Travel/POI: Japan Kyoto 日本京都 2026.05

鴨川與納涼床
The Kamo River and Noryo Yuka

鴨川是一條貫穿京都市南北，全長約 23 公里長的河流。在京都的歷史與文化發展中扮演了重要角色。這一地區曾是勢力強大的賀茂氏的領地；公元 794 年，桓武天皇將都城遷至平安京時，此河被視為新都城的東界。

1590 年，豐臣秀吉重建了三条大橋與五条大橋，周邊地區隨即迅速發展成繁榮的商業區。茶館和商家紛紛在河岸邊搭建簡易的觀景台（即「物見席」），以招攬顧客。歌舞伎的創始人出雲阿國也在此推動早期的戲劇演出，使四条河原町一帶成為了熱鬧非凡的娛樂中心。

1614年，隨著高瀨川運河的開鑿使這裡成為連接京都與大阪的水路交通要道。

在江戶時期（1603-1868 年）——日本的封建武士時代——富有的商人和茶館老闆開始在淺灘上搭建高台，供人們乘涼，這便是「納涼床」(川床) (河邊平台餐飲）的最早起源。這也是花街文化開始形成的時期。隨著河川堤防的加強和花街娛樂區的發展，納涼床成為普通百姓尋求休閒和避暑的勝地——據說在鼎盛時期，此類場所多達 400 家。

到了明治時代（1868–1912），這項習俗固定在每年的七、八月舉行，並在河兩岸搭建了高台。

1890 年，鴨川透過琵琶湖疏水道與琵琶湖相連。然而，隨著鐵路的開通，水道的運輸功能減弱，納涼床也逐漸式微；如今，唯有那條運河與沿岸的櫻花留存下來，成為京都標誌性的春日景緻。

隨後，在大正時代（1912–1926年），由於防洪工程的實施，直接在河床上建造平台的做法被禁止。這些平台後來毀於颱風，直到第二次世界大戰（1939–1945年）結束後，納涼床才得以重現。

戰後，政府制定了相關法規，允許納涼床安全地重返鴨川河畔。如今，納涼床每年於5月至9月期間開放；在習習涼風中品嚐美味佳餚，著實是一種獨特的用餐體驗。

我們入住的飯店離鴨川上的四条大橋非常近，前往其他景點時也常會經過這裡。有一天傍晚，我目睹了鴨川上空那美得令人屏息的日落景象──那一幕給我留下了難以忘懷的印象。

The Kamo River runs north to south through Kyoto City, stretching roughly 23 km in length. It has played a major role in Kyoto's historical and cultural development. This area was once the territory of the powerful Kamo clan, and when Emperor Kanmu relocated the capital to Heian-kyo in 794, the river was regarded as the eastern boundary of the new capital.

After Toyotomi Hideyoshi rebuilt the Sanjo and Gojo bridges in 1590, the surrounding area quickly developed into a thriving commercial district. Teahouses and merchants began setting up simple viewing platforms (monomi-seki) along the riverbanks to attract customers. Izumo no Okuni, the founder of kabuki, also staged some of the earliest theatrical performances here, turning the Shijo-Kawaramachi area into a lively entertainment hub.

In 1614, the digging of the Takase River canal made this area a key waterway connecting Kyoto and Osaka.

During the Edo period (1603–1868) — Japan's feudal warrior era — wealthy merchants and teahouse owners began placing raised platforms on the shallows for people to cool off, marking the earliest origins of noryoyuka (river-platform dining, also known as kawadoko). This was also when the geisha district culture began to take shape. As the riverbanks were reinforced and the entertainment districts developed, noryoyuka became a popular retreat for ordinary people seeking leisure and relief from the summer heat — at its height, there were said to be around 400 such establishments.

By the Meiji era (1868–1912), the practice became fixed to July and August each year, with elevated platforms built on both banks of the river.

In 1890, the Kamo River was connected to Lake Biwa via the Lake Biwa Canal. However, once the railway opened, the waterway's role in transport diminished, and noryoyuka gradually faded — leaving behind the canal and its cherry blossoms along the banks, which became one of Kyoto's iconic spring scenes.

