日本の王権、皇室儀式にはいまも農業祭祀が色濃い。
弥生時代から王権の「東征」という事態が進行して
奈良盆地・纏向遺跡には３世紀中頃、250年代には到達していたと思う。
日本武尊の東国遠征という説話は、畿内地域での水田開発農業革命の成功から
さらに東国にそれを拡大させていく志向性の表現か。
そのことには鉄器の利用と水利農業土木技術がセットになっていただろう。
初期の水田耕作、土木改良については鉄器利用が最大の技術革新。
古墳の造営という宗教文化も、水利土木技術力を表現している。
飛鳥では苑池で「噴水」を実現するまでの技術力。
その土木工事の起動力たる鉄器はヤマト王権最大の「武器」だったことだろう。
現実に征服域を拡大させるには現地在地勢力を
鉄製武力で圧倒する必要もあったことだろう。
やがて日本刀を生み出す技術蓄積は古代から営々と築かれてきた。
ヤマト政権と一体となった上毛野氏は、そういう経済・軍事が一体化した
圧倒的侵攻力で土地利権を獲得していったのではないか。
この時代の経済条件を一変させるような「技術革新」進出だったのだと。
現実に農業鉄器（スキやクワ）道具は権力側が占有管理していたとされる。
鉄が日本列島内で生産されなかった時代にはその供給源として
韓半島地域が「経済安保」上の必須地域だったのだ。
日本の古代王権がなぜに韓半島の政治情勢に敏感に反応したか、
その実質はこうした事情だと推測できる。

そういう「鉄器支配」の視覚化が上の写真のような権力者衣装。
金ピカの王冠や靴などのキッチュぶりは「鉄の支配者」を表現していたか。
そしてもうひとつが戦争の軍事力としての「ウマ」。
鉄とウマという２大パワーで、自然崇拝型の暮らし段階の人々を
その権力下に集約していったのが実態と思われる。
もちろんウマは平時には農業生産力として「馬力」を発揮もした。
日本列島に馬が登場するのは古墳時代中ごろ、西暦５世紀のはじめ頃といわれる。
有名な『魏志倭人伝』にも弥生時代の日本に「馬なし」と記述がある。
競走馬理化学研究所とネブラスカ大学などのチームが日本在来馬8品種と
世界の32品種のDNAを比較し日本在来馬はモンゴル在来馬の祖先が
対馬を経由して輸入され、全国に広がった事がわかったのだという。
この「大室古墳」地域にはウマの埴輪がこれでもかと展示されている。
「まつろわぬ」板東の民にしてみると、こういう経済力に圧倒され、
土地の生産性を飛躍的に高めるワンセットの文明パワーと見えたに違いない。
明治期の北海道開拓をはるかに超える民族体験。
高温多湿という豊かな気候条件に恵まれ、人口密度も低かった板東の地域は
東アジア世界でも有数のフロンティアだった。

English version⬇

Japanese Kingship’s Strategy to Expand into the “Bando” Region: Exploring the “Kamitukeno Clan”-4
The power of iron tools, horsepower, and hydraulic and civil engineering to promote production and the economy dramatically increased agricultural productivity, and the idea of single-mindedness took root. …

Japanese royal and imperial rituals are still heavily influenced by agricultural rituals.
From the Yayoi period, the situation of the “Eastern Expedition” of the royal power progressed.
I believe that the Mimamukai site in the Nara Basin was reached in the middle of the 3rd century, in the 250s.
The story of the expedition to the east by the Japanese military leader Takemikazuchi is based on the success of the paddy field development and agricultural revolution in the Kinai region and its further expansion to the east.
The expedition to the east of Japan may be an expression of the desire to expand the success of the paddy field development agricultural revolution in the Kinai region to the east.
This would have involved the use of iron tools and water-use agricultural civil engineering technology.
The use of iron tools was the greatest technological innovation in early rice paddy cultivation and civil engineering improvements.
The religious culture of building kofun (burial mounds) also expresses the water-utilizing civil engineering technology capability.
In Asuka, the technological power went so far as to realize a “fountain” in a garden pond.
Iron tools, the driving force behind civil engineering, were probably the greatest “weapon” of the Yamato kingdom.
In order to expand the area of conquest in reality, it was necessary to overwhelm local forces with iron military might.
In order to expand the conquered area, it would have been necessary to overwhelm the local forces with iron military power.
The technical accumulation that would eventually produce the Japanese sword was built up over time since ancient times.
The Kamomono clan, which became one with the Yamato regime, was able to combine its economic and military power
The Jomuno clan, which was united with the Yamato regime, may have acquired land concessions through overwhelming invasive power.
It was a “technological revolution” that transformed the economic conditions of the period.
In reality, it is said that agricultural iron tools (suki and kuwa) were occupied and controlled by the powerful side.
When iron was not produced in the Japanese archipelago, the Korean peninsula was used as a source of supply.
The Korean peninsula was an essential region for “economic security” during the period when iron was not produced in the Japanese archipelago.
It is possible to speculate why Japan’s ancient kings were so sensitive to the political situation in the Korean peninsula.
The real reason for this can be inferred from this situation.

