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Edo-Tokyo Museum

1993 establishments in JapanBuildings and structures in Sumida, TokyoEdoHistory museums in JapanMuseums established in 1993
Museums in TokyoUkiyo-e Museum
Edo Tokyo Museum
Edo Tokyo Museum

The Edo-Tokyo Museum (江戸東京博物館, Edo Tōkyō Hakubutsukan) is a historical museum located at 1-4-1 Yokoami, Sumida-Ku, Tokyo in the Ryogoku district. The museum opened in March 1993 to preserve Edo's cultural heritage, and features city models of Edo and Tokyo between 1590 (just prior to the Edo period beginning) and 1964. It was the first museum built dedicated to the history of Tokyo. Some main features of the permanent exhibitions are the life-size replica of the Nihonbashi, which was the bridge leading into Edo; scale models of towns and buildings across the Edo Meiji, and Showa periods; and the Nakamuraza theatre.Designed by Kiyonori Kikutake, the building is 62.2 meters tall and covers 30,000 square meters. The concrete exterior is designed based on a traditional rice storehouse (takayuka-shiki style) and is the same height as the Edo Castle. Kikutake claimed that the building "crystallizes Japanese culture in built form," concerning the structure's traditional references but contemporary execution. There are eight floors, one below ground and seven elevated off the ground by four columns, with an open air plaza at ground level. The first floor has a museum shop, restaurants, and a ticket counter. The primary entrance is on the third floor, reached by a bright red escalator from the plaza. The fifth and sixth floors contain permanent exhibits, with temporary special and feature exhibits on the first and fifth floors. The seventh floor is a library that houses 560,000 texts and cultural items related to Edo and Tokyo.The museum opened thirteen years after the Shitamachi Museum and six years after the Fukagawa Edo Museum, all part of a national trend for building local history museums. The exhibits for all three were primarily designed by Total Media.Formerly owned and operated by the Tokyo Metropolitan Government, the Edo-Tokyo Museum is accented by the Edo-Tokyo Open Air Architectural Museum across the city in Koganei Park. The Edo-Tokyo Museum is now operated by the Tokyo Metropolitan Foundation for History and Culture.

Excerpt from the Wikipedia article Edo-Tokyo Museum (License: CC BY-SA 3.0, Authors, Images).

Geographical coordinates (GPS)

Latitude Longitude
N 35.696402777778 ° E 139.79610277778 °
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Address

江戸東京博物館

Kiyosumi-Dori 1
130-0015 Sumida
Japan
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Phone number

call+81336269974

Website
edo-tokyo-museum.or.jp

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Edo Tokyo Museum
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Bombing of Tokyo (10 March 1945)
Bombing of Tokyo (10 March 1945)

On the night of 9/10 March 1945, the United States Army Air Forces (USAAF) conducted a devastating firebombing raid on Tokyo, the Japanese capital city. This attack was code-named Operation Meetinghouse by the USAAF and is known as the Great Tokyo Air Raid in Japan. Bombs dropped from 279 Boeing B-29 Superfortress heavy bombers burned out much of eastern Tokyo. More than 90,000 and possibly over 100,000 Japanese people were killed, mostly civilians, and one million were left homeless, making it the most destructive single air attack in human history. The Japanese air and civil defenses proved largely inadequate; 14 American aircraft and 96 airmen were lost. The attack on Tokyo was an intensification of the air raids on Japan which had begun in June 1944. Prior to this operation, the USAAF had focused on a precision bombing campaign against Japanese industrial facilities. These attacks were generally unsuccessful, which contributed to the decision to shift to firebombing. The operation during the early hours of 10 March was the first major firebombing raid against a Japanese city, and the USAAF units employed significantly different tactics from those used in precision raids, including bombing by night with the aircraft flying at low altitudes. The extensive destruction caused by the raid led to these tactics becoming standard for the USAAF's B-29s until the end of the war. There has been a long-running debate over the morality of the 10 March firebombing of Tokyo. The raid is often cited as a key example in criticism of the Allies' strategic bombing campaigns, with many historians and commentators arguing that it was not acceptable for the USAAF to deliberately target civilians, and other historians stating that the USAAF had no choice but to change to area bombing tactics given that the precision bombing campaign had failed. It is generally acknowledged that the tactics used against Tokyo and in similar subsequent raids were militarily successful. The attack is commemorated at two official memorials, several neighborhood memorials, and a privately run museum.

