The main buildings are, among other halls, the , , , , and a number of residences for the Empress, high-ranking aristocrats and government officials. The layout of Kyoto's imperial palace was modeled after old residence of emperor in
Heian Palace Gates For state ceremonies, the dignitaries would enter through the , which has a cypress-wood roof, and is supported by four unpainted wooden pillars. This gate would have been used on the rare occasions of the Emperor welcoming a foreign diplomat or dignitary, as well as for many other important state ceremonies. Passing through the
Kenreimon, the inner gate
Jomeimon would appear, which is painted in vermilion and roofed in tile. This leads to the
Shishin-den, which is the Hall for State Ceremonies. The
Gekkamon is a smaller gate on the west side of the main courtyard. The annual
Aoi Matsuri in May is the procession of the
Saiō-Dai, historically a priestess of the imperial house, to the
Shimogamo Shrine and
Kamigamo Shrine. The procession departs in front of the
Kenreimon. Another gate in the outer courtyard is the
Kenshunmon, which has a similar architectural style to the
Kenreimon. Located next to the
Kenshunmon is a square where the traditional ball game
Kemari is played. Image:Kyotopalace.jpg|, the main entrance gates used by emperor only. File:Kenshun-Mon.JPG|
Kenshunmon (建春門) Eastern gate. File:Kyoto-gosho Sakuheimon-2.JPG|
Sakuheimon (朔平門), Northern gate. File:Kyoto-gosho Gishumon-2.jpg|
Gishumon (宜秋門), Lower Western gate used by the Emperor Emeritus, Imperial family members, and highest-ranking court nobles, who officially visited to the palace. File:Seisho-Gomon.JPG|
Seishomon (清所門), Middle Western gate. File:Kogo-Mon.JPG|
Kogo-Mon (皇后門), Upper Western gate, used by Empress. File:Imperial palace 1.JPG|
Jomeimon (承明門), Main entrance to Shishiden throne hall File:Kyoto-gosho Nikkamon-2.JPG|
Nikkamon (日華門), Eastern gate to Shishiden throne hall File:Gekka-Mon.JPG|
Gekka-Mon (月華門), Western gate to Shishiden throne hall
Okurumayose was also called as Kugemon (公家門), which refers to "the gate for highest-ranking court nobles". It was designed with
Karahafu style (curved gable) roof. The Okurumayose served as the official entrance for high-ranking court nobles, which is derived from the entrance created in the middle of the corridor in aristocratic residences during the Heian period. The Okurumayose is created in the middle of a long north-south corridor. Heading north leads to the office of retainers and the other buildings located further north of the Kogosho, while heading south leads to the rooms of the Shodaibu-no-ma and the Seiryoden. The use of the Okurumayose was exclusively reserved for the highest-ranking court nobles. Furthermore, among them, only a select few were permitted to bring their vehicles directly to this entrance. Others had to enter the palace building from the Shodaibu-no-ma, located south of the Okurumayose. When entering the Okurumayose with a palanquin or other vehicle, it was customary to get into a palanquin from the front and get out from the rear. In the late Edo period, the shogun's visit to Kyoto occurred for the first time in about 230 years. In 1863 (Bunkyū 3), the Shogun Tokugawa Iemochi got out of his palanquin outside the Gishumon Gate and walked on foot to the Okurumayose to enter the palace. The following year, during his second visit, his treatment was improved, and he was permitted to ride his palanquin directly to the Okurumayose to enter the palace.
