚋ 㛗Ᏻ 㛛 ሙࡍ ࠋࡇ ᅗ 㛛 ࡀ ࡗ ࡁ ࡋ ࡀࠊ ᘧ ᵝᏊ ሗࡌ ᪂ ṇ ឡᅜሗ ࠕ 㛛 ฟධ ࡍ ᆅⅬ ࡋ ࠊ㛛๓ 㣭ࡉ ࡓᯇ ᴥࡀタ ࡉ ࡓ 㸧 ࠊᮾす㛗Ᏻ㛛 ࡌࡃ ሙฟධ ࡋ ࡓࡇ ࡀ᥎ᐃࡉ ࠋ ᅗ㸴 ࠕᅜẸယ ཧ ᅗ㸦 ᇵ ᅜẸယ 㘓 ᅜẸယ ࠊ ᖺ㸧 ࠉࠕယ ࠊኳᏳ㛛๓ᗈሙࡀ ᇛ ദ 㛫 ࡋ య ࡉ ࡓࠋᗈሙෆ ࡉ ࡊ 㣭 ௬タᘓ ࡀタ ࡉ ࠋኳᏳ㛛ᇛᴥ Ẹᅜᅜ ࠕ Ⰽ ࡀ ࡅ ࠊ ᪧΎᮅ ᪘ ᘫ ࡇ ᘧࡀ ࡃ ᪂ᨻᗓ ࡗ ᣲ ࡉ ࡓ ࡇ ࡋ ࠋࡉ ࠊኳᏳ㛛๓ 㔠Ỉᶫ ࠊ ๓㠃 ࡁ ᮌ㐀 ᴥࡀࠊᶫ 㤶⅔ ࡃ ቭ ࠎ ჾࠊࡑࡋ 㝯 ᅗ ᐜࡍ ᮾᒇࡀ௬タࡉ ࡓ㸦ᅗ 㸧ࠋ ࡇ Ẹ ࡓ タ ࡉ ࡓ 㸧ࠋࠕယ ሙ 㛛๓ ࡀࠊࡑࡇ ࡀチ ࡉ ࡓ ๓ 㓄ᕸࡉ ࡓࠕᶆ ࡍ ཧ ࡔࡅ ࡗࡓࠋ ࠎ ࠕယ ཧຍ ࡗࡓ ࠊ㐍ධ ࡁ 504 ᅗ㸵 ᴥ ᮾᒇࡀ௬タࡉ ࡓኳᏳ㛛๓ᗈሙ㸦 ᇵ ᅜ Ẹယ 㘓 ᅜẸယ ࠊ ᖺ㸧

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8 u Hung, Remaking Beijing: Tiananmen Square And The Creation Of A Political Space, Chicago: The University of Chicago Press, 2005 urton Holmes, Burton Holmes Travelogues V9: Down the Amur; Peking; The Forbidden City (1910), Kessinger Publishing,

9 THE OPENING AND NEW USES OF TIANANMEN SQUARE AT THE BEGINNING OF TWENTIETH CENTURY Koji ICHIKAWA * * Research Assoc., Dept. of Architecture, Faculty of Fine Arts, Tokyo University of the Arts, M.Eng. (2015 年 6 月 10 日原稿受理,2015 年 11 月 5 日採用決定 ) 507

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8018.pdf The Operation and Process of Transfer of Development Rights as the Historic Conservation Tool in Dadaocheng, Taipei - Focusing on the Impact on the Historical Environment in Volume Sending Sites - * *