制作：明治2（1869）年
初代は元禄以降、二代は寛政12（1800）年、現在のものは三代目とされる。
制作者：高田耕平・高田鎌次

黒漆塗りを基調として金箔押しを施した落ち着きと重厚さを感じさせる。
見送りは金箔を押した雲に飛翔する鶴の彫刻である。
擬宝珠は一層囃子台が六角黒漆塗り、金箔押しで直立。
二層飾り台は海老曲がりした黒漆塗り、金箔押しである。
平桁と台輪の間には宝尽くし彫刻をはめ込む。
前庇は地を黒漆塗り片流れで、その上に亀と水草の彫り物を置いている。腰屋根は唐破風としている。
日覆いの破風板は唐破風様にして、金箔押しの熨斗と水引としている。

Year of Construction: 1869 (Meiji 2)
Generations: The current float is the third generation, following earlier versions from the Genroku period and 1800 (Kansei 12).
Craftsmen: Takada Kohei; Takada Kamaji

The float features a refined and dignified design, characterized by black lacquer with gold-leaf decoration.

The rear display (miokuri) depicts cranes flying among gold-leaf clouds.

On the first level, the giboshi finials are supported by upright hexagonal pillars finished in black lacquer and gold leaf. On the second level, the pillars are curved in a distinctive shrimp-like form, also finished in black lacquer with gold leaf.

Treasure-themed carvings are set between the beams and platform ring. The front canopy has a single-sloped black lacquer roof, adorned with carvings of a turtle and aquatic plants. The lower roof is designed in karahafu (curved gable) style.

The bargeboards are also styled in a karahafu form and decorated with gold-leaf noshi and mizuhiki motifs.

「布袋」　京都の人形師の手になるものといわれ、首が左右に動き、舌を出すからくり仕掛けがある。

中国等代の禅僧で、名を契此（けいし）、号を長汀子（ちょうていし）という。常に杖を持ち布袋を担い、日用の具をその中に入れる。かつて雪中に横臥すれども身衣を濡らさず。見る人これを奇とする。吉凶や天候を占い、雨の日には草履を履き、晴天には高歯の木履をはき、市中や膝上に膝をたてて眠る。
布袋を担うことから布袋（ほてい）といわれ、その袋の中には財貨が入っていて、布袋の行くところ幸運がもたらされる、という信仰が生じた。世紀末に出現する弥勒菩薩の化身ともされる。弥勒菩薩は一切の人を救い浄土に生まれ変わらすと信仰された。
長い戦国時代の世が終わって平和な世が到来したときには、人々はこぞって弥勒の世が来たと喜んだ。わが国には室町時代、禅画の渡来と共に受容され、七福神の一として民間に広まった。
長井町の先人が布袋像をしゃぎりの乗せ物に選んだ理由は、福寿をもたらすことに期待したことは勿論であるが、平和な世を願った一面もあろう。

Hotei (Budai)

This figure is said to have been crafted by a doll maker from Kyoto. It features a mechanical design in which the head moves from side to side and the tongue extends, creating a playful animated effect.

Hotei is based on Budai, a Zen monk from China. His personal name was Qici, and he was also known by the name Changtingzi. He was always depicted carrying a staff and a large cloth sack, in which he kept his daily necessities. It is said that even when lying in the snow, his clothing never became wet, and people regarded him as an extraordinary figure. He was also believed to foretell fortune and weather, wearing straw sandals on rainy days and wooden clogs on sunny days, often resting or sleeping in public places.

Because he always carried a cloth sack, he came to be known as Hotei (“cloth bag”). Over time, a belief developed that his sack contained treasures, and that wherever Hotei went, good fortune would follow. He is also considered an incarnation of Miroku Bosatsu (Maitreya), the future Buddha who is believed to save all beings and lead them to a peaceful paradise.

After the long period of warfare in Japan came to an end and peace was restored, people rejoiced, believing that the age of Miroku had arrived. Hotei was introduced to Japan during the Muromachi period along with Zen paintings, and later became widely known among the people as one of the Seven Lucky Gods.

The reason why the people of Nagai Town chose Hotei as the mounted figure of their shagiri float was not only to bring good fortune and longevity, but also to express their wish for a peaceful society.

大紋はまる印に「奈」、地模様は井の字崩しで、それぞれ町名に由来するものと考えられる。井の字崩しは、火消組織の「い組」に由来するともいわれている。裾柄は芝翫つなぎとなっている。

The main crest features the character “Na” (奈) enclosed within a circle, while the base pattern consists of a stylized variation of the character “i” (井). Both are thought to be derived from the name of the district.

The i-character motif is also said to be associated with the historic firefighting unit known as the “I-gumi.”

The hem pattern is based on a Shikan-tsunagi (linked Shikan motif) design.