桐生新町の天王祭礼は由緒ある祭礼で、市神は桐生織物と深い関係にある。御旅所は当番町の天満宮寄りに安置するのが習わしであった。桐生新町では明治三十年代まで鉾や屋台を引き回していたが、電灯線が引かれ渡御に支障が出るようになって中止となり、御輿も現在廃止した。近世期のにぎわいぶりは彦部信有「桐生の里ぶり」に詳しいが、現在、その面影を見出すのはむずかしい。そこで隣接する在郷町である大間々町の天王祭礼でその様子を見ていく。桐生新町の御輿は「天王伝右衛門」という人物がかつて掌握していたが、何らかの理由で退転。正徳二年（一七一二）に江戸の職人が御輿を製作。桐生新町の御輿は大間々へ回っていたという。大間々町の天王祭礼は、寛永六年（一六二九）、京都から八坂神社の分霊を市神として勧請し、三丁目大泉院内に祀ったのが始まりである。仮御輿だったので万冶元年（一六五八）に新規製作。町の大火で消失してしまい、寛政三年（一七九一）に新規製作した。祭日は徳川家康が関東に入った際に絹織物を献上したところ、それが勝利の吉例になったのにちなむというものである。大間々町の天王祭礼に関する聞き書きを行い、具体的な祭りの様子を記述した。全国各地で伝統的祭礼が衰退し、代わりに行政主導型の新しいイベントとして改編する動向がある。桐生市や大間々町の天王祭礼はそれぞれ高度経済成長期に大きな変化があった。本稿では大間々町の天王祭礼を聞き書きと地元紙『東毛タイムス』の記事を利用して変化を探った。Tenno-sairei of Kiryu-shinmachi is a festival of tradition, and its local guardian deity (市神) has a deep connection with fabrics made in Kiryu. Traditionally, otabisho (place for the portable shrine to stay) used to be placed near the temmangu of the toban-cho (the town in charge). In Kiryu-shinmachi, people used to pull hoko and yatai around until the Meiji 30s, but stopped when the electric wires became a hindrance to their procession, and mikoshi (the portable shrine) is no longer carried today. During the Meiji period, shinme (the sacred horse) also appeared in the festival. HIKOBE Nobuari described in detail how crowded the festival was in the early modern times in his "Kiryu no satoburi" ("The local way of life in Kiryu"), but today it retains little trace of its former florescence. Therefore, we will see how the festival takes place with an example of the Tenno-sairei of Omama-machi, a neighboring zaigo-cho. For the mikoshi of Kiryu-shinmachi, a person called "Tenno Den-emon" took the control of the mikoshi, but for some reason, it was transferred to another place. In Shotoku 2 (1712) , a craftsman of Edo made another mikoshi, and the old mikoshi of Kiryu-shinmachi passed to Omama-machi.For the beginning the Tenno-sairei of Omama-machi, the town invited a separate divinity of Yasaka Shrine in Kyoto as its local deity and enshrined it in "San-chome Daisen-in." As it was a temporary mikoshi, a new one was made in the first year of Manji (1658). Then it was later destroyed in the conflagration of the town and reproduced in Kansei 3 (1791). For the festival day, the day on which the town dedicated silk fabrics to TOKUGAWA Ieyasu came to be admitted as a luck event for victory. So the day has been said to be the origin of the festival.In this paper, the author wrote down what he heard about the Tenno-sairei of Omama-machi, describing the concrete situation of the festival. For the trend seen all over Japan, traditional festivals decline, while they are remodeled as new events on the initiative of the local administration. The Tenno-sairei of Kiryu City and that of Omama-machi greatly changed during the period of high economic growth. This paper searched the changes of the festival by what I have written down the interviews about the Tenno-sairei of Omama-machi and by the local paper "The Tomo Times."