Then, during the Taisho era (1912–1926), flood-control engineering works led to a ban on building platforms directly on the riverbed. The platforms were later destroyed by a typhoon, and the lights of noryoyuka would not be lit again until after World War II (1939–1945).

After the war, the government established relevant regulations that allowed noryoyuka to safely return to the banks of the Kamo River. Today, noryoyuka operates each year from May to September — enjoying a gentle breeze while savoring delicious food is truly a unique dining experience.

The hotel we stayed at was very close to Shijo Bridge over the Kamo River, and we often passed by this spot on our way to other attractions. One evening, I saw a breathtakingly beautiful sunset over the Kamo River — an image that left an unforgettable impression on me.

鴨川等間隔法則
Kamogawa Equal-Interval Rule

你或許注意到了，照片中坐在鴨川河畔的人們——通常是情侶——會不自覺地與鄰近的人保持相當均勻的間距，形成一種有趣的都市奇觀。這其實是一個廣為人知的當地趣談，被稱為「鴨川等間隔法則」（Kamogawa Tōkankaku no Hōsoku），在三条大橋至四条大橋之間的河段尤為明顯。這種現象乃是：當一對新情侶在兩對既有的情侶之間坐下時，兩側的人會微妙地向左或向右移動，以重新確立各自舒適的個人空間；這種連鎖反應不斷重複，自然就形成了這種均勻分佈的格局。這一現像已廣為人知，甚至成為了針對河岸空間行為的學術研究主題。

京都當地人在人際互動中非常重視「距離感」與隱私——既不願打擾他人，也不希望受到他人的打擾。這種心照不宣的社交習俗，體現了當地文化中一種獨特的溫柔與體貼。

You may have noticed that the people sitting along the banks of the Kamo River in the photos — often couples — unconsciously keep a fairly even distance from the people seated next to them, forming an amusing urban phenomenon. This is actually a well-known local legend called the "Kamogawa Equal-Interval Rule" (Kamogawa Tōkankaku no Hōsoku), especially noticeable in the stretch between Sanjo Bridge and Shijo Bridge. It happens because when a new couple sits down between two existing ones, both sides subtly shift left or right to re-establish their own comfortable personal space — and this chain reaction, repeated again and again, naturally produces the evenly spaced pattern. The phenomenon is so well established that it has even been the subject of an academic study on spatial behavior along the riverbank.

Kyoto locals place great importance on "distance" and privacy in interpersonal relationships — not wanting to intrude on others, and not wanting to be intruded upon either. This unspoken social custom reflects a kind of quiet thoughtfulness and consideration unique to the local culture.

鴨川三角洲飛石
Kamogawa Delta Stepping Stones

鴨川曾因城市化而遭受嚴重污染，但經過政府與當地社區多年的治理努力——包括建造高標準的污水處理系統——如今河水清澈，孕育香魚以及多種野生鳥類的豐富生態系統也已得以恢復。

在鴨川與高野川交匯的中游地帶，當地人親切地將其暱稱為「鴨川三角洲」。這三角形區域的大部分都位於京都府立鴨川公園內。河道中設有烏龜、千鳥（鴴）和船隻形狀的踏腳石（日文稱「飛石」/tobi-ishi）－其中烏龜造型的石頭位於鴨川一側，千鳥造型的則位於高野川一側。這些石頭最初是為了穩固河床而設置的，但隨著時間的推移，它們衍生出了新的用途：水位較低時，人們可以踩著石頭過河，孩子們也能在附近戲水。這種過河方式被人們稱為「跳烏龜」（tobi-kame）。如今，這裡已成為鴨川沿岸最具代表性、也最受歡迎的涉水跳石遊玩點之一。

The Kamo River once faced serious pollution from urbanization, but after years of remediation efforts by both the government and local communities — including the construction of high-standard sewage systems — the river's water is now clear, and rich ecosystems featuring ayu (sweetfish) and various wild birds have been restored.