Forty-seven rōnin
Forty-seven rōnin

The revenge of the forty-seven rōnin (四十七士, Shijūshichishi), also known as the Akō incident (赤穂事件, Akō jiken) or Akō vendetta, is a historical 18th-century event in Japan in which a band of rōnin (lordless samurai) avenged the death of their master. The incident has since become legendary. It is one of the three major adauchi vendetta incidents in Japan, alongside the Revenge of the Soga Brothers and the Igagoe vendetta.The story tells of a group of samurai who were left leaderless after their daimyō (feudal lord) Asano Naganori was compelled to perform seppuku (ritual suicide) for assaulting a powerful court official named Kira Yoshinaka. After waiting and planning for a year, the rōnin avenged their master's honor by killing Kira. They were then obliged to commit seppuku for the crime of murder. This true story was popularized in Japanese culture as emblematic of the loyalty, sacrifice, persistence, and honor that people should display in their daily lives. The popularity of the tale grew during the Meiji era, during which Japan underwent rapid modernization, and the legend became entrenched within discourses of national heritage and identity. Fictionalized accounts of the tale of the forty-seven rōnin are known as Chūshingura. The story was popularized in numerous plays, including in the genres of bunraku and kabuki. Because of the censorship laws of the shogunate in the Genroku era, which forbade portrayal of current events, the names were changed. While the version given by the playwrights may have come to be accepted as historical fact by some, the first Chūshingura was written some 50 years after the event, and numerous historical records about the actual events that predate the Chūshingura survive. The bakufu's censorship laws had relaxed somewhat 75 years after the events in question in the late 18th century when Japanologist Isaac Titsingh first recorded the story of the forty-seven rōnin as one of the significant events of the Genroku era. To this day, the story remains popular in Japan, and each year on 14 December, Sengakuji Temple, where Asano Naganori and the rōnin are buried, holds a festival commemorating the event.

1894 Tokyo earthquake

The 1894 Tokyo earthquake (明治東京地震, Meiji-Tokyo jishin) occurred in Tokyo, Japan at 14:04 PM on June 20. It affected downtown Tokyo and neighboring Kanagawa prefecture, especially the cities of Kawasaki and Yokohama. The earthquake's epicenter was in Tokyo Bay, with a magnitude of 6.6 on the Richter magnitude scale. The depth of the 1894 earthquake has not been determined, but it is thought to have occurred within the subducting Pacific Plate under the Kantō region. The death toll was 31 killed and 157 injured. The earthquake was mentioned by author Ichiyō Higuchi in her work Mizu-no-ue no nikki, in which she described damage to buildings in Yotsuya, and soil liquefaction in the Mita area of downtown Tokyo. She also commented on an aftershock which occurred at 22:00 that night. The earthquake is also mentioned by author Jun'ichirō Tanizaki in his autobiographical work, Yosho-jidai, in which he described how his family's house collapsed during the earthquake, a traumatic event to which he attributed his lifelong phobia of earthquakes. By 1894, Tokyo and Yokohama had numerous foreign residents, many of whom commented on the earthquake in their writings and diaries. The National Science Museum of Japan in Tokyo has a collection of twenty two photographs of the earthquake in the form of albumen papers, lantern slides and dry plates. A considerable number of photographs were taken just after the event for the use at the former Imperial Earthquake Investigation Committee in its official reports of the 1894 earthquake, but almost all of the original plates have been lost.