Shodaibunoma The building was used as a waiting room for dignitaries on their official visits to the palace. They were ushered into three different anterooms according to their ranks. There are 3 rooms in rank from the highest to lowest that are the Tora-no-ma (Tiger Room), Tsuru-no-ma (Crane Room), and Sakura-no-ma (Cherry Blossom Room). Each room was reserved for nobles of certain ranks: Kugyo (the highest-ranked court nobles), Denjo-bito (court nobles ranked below Kugyo, especially those permitted to ascend to the Emperor's living quarters), and Shodaibu (court nobles ranked below Denjo-bito, who were not permitted to ascend to the Emperor's living quarters). The name Shodaibu-no-ma originally referred only to the Sakura-no-ma (Cherry Blossom Room). Except for the highest-ranked nobles who were permitted to enter from the Okuruma-yose or Carriage Porch, visitors were required to enter from the kutsunugi-ishi (a stone slab for removing shoes) on the west side of the Shodaibu-no-ma, and then to wait in the designated room corresponding to their rank. Since ancient times, there had been a strict distinction between the Kugyo & Denjobito and the Shodaibu. This distinction can be seen from the fact that the Tora-no-ma and Tsuru-no-ma have tatami mats decorated with finely patterned korai-beri (korai-style tatami hems), and the ranma (transom) between these two rooms. However, the Sakura-no-ma has tatami mats decorated with red silk border hems and no ranma transoms. The Sakura-no-ma is also the only room with a wall on the north side, which means that visitors from the Sakura-no-ma were not permitted to use the corridor leading to the main palace buildings. The Shodaibu-no-ma was also used to receive visits from samurai lords. The Tora-no-ma was used as an antechamber for samurai lords of the Kugyo rank (called Gosanke and Gosankyo), and the Tsuru-no-ma for lower-ranked samurai (for ex., messengers of the shogun, Kyoto Shoshidai (Kyoto Governor appointed by the shogunate), where guests could prepare for audiences with the Emperor in the Kogosho. It also served as meeting place for court nobles and samurai during the upheaval at the end of the Edo period. The Shodaibu-no-ma was also used as a venue for annual ceremonies. When the Chugen Festival, which occurred at the same time as the Urabon-e (Bon Festival) on July 14 and 15, lanterns presented by the Empress, ladies-in-waiting, and court nobles, were displayed in the rooms and corridors. These lanterns were elaborately decorated with dolls and artificial flowers, and were lit at night for the Emperor to view, while the general public was also permitted to view them during the day. File:諸大夫の間.jpg| Shodaibunoma File:Dolls from Kyoto Gosho1 DSCN5597 20081114.JPG| Dolls displayed in Cherry Blossom room.
Shinmikurumayose The (New Carriage Porch) was built for the Enthronement Ceremony of Emperor Taisho in 1915 to welcome the carriage procession carrying the Emperor. The name is the collective name used to refer to the entire structure, including the interior. Initially on the north side there used to be a corridor leading to the Otsunegoten, but this was demolished during the World War II, and today it is a stand-alone building. In ancient times, on the occasion of a visit by the Emperor, it was the tradition that the Emperor would get in the Imperial palanquin in the Shishinden building. And the Imperial Palanguin would enter and exit through the Kenreimon Gate on the south side of the palace grounds. Following the tradition, the Shin-mikurumayose was also built facing south. The Shin-mikurumayose was built to the west of the Shishinden as an entrance porch for Imperial visits in the modern era. This is because the Jomeimon Gate, located between the Shishinden and the Kenreimon Gate, was designed to fit the width of the Imperial palanquin, making it impossible for the newly introduced horse-drawn carriages to pass through. The Okurumayose (conventional porch for the highest-ranking court nobles) was designed for either their vehicles or for them to enter on foot from the front. Therefore, the Okurumayose is characterized by walls on both sides. In contrast, the new Shin-mikurumayose allows vehicles to enter from the west side. This design enables carriages to align their side doors with the front of the building for boarding, alighting, and passing through towards the east. To ensure the passing route of the carriage, there are no walls on either side. While both the conventional Okurumayose and the new Shin-mikurumayose share the same karahafu (curved gable) roof style, there are, as mentioned above, structural differences based on their usage. The interior of the Shin-mikurumayose consists of a hallway at the entrance and four rooms of varying sizes, with frosted glass and Western-style lighting, and carpeted floors to accommodate people with shoes entering the palace, making it compatible with modern living styles. It was used as a reception room for foreign envoyes at the Enthronement Ceremonies of Emperor Taisho and Emperor Showa, and today it is still used as a venue for Their Majesties the Emperor and Empress to hold tea parties when in Kyoto.
Shunkōden The was constructed in 1915 for the Enthronement Ceremony of Emperor Taisho to house the Divine Mirror, one of the Three Imperial Regalia. The mirror had been brought from the Kashikodokoro Sanctuary at the Imperial Palace in Tokyo. Imperial succession ceremonies, such as the Kashikodokoro-oomae-no-gi, the ceremony to announce the accession to the throne to the Imperial ancestors, were held here. The roof is modern, being made out of copper and not wooden shingles.