At the point in the river's middle reaches where the Kamogawa and Takanogawa rivers converge, locals affectionately call the area the "Kamo River Delta" (鴨川デルタ). Most of this triangular area falls within Kyoto Prefectural Kamogawa Park. In the river here, stepping stones (tobi-ishi) shaped like turtles, plovers, and boats have been installed — the turtle-shaped stones on the Kamogawa side and the plover-shaped ones on the Takanogawa side. These stones were originally built as a structural measure to stabilize the riverbed, but they took on an added function over time: when the water level is low, people can cross the river by hopping from stone to stone, and children can play in the water nearby. Some affectionately call this "turtle-hopping" (跳烏龜). Today, it has become one of the Kamo River's most iconic and popular spots for stone-hopping across the water.

先鬥町/先斗町 Pontocho

先鬥町是介於鴨川和木屋町通之間的藝伎和娛樂區，也是京都著名的五大藝伎區（花街）之一。先鬥町作為藝伎區的歷史始於 1670 年，當時這裡是在鴨川與高瀨川沿岸進行護岸加固工程時所形成的填海造地。 1872年，為了吸引遊客參觀首屆京都博覽會，當地創辦了「鴨川舞」演出——與祇園的「都舞」相呼應——並作為一項年度傳統，延續至今。

每個藝伎區都有其專屬的標誌，而先鬥町的標誌便是「鴨川千鳥」。繪有這種千鳥圖案的燈籠隨處可見於這區的店門外，為這一帶營造出一種迷人而懷舊的氛圍。

先鬥町是一條長約 500 公尺鵝卵石鋪成的街道，沿街不僅有藝伎區特有的茶屋，還匯集了各式各樣的餐廳。街東側的許多店舖面向鴨川，並設有臨河露台。我們當時只是經過了先鬥町的入口，並未進去其中遊覽。

Pontocho is a geisha and entertainment district sandwiched between the Kamo River and Kiyamachi-dori, and it's one of Kyoto's five famous geisha districts (hanamachi). Its origins as a geisha district trace back to 1670, when the area was reclaimed land created during riverbank reinforcement work along the Kamo and Takase rivers. In 1872, the "Kamogawa Odori" dance performance was created as part of efforts to attract visitors to the first Kyoto Exposition — performed alongside Gion's "Miyako Odori" — and it has continued as an annual tradition ever since.

Each geisha district has its own emblem, and Pontocho's is the "Kamogawa chidori" (Kamo River plover). Lanterns painted with these plover birds can be spotted outside shops throughout the district, lending the area a charming, nostalgic atmosphere.

Pontocho is a roughly 500-meter-long cobblestone street lined not only with the teahouses typical of a geisha district, but also a wide variety of restaurants. Many of the establishments on the street's east side face the Kamo River and have riverside terraces. We only passed by the entrance to Pontocho and didn't walk in to explore.

南座 Minamiza Theater

在鴨川的四条大橋東側，矗立著日本歷史最悠久且持續運作至今的劇場。劇場的淵源可追溯至江戶時代初期（慶長年間，1596–1615年），並與 1603 年這一關鍵年份緊密相連——據傳，出雲阿國（Izumo no Okuni）當年便是在此首次表演了歌舞伎舞蹈，這件事被公認為歌舞伎藝的開端。儘管劇場在此地已有 400 多年的歷史，但現存建築建於 1929 年，採用了優雅的桃山風格設計。其內部裝潢以紅、金兩色為主調，極具視覺衝擊力；建築物現已被列為國家有形文化財產。除了傳統的歌舞伎演出外，南座還舉辦音樂劇、音樂會，甚至包括融合了表演藝術與動漫文化的跨界演出。

有一天我們路經此處，看到劇院附近的街角聚集了一大群人。我們一時弄不清楚大家在等什麼。過了一會兒，一輛車駛過，人群突然爆發出興奮的尖叫聲，並瘋狂地揮舞著雙手。我猜想肯定是有哪位名人或主角經過。車子一開走，人群便迅速散去了。當時我正全神貫注地看著這一幕，琢磨著到底發生了什麼事，結果完全忘了拍照──真是太可惜了。