The visualization of such “iron rule” is the power costume shown in the photo above.
The kitschiness of the gilded crown and shoes may have been an expression of the “iron rulers.
Another is the “horse” as a military force in war.
The iron and the horse are the two major powers that brought the people in the nature-worshipping stage of life together under the power of the iron and the horse.
The reality seems to be that the two major powers, iron and horses, were used to consolidate people in the nature-worshipping stage of life under their power.
Of course, in times of peace, the horse also demonstrated its “horsepower” as an agricultural production force.
It is said that horses appeared in the Japanese archipelago around the middle of the Kofun period, at the beginning of the 5th century AD.
The famous “Biography of Wei Wei” also mentions that there were “no horses” in Japan during the Yayoi period.
A team from the Institute of Physical and Chemical Research for Racehorses, the University of Nebraska, and others compared the DNA of eight breeds of native Japanese horses with that of 32 breeds from around the world.
The team compared the DNA of eight breeds of native Japanese horses with that of 32 breeds from around the world, and found that the ancestors of the Mongolian native horses were imported via Tsushima.
They found that Japanese native horses were imported from Mongolia via Tsushima and spread throughout Japan.
In the Omuro Kofun area, there are many horse haniwa (terra-cotta tomb figurines) on display.
The people of Bando were overwhelmed by this kind of economic power.
The people of Bando must have been overwhelmed by this kind of economic power, and must have seen it as a set of civilization power that dramatically increased the productivity of the land.
The experience of the people far exceeded the development of Hokkaido during the Meiji period.
Blessed with rich climatic conditions of high temperature and humidity, and low population density, the Bando region was
It was one of the most prominent frontiers in the East Asian world.

Posted on 8月 13th, 2022 by 三木 奎吾
Filed under: 日本社会・文化研究, 歴史探訪 | No Comments »

〜日本武尊（ヤマトタケルノミコト）は東国遠征の帰りに亡き妻を思い出し、
東方を向いて嘆き悲しんだ。そして碓日坂においてその東側の土地を
「吾嬬（あづま）」と呼んだ。後になって東海道足柄峠、東山道碓氷峠の坂より
東の地域を「坂東」と呼ぶようになった。〜
この説話の場所についてはいくつかの説があるようだけれど、
古道としての東山道から群馬県から信濃へ抜ける周囲には
「嬬恋」「吾妻」というような地名も残っている。
日本武尊自体も輪郭線のハッキリしない人物だけれど、
ヤマト朝廷の東方領土拡大方針を考えれば、東征という事実はあったでしょう。
しかしそもそも「東」という漢字を訓で「あづま」となぜ読むのか、
これもしっかりとした定説があるわけではないという。う〜む、ナゾは深い。
古事記では日本武尊が相模から上総に渡る際、走水海（横須賀）の神が波を起こし
船は進退窮まった。そこで后の弟橘媛（オトタチバナヒメ）が
自ら命に替わって入水すると波は自ずから凪ぎ、一行は無事に上総国に渡れた。
日本武尊は現在の木更津市にしばらく留まり弟橘媛を思って歌にした。・・・

上写真はJR「大人の休日倶楽部〜大人になったらしたいこと」キャンペーンの
大室古墳を舞台にした吉永小百合さんのポスター。
別に日本武尊の「吾妻」弟橘媛連想ではありません（笑）。
なんとなくあづまという読みの起源にこういうロマンチズムがあるのは
いかにも論理よりも情を優先させる日本らしさも感じられるかと。
由来はともかくとして、その後の日本史の変遷でこういうロマンス譚が
広く普遍化したことの方がきわめて興味深いことかも知れない。
そしてやがて古墳時代に立ち至って、
上毛野氏が群馬県地域支配を確立した。
この上毛野氏の素性を見ていくと、日本武尊の東国制覇譚とも重なる。
いまの堺の街のあたりを始原地とする一族が、
ひたすら東進してきてこの地に勢力を築いている。
前方後円墳といういかにもヤマト王権の勢力拡大を象徴させる「土木建築」装置。
そして山を越えて信濃という東山道の地にも「大室古墳」がある事実。
神話の世界と考古発掘的事実の隘路がおぼろげに証立てられてくる気がする。

大室古墳資料館で、遅れてきたサユリスト（古っ）の部分を刺激された（笑）。
ここでこういう奇襲攻撃があるとは思わなかったので、
まったく不意を突かれておりました。
熟年層の旅行熱を刺激しようというJRの広告戦略はまったく正しい（笑）。

English version⬇

Azumahaya, Tsumagoi of Nihonmuson – Exploring the “Jomono Clan”-2
JR’s advertising strategy of stimulating the travel fever of the mature demographic is correct (laugh). Romance tale in the origin of the kun reading of Azuma. Japanese people put their emotions first. …