Shishinden The is the most important ceremonial building within the palace grounds. The enthronement ceremonies of Emperors Meiji through Showa took place here. The hall is in size, and features a traditional architectural style, with a gabled and hipped roof called
Shinden-zukuri. On either side of its main stairway were planted trees which would become very famous and sacred, a cherry (
sakura) on the eastern, left side, and a
tachibana orange tree on the right to the west. The garden of white gravel played an important role in the ceremony. The Shishinden is the main hall with a distinguished history dating back to the Heian period, where important court ceremonies were held. It was built facing south in the southern area of the grounds and was also known as Nantei (南庭). The building, with its cypress bark roof and natural, unpainted wood construction, features Shitomido outer doors and Karado doors on the exterior. The central area, called
Moya (母屋), measures 9 ken (approximately 16.4 meters) in width and 3 ken (approximately 5.5 meters) in length, and is surrounded by Hisashi on all four sides. The interior showcases Keshoyaneura (refined rafters and beams) and Nugui-itajiki (refined polished wood flooring). All these features highlight the architectural styles of the Heian period. Currently, the Shishinden houses the Takamikura(Imperial Throne) and the Michodai(August Seat of the Empress), which are used exclusively for the Enthronement Ceremony. Originally, the Michodai referred to an Emperor's throne within a rectangular canopy, like the one currently in the Seiryoden. The combination of the Emperor's throne in the canopy and the Kensho shoji (賢聖障子) panels located behind it characterized the Shishinden as a highly dignified and traditional building. During reconstruction in Kansei 2(1790), the architectural space of the Shishinden was restored according to the ancient Heian period traditions (
Shinden-zukuri) to ensure that traditional ceremonies could be accommodated as originally intended. The restoration was based on the floor plan research by the scholar Uramatsu Kozen (as documented in "Daidaizu-koshō") and other documents related the Heian period Imperial Palace. While maintaining the Heian period style, modern techniques from the Edo period were used in some areas, such as the roof truss structure. In the Shishinden, important ceremonies such as the
Enthronement Ceremony, the
Coming of Age Day, the Rikkou and the Rittaisi (Ceremonies for announcing that an Empress or new Crown Prince has been crowned and enthroned) and seasonal ceremonies were held. Not only the main hall but also the south garden in front of it, the surrounding corridors, and various gates were used as part of the ceremonial venue. In the South Garden, the
Daijosai (Rite of Offering of New Rice after the Enthronement Ceremony) was also conducted. Originally, the Enthronement Ceremony was held in the
Daigokuden of the Chodoin in the Heian palace, and the Daijosai in the south courtyard. In later periods, the Shishinden and the South Garden served as substitutes in place of the Chodoin. The corridors and gates built after the Kansei era reconstruction based on the style of the Chodoin. The Shishinden, which preserves the tradition from the Heian period, became the stage for the dawn of a new era with the Meiji Restoration. It was the site for the proclamation of the
Charter Oath (Five-Article Oath) in 1868 and served as a venue for Imperial audiences with foreign envoys. Subsequently, it was used for the Enthronement Ceremonies of Emperor Taishō and Emperor Shōwa, symbolizing the enduring court culture of Japan. File:Genpuku of Mikado.jpg|
Genpuku (元服) ceremony of crown prince Osahito (right) at the Shishinden,
Emperor Ninkō on throne (left) in 1st year of Kōka (1845). File:Attainment of Majority Ceremony by Ito Koun (Meiji Memorial Picture Gallery).jpg|
Genpuku (元服) ceremony of emperor Meiji in 8 February 1868. File:Enthronement_Ceremony_of_Emperor_Kōmei.png|Enthronement ceremony of
Emperor Kōmei at Shishinden. File:Enthronement of the Emperor by Igai Shokoku (Meiji Memorial Picture Gallery).jpg|Enthronement ceremony of
Emperor Meiji. File:Enthronement of Emperor Taisho 1.JPG|Enthronement of
Emperor Taishō in 1915. File:Ceremony of the Enthronement of Emperor Shōwa in Shishinden Hall 5.jpg|Ceremony of the Enthronement of Emperor Shōwa in Shishinden Hall. File:Proclamation of the Imperial Oath by Inui Nanyo (Meiji Memorial Picture Gallery).jpg|Proclamation of the Imperial
Charter Oath File:Emperor Receives Foreign Ministers by Hiroshima Kōho (Meiji Memorial Picture Gallery).jpg| Emperor Meiji received
Dirk de Graeff van Polsbroek Dutch foreign ministers. File:Sakon no Sakura.JPG|
Sakon no Sakura, Cherry blossom tree on the right side. File:Ukon no Tachibana.JPG|
Ukon no Tachibana, Mandarin orange tree on the left side .