On the east side of Shijo Bridge over the Kamo River stands Japan's oldest continuously operating theater, with roots tracing back to the early Edo period (the Keicho era, 1596–1615), closely tied to 1603 — the year Izumo no Okuni is said to have first performed kabuki dance nearby, traditionally regarded as the birth of kabuki itself. While the theater's lineage on this exact site goes back over 400 years, the current building dates from 1929 and is built in an elegant Momoyama-style design. Its interior is dominated by a striking color scheme of red and gold, and the building has been designated a National Tangible Cultural Property. Beyond traditional kabuki, Minamiza also hosts musicals, concerts, and even cross-genre productions blending performance with anime culture.

One day as we passed by, we saw a large crowd gathered on a street corner near the theater. We couldn't quite figure out what everyone was waiting for. A little while later, a car drove past, and the crowd suddenly burst into excited screams, waving their hands wildly. I guessed it must have been some celebrity or leading actor passing through. Once the car drove off, the crowd quickly dispersed. I was so absorbed in watching the scene and trying to figure out what was going on that I completely forgot to take a photo — what a shame.

東華菜館 Tohka Saikan/Tokasaikan

位於鴨川四條大橋旁的「東華菜館」，雖然我從未進去用餐過，但是被它的建築外觀吸引了。這棟建築出自著名建築師威廉·梅雷爾·沃里斯（William Merrell Vories）之手。其歷史可追溯至 1924 年－當時日本正值啤酒屋熱潮，西式餐廳「矢尾政」（Yaomasa）的少東家想要打造一家新型啤酒餐廳，於是委託沃里斯進行設計。這座極具特色的西班牙巴洛克風格建築於 1926 年落成。值得一提的是，這是沃里斯職業生涯中設計的唯一一家餐廳建築；他的其他作品則以學校和教堂為主。

然而，第二次世界大戰期間，西餐廳的經營變得難以為繼。店主淺井安次郎將店面轉交給了來自中國山東、且受過正宗中餐烹飪訓練的朋友——于永善。 1945 年底，于永善在此創立「東華菜館」，開始供應正宗的北京風味菜餚。

我還聽說，這棟建築裡至今仍保留著一部由美國奧的斯（OTIS）公司於 1924 年製造、並在大樓落成時安裝的復古電梯——時至今日，它仍需由專人手動操作，這也成為了該餐廳最具特色的亮點之一。

Tohka Saikan, located right beside Shijo Bridge over the Kamo River, is a restaurant I never went inside to try, but its architecture caught my eye. It turns out the building was designed by the renowned architect William Merrell Vories. Its history dates back to 1924, during the height of Japan's beer hall craze, when the young heir of the Western-style restaurant "Yaomasa" wanted to create a new kind of beer restaurant and commissioned Vories to design it. The resulting building — a striking example of Spanish Baroque architecture — was completed in 1926. Notably, this is the only restaurant building Vories designed in his entire career; the rest of his portfolio is dominated by schools and churches.

However, during World War II, Western-style restaurants became difficult to sustain. The owner, Asai Yasujiro, handed the building over to a friend named Yu Yongshan, who came from Shandong, China, and had trained in authentic Chinese cuisine. At the end of 1945, Yu founded "Tohka Saikan" here, beginning to serve authentic Beijing-style cuisine.

I've also heard that the building still houses a vintage elevator manufactured by the American company OTIS in 1924 and installed when the building opened — to this day, it must still be operated manually by a staff member, making it one of the restaurant's most distinctive features.

京都府立醫科大學 Kyoto Prefectural University of Medicine

我妹夫的父親曾在京都府立醫科大學求學過，我們也到這座落在鴨川旁的學校看看。

My brother-in-law's father once studied at Kyoto Prefectural University of Medicine, so we also stopped by to take a look at this school, which sits right beside the Kamo River.