制作：明治6（1873）年。初代は延享以降、二代目は文化12（1815）年、現在のものは三代目とされる。

制作者：不明

見送りは明治5年に焼失したのち、画家澁谷碧水によって描かれた鶴に竹の衝立を使用していたが、昭和50年に堆朱堆黒塗りに金箔を押した彫刻「二羽の鶴に竹の衝立」を新調した。

前庇は朱漆塗りの地に金箔押の海老と水流の彫り物を置く。
一層囃子台の擬宝珠は丸直立で、架木、平桁ともに朱漆塗り。
二層乗せ物台は前部両角に擬宝珠柱を立て、朱漆塗りとして擬宝珠と柱の縁は金箔押とする。
台は黒漆塗りとする。
二層平桁と台輪の間には金箔押の宝尽くし彫刻をはめ込む。
日覆の破風板は金箔押しの水引とする。

Year of Construction: 1873 (Meiji 6)
Generations: The current float is the third generation, following earlier versions from the Enkyō period and 1815 (Bunka 12).
Builder: Unknown

The rear display (miokuri) was originally lost in a fire in 1872. It was later replaced with a painted screen of cranes and bamboo by the artist Shibuya Hekisui. In 1975, this was renewed with a carved panel of two cranes and bamboo, finished in tsuishu-tsuikoku lacquer with gold leaf.

The front canopy is finished in vermilion lacquer and adorned with gold-leaf carvings of shrimp and flowing water. On the first level, the giboshi finials are supported by straight round pillars, with both crossbeams and main beams coated in vermilion lacquer.

On the second level, the platform for the mounted figure features giboshi pillars at the front corners, finished in vermilion lacquer with gold-leaf detailing. The platform itself is coated in black lacquer. Between the beams and the platform ring are gold-leaf carvings of auspicious treasure motifs.

The bargeboards of the roof covering are decorated with gold-leaf mizuhiki motifs.

「大黒天」　金襴の衣装をつけ、赤字錦の頭巾をかぶり、左手に打出の小槌を持ち、背後に大きな朱色の福袋を置く。

もとは印度の神で魔訶迦羅（まはから）とも呼ばれ自在天の化身である。自在天は仏教以外の神であるが、諸尊のひとつとして崇められている。
軍神、戦闘神、食厨神とされる。一面二臂、または三面六臂で、相は怒りを表して猛々しい。しかしこの姿は鎌倉時代までで室町時代になると、大国主神の民俗信仰を結んで笑みをたたえた相となり、江戸時代になると俵上の坐像や立像となり、福寿をもたらす神として信仰される。
小町には多くの旅籠屋が軒をつらね、そのほか菓子商、薬種商、針医、蝋燭商、仕立物屋、太物商、綿打、小間物商、荒物商、米商、大工、油屋、酒屋などあらゆる商売があって繁華な街であり、大黒天を小町の象徴とした。
以前は象の乗せ物であったというが、江戸の山王祭には巨大な張子の象が祭礼行列に参加しているようすが図に見える。

Daikokuten

This figure represents Daikokuten, dressed in a gold brocade costume and wearing a red brocade hood. He holds a magical mallet (uchide no kozuchi) in his left hand, and a large vermilion treasure sack is placed behind him.

Originally derived from the Indian deity Mahākāla, Daikokuten was regarded as an incarnation of a powerful divine being. In early representations, he appeared as a fierce guardian deity associated with war, combat, and the kitchen, often depicted with multiple faces and arms.

From the Muromachi period onward, his image gradually merged with the folk beliefs surrounding Ōkuninushi-no-Mikoto, transforming into a smiling figure. By the Edo period, he came to be depicted seated or standing on rice bales and was widely worshipped as a deity of wealth and good fortune.

Komachi was once a lively commercial district, lined with inns and a wide variety of merchants, including confectioners, pharmacists, tailors, candle makers, rice dealers, carpenters, and sake brewers. Daikokuten was chosen as a symbolic figure representing the prosperity of this bustling town.

It is said that the float previously featured an elephant as its mounted figure. Similar large papier-mâché elephants can be seen depicted in historical illustrations of the Sannō Festival in Edo.

大紋の「都」は。当地区が村上の繁華街であったことに由来する。また、江戸時代初期に当地区に在住していた宮川屋と関係があるという説もある。袖繋ぎはに二本線に町名の「小」の文字、裾柄も波形の下に意匠化した「小」の文字を縦横に置く。
昭和40年代末から法被の地を青色にし、大紋を赤色で染めていた時期もあったが、現在は主に黒と白を基調とした半被となっている。

The main crest features the character “Miyako” (都), reflecting the district’s history as a bustling commercial center of Murakami. There is also a theory linking it to a merchant house named Miyagawaya, which was located in the area during the early Edo period.

The sleeve connections consist of two parallel lines combined with the character “Ko” (小), representing the district name. The hem pattern also incorporates stylized “Ko” characters arranged vertically and horizontally beneath a wave-like design.

From the late 1960s, there was a period when the happi coats featured a blue base with the main crest in red. Today, however, they are primarily designed in black and white.