Takamikura . The is the
Imperial throne. It has been used on the occasion of the
enthronement ceremonies commencing in 707 in the reign of
Empress Genmei. The present throne was modeled on the original design, constructed in 1913, two years before the enthronement of
Emperor Taishō. The actual throne is a chair in black lacquer, placed under an octagonal canopy resting on a three-tiered dais painted with black lacquer with balustrades of vermilion. On both sides of the throne are two little tables, where two of the three
Imperial regalia (the sword and the jewel), and the
privy seal and
state seal would be placed. On top of the canopy is a statue of a large phoenix called
hō-ō. Surrounding the canopy are eight small phoenixes, jewels and mirrors. Hanging from the canopy are metal ornaments and curtains. The sliding door that hid the Emperor from view is called , and has an image of 32 celestial saints (Ancient Chinese scholars) painted upon it, which became one of the primary models for all of Heian period painting.
Michodai The is the August Seat of the Empress. The current throne was constructed in 1913. Its colour and shape are the same as the
Takamikura, but is slightly smaller and more simple in comparison. The canopy is decorated with a statue of the mythical bird
ranchō. File:Michodai.png| August seat of Empress. The Imperial throne is always placed in the center of the main hall, the
michodai to the right of it. Both thrones are kept away from public view through screens called
misu.
Seiryōden The is located to the west of the Shishin-den and facing east which was originated from the
Heian Palace, then became established as the Emperor's daily residence from the late 9th century. The original structure was built as the Emperor's residence at the end of the 8th century and was used until the 11th century. Along with the Shishinden (throne hall), it has been the stage for important traditional court ceremonies. Following the construction of the Otsunegoten by Toyotomi Hideyoshi's donation in 1590 as a new residence for the Emperor, Seiryōden was used exclusively for ceremonies. The
Seiryō-den was rebuilt in this location in 1790 CE, on a smaller scale than the original building but preserving the original structure. The architectural space of the Seiryōden has undergone changes due to shifts in lifestyle and function. However, during the Kansei era (1855) reconstruction, it was restored based on the ancient Heian period style (
Shinden-zukuri), along with the Shishinden and other buildings. The current Seiryōden, with its furnishings and decorations made to match the architectural style of the building, offers valuable insights into the traditions and culture of the Emperor's residence and the lifestyle of that era. The central rectangular area is called
Moya (母屋), measuring 9
ken (20 meters) in width and 2
ken (6 meters) in length. Surrounding it on all sides is a corridor-like wooden-floored space called
Hisashi. Additionally on the outside of the Shitomido (outer doors), there is a veranda-like wooden-floored space called Hiro-bisashi (or Mago-bisashi). Unlike the Shishinden, which was a building dedicated to residence of emperor, later only ceremonies in 1590, the interior of the Seiryōden has many partitions and is divided into rooms according to their use, reflecting the characteristics of residential spaces in the late Heian period. In the Edo period, traditional ceremonies were held in this building: the Kenji-togyo (Transfer of the Sacred Sword and Jade), the Judai (the entry of a highest-ranking court noble's daughter into the Imperial court to become the Imperial Consort), the Boukan-jimoku (Appointment of Court Officials), the Kochobai (Imperial Audience), the Daishoji-gozen (Imperial Ceremonial Meal), Shinto and Buddhist rituals, and the Shihohai (literally "Prayer to the Four Quarters", referring to the Emperor's New Year Prayer held at the East Garden in front of the Seiryōden). In this way, the entire building of the Seiryōden was an extremely important ceremonial space where the Emperor would appear and ceremonies were conducted. Considering the importance of such a building, although the size has been reduced from the original Seiryōden, its restoration has been achieved. The Koromogae (changing of attire and furnishings) was held in the fourth and tenth months of the lunar calendar, which was an annual observance in the court. On the first day of the fourth and tenth months of the lunar calendar, attires and interior furnishings were changed to match the season. This observance was a seasonal custom to herald the arrival of a new season. Even today, the draperies of the Mihchōdai(Imperial Canopy) and the Kabeshiro (Wall Hangings) are changed to match the season to welcome visitors with seasonal decorations. Image:Seiryoden.jpg|
Seiryōden File:Kyoto-gosho Seiryoden Hirunoomashi & Michodai-2.JPG| Michōdai (御帳台) baldachin installed as the throne of the emperor File:G473-ruijyu-cyo.jpg| Michōdai (御帳台) baldachin installed as the throne of the emperor. File:Shihouhai.jpg|Shihouhai (四方拝) ceremony at Seiryōden. File:Seiryoden1.jpg| Emperor Komei conducted Kochobai ceremony (小朝拝) at Seiryoden.
Kogosho The is a place where the Emperor received bannermen under the direct control of the Tokugawa shogun (
buke). It was also used for some rituals. the building was built in the Imperial palace from the medieval period. The layout of the Kogosho, featuring upper, middle, and lower floor-level rooms, was designed to accommodate Imperial audiences with samurai and envoys from the shogunate. It is best known for the "Kogosho Conference," held during the Meiji Restoration to discuss the treatment of
Tokugawa Yoshinobu following the
Taisei Hōkan (the formal return of political authority to the Emperor). The Kogosho has occasionally served as a substitute for Heian-period palace buildings with historical significance, particularly during important imperial ceremonies. Alongside the Shishinden and Seiryōden, it has been the site of key rituals related to imperial succession. Reflecting its ceremonial role, the Kogosho features architectural elements similar to those of the Seiryōden, including fusuma shōji (sliding doors decorated with Konjobiki multicolored designs), nuno shōji (fabric-covered sliding doors with ink paintings), and shitomi-do (latticed shutters). When the tatami mats and partitions are removed and traditional furnishings are arranged, the space can be transformed to resemble a Heian-period palace interior. Due to its high practicality, the Kogosho was also used for various purposes, such as waka poetry gatherings and musical performances. This distinctive building shows a blend of architectural elements of
Shinden-zukuri and
Shoin-zukuri styles. File:Kyoto-gosho Kogosho.jpg| Kogosho hall. File:Emperor Meiji accession to the throne in 1867.jpg|The picture depicts prince
Mutsuhito ascending to the throne and appointing
Nijō Nariyuki (kowtowing) as regent. The ceremony should be conducted at Seiryoden but the body of Emperor Kōmei was enshrined in the Seiryōden at the time, the succession ceremony was held in the Kogosho instead, which served as a temporary Seiryōden. File:Restoration of Imperial Rule by Shimada Bokusen (Meiji Memorial Picture Gallery).jpg|The conference of Meiji restoration (王政復古) at Kogosho. Young emperor Meiji sat in the far north behind the
Sudare. File:Kyoto Imperial Palace Kogosho engulfed in fire (16 August 1954).jpg| The building was destroyed by fire in 16 August 1954, and rebuild later. The Kogosho Conference was held here on the night of December 9, 1867, the declaration of the
restoration of imperial rule (
osei fukko). The structure burnt down in 1954 and was reconstructed in 1958.
Ogakumonjo The study hall was used for events such as the New Year's Lectures, as well as for academic study, entertainment, reading rites, a monthly poetry recital and as a venue for the emperor to meet with court nobles. It was built in
Shoin-zukuri style building with an
irimoya hiwadabuki roof. The Ogakumonjo was first seen in the Imperial palace during the Nanboku-cho period (1336-1392). It became an independent building during the Edo period and built in Keicho-era (1613) by donation of by Tokugawa Ieyasu. In the Keicho-era, activities and ceremonies such as calligraphy practice, waka poetry gatherings, and reading sessions were regularly held here. Initially, these activities were to enhance the education of Emperor Gomizuno-o himself and court nobles in close attendance. To the north, there was a large library and easily accessible by a corridor from the Ogakumonjo and the Otsunegoten located to the west. Afterwards, it was rebuilt seven times due to fires, and its scale and form changed differently in each era. The current building was constructed during Ansei 2 (1855), was used for academic and artistic ceremonies such as Otokusho-hajime (First Reading Ceremony) and waka poetry gatherings. It also served as an audience chamber and a temporary residence during the restoration of the Otsunegoten.
Emperor Kōmei met the Shoguns
Tokugawa Iemochi and
Tokugawa Yoshinobu here. Years later, the "Edict of the Restoration of the Imperial Rule" was issued here on December 9, Keio 3 (1867) in the presence of
Emperor Meiji. File:Kyoto-gosho Ogakumonjo-3.jpg| Study hall.
Otsunegoten The was first built in 1590 when samurai ruler
Toyotomi Hideyoshi donated money to renovate the palace. The purpose of building this palace was to shift the function as the Emperor's living quarters from the Seiryoden into an independent palace. Since then, the Otsunegoten had served as the Emperor's living quarters for centuries. After 1869, when Emperor Meiji moved to Tokyo, the Otsunegoten had been used as the Emperor's accommodations during their visits to Kyoto until the end of World War II. The three rooms facing south are Jodan-no-ma (上段の間), Chudan-no-ma (中段の間) and Gedan-no-ma (下段の間), which were used for ceremonies and gatherings such as the New Year Greeting Ceremony and Seasonal Banquets. Jodan-no-ma is the highest-ranked rooms; it has a raised floor where the Emperor was seated, on which the Emperor's seat was placed, and is furnished with the Chodai-gamae (ornamental doorway giving access to the Kenji-no-ma room where the Imperial Regalia were placed) behind the Emperor's seat. In addition to the difference in floor level, each room has its own respective ceiling decorated in a different style. These differences, which show the status of the people who sat in the room, are characteristics of the
Shoin-zukuri architectural style. The east side of the building was a space for Emperor's daily life. Sliding doors were furnished instead of the old style
Shitomi latticed shutters found in the south side of the building because functionality was prioritized in the east side. Otsunegoten preserves and conveys the tradition of the Emperor's living quarters and the evolution of Japanese architectural styles to the present day. File:Otsune-Goten.JPG|Southern facade File:Shitoni-do01.JPG|Southern facade File:御常御殿 - 京都御所 - panoramio (1).jpg|Eastern facade
Osuzumisho The is the summer residence for the Emperor. The Osuzumisho is a gabled, cypress-barked, east-west wing building that connects from the inner garden through the Ryusenmon Gate to the north of the Kyoto Imperial Palace's New Year gate, and was designed primarily to provide a comfortable stay during Kyoto's hot summers, with many windows.
Koshun The is a study hall that was used by
Emperor Komei, who reigned from 1846 to 1866. File:Kyoto Kaiserpalast Gonaitei-Garten 2.jpg|Koshun
Omima The which literally means "three rooms", is a palace with three rooms. The Omima rooms were originally part of the Otsunegoten and later became a separate building, which is connected to the Otsunegoten via a corridor on the north side. The Mairado (wooden sliding door) on the south side of the western Goenzashiki was a doorway to the corridor (that has been removed) connecting to the Ogakumonjo building. The Omima served as a passageway for the Emperor. In other words, it was a relay point for going from the inner quarters to the outer quarters in the Imperial Palace. It also served as a secondary palace to the Otsunegoten. For example, after the death of the Emperor, the articles of the Imperial Regalia were transferred from the Otsunegoten to the Jodan-no-ma Upper Room of the Omima, and it functioned as a temporary residence for the new Emperor. Some small-scale ceremonies, such as the Fukasogi ceremony, which celebrated the healthy growth of the princes and princesses, Noh performance viewing in March, the Chinowa-kuguri purification ceremony in June, and the Tanabata waka poem creating ceremony in July were held here.It was also used for some unofficial ceremonies such as the
Star Festival and the
Bon festival. File:Omima.jpg|Omima hall File:Rites of Growth by Kitano Tsunetomi (Meiji Memorial Picture Gallery).jpg |Rites of growth conducted for crown prince
Mutsuhito (standing on
go board) at "Chudan-no-ma" room (中段の間), Omima.
Kogo Gotsunegoten The Empress's Gotsunegoten (also known as the Nyogogoten and Jungogoten) served as the residence of the Empress and consorts. It is a gabled building with a cypress bark roof and an east-west wing. Proceeding north along the corridor from the Empress's Otsune Goten, one comes upon the "Okuroto" (Buddhist altar room) on the right. Beyond that, across the Fujitsubo (small courtyard garden), are the Wakamiya-Himemiya Goten to the west and the Hikasha (a ceremonial hall) to the north. File:Kogogu Tsune-goten.JPG|
Kogogu Tsune-goten (皇后御常御殿), Residence of Empress and emperor's consorts
The Wakamiya Goten and the Himemiya Goten File:Wakamiya-Himemiya Goten.JPG|
Wakamiya Goten & Himemiya Goten (若宮御殿, 姫宮御殿), Residence of princes and princesses. The Wakamiya hall and the Himemiya hall are a single building, with the Wakamiya Palace on the east side and the Himemiya Palace on the west side. Both palaces have a "Gojodan" (upper level) on the east side and a "next room" on the west side, and in front of these is a continuous "Goen-zashiki" (story hall) that runs through the Wakamiya Palace and the Himemiya Palace. Wakamiya palace was the residence of prince while Himeyama was served as residence for princesses. ==Historical existing parts of Imperial palace==