〜On his way back from an expedition to the east, Yamatotakeru no Mikoto remembered his deceased wife.
He turned to the east and grieved. He called the land to the east of Usuhizaka
Azuma,” he called the land to the east of Usuhizaka. Later, the area east of the slopes of Ashigara Pass on the Tokaido Highway and Usui Pass on the Higashiyama Highway was called “Banto.
The area to the east of the Tokaido Ashigara Pass and the Usui Pass on the Higashiyama Road came to be called “Banto. ~.
There are several theories as to the location of this story.
There are several theories about the location of this story, but the area surrounding the Higashiyama Pass, which was an ancient road that led from Gunma Prefecture to Shinano, is called
There are also place names such as “Tsumagoi” and “Azuma” in the area surrounding the Higashiyama Road, which runs from Gunma Prefecture to Shinano.
Nihon no Musunon himself is also a man of indistinct outline, but he was a member of the Yamato court.
However, considering the Yamato court’s policy of territorial expansion in the east, there must have been a fact of an expedition to the east.
However, there is a solid theory as to why the kanji for “east” is read as “Azuma” in kun (Japanese).
There is no solid theory as to why the Chinese character for “east” was read as “Azuma” in kun. The riddle is deep.
According to the Kojiki, when the Japanese god Takemikoto crossed over from Sagami to Kamisusa, the god of the sea at Sosui (Yokosuka City) caused the waves to rise up.
The ship was in a difficult situation. The ship was in a difficult situation.
The waves calmed down and the group was able to cross safely to the Land of Kaminoso.
The group was able to safely cross over to Kisarazu, where they stayed for a while and wrote a poem in memory of Ototachibana Ehime.

The photo above is from JR’s “Otona no Himitsu Club – What I want to do when I grow up” campaign.
The photo above is a poster of Sayuri Yoshinaga with Omuro Kofun as a stage.
It is not an association with “Azuma” Otomotachibana Ehime, the Japanese goddess of war (laugh).
Somehow, this kind of romanticism in the origin of the reading “Azuma” is
I think it is a Japanese way of prioritizing emotion over logic.
Regardless of the origin, it is interesting to note that this kind of romance tale became widespread and universal in the course of subsequent changes in Japanese history.
It is perhaps more interesting to note that this kind of romance tale became widespread and universal in the course of subsequent Japanese history, regardless of its origin.
And then, as we come to the Kofun period
The Kamomono clan established control over Gunma Prefecture in the Kofun period.
The Kamimono clan’s background overlaps with the tale of the conquest of the eastern part of Japan by the Japanese warrior warrior Takemikoto.
A clan that originated in what is now Sakai City
The family originated in the area around Sakai, and moved eastward to establish their power in this area.
The “civil engineering” device of a front-recession burial mound symbolizes the expansion of the Yamato kingdom’s power.
And then there is the fact that there is also an Omuro Kofun Tumulus in Shinano, a place across the mountains along the Higashiyama Road.
I feel that the bottleneck between the world of mythology and the facts of archaeological excavation is vaguely evident.

In a place like the Omuro Kofun Tumulus Museum, I was stimulated by my late arrival as a “Sayurist” (laugh).
I didn’t expect this kind of surprise attack here, so
We were caught totally by surprise.
JR’s advertising strategy of stimulating the travel fever of the matured generation is absolutely right (laugh).

Posted on 8月 11th, 2022 by 三木 奎吾
Filed under: 日本社会・文化研究, 歴史探訪 | No Comments »

わたしは住宅建築を中心に人間文化を探求するのがライフワーク。
個人住宅がメインで通常の現代住宅の他に、
古民家で暮らしていた昔人と仮想的対話、想像力を巡らし、
いろいろな暮らしの痕跡をみつめるのが本旨と思っています。

そういうふうに「取材」を考えて行くと昔人の生き様に
いろいろな思惟が沸き起こって来る。
そういうなかで宗教はきわめて濃密なものと位置づけられる。
日本では神社と仏教という宗教が根付いている。
神社の場合は参詣の対象として塑像のような存在はあまりない。
あえていえば「注連縄」がそういうものに相当するか。
建築については出雲大社などの社が象徴的だけれど、
むしろ、大神神社のように自然の山体そのものが相当するように
根深く太陽神信仰、自然崇拝の祖型を強く感じる。
一方仏教では、多彩な建築群と多くの仏像群が尊崇を集めてきている。
わが家の家系は、一時期仕事上の関わりから浄土真宗に宗旨が変わり、
その後真言宗に復元している。いま現在は真言宗徒。
わたし自身は家の末っ子なのでそこまでの属性意識はありません。
多くの日本人と同様「つかず離れず」というスタンスだと思います。
歴史好きなので宗教施設から多くの「機微」を探れるとも思っています。
でも、学生時代に興味を持って「般若心経」を独習したことがあって
そこに描かれているお釈迦さんの宗教観自体には尊崇の気持ちはある。
さすがに仏教全宗派共通の教えだけに普遍性が強く感じられる。

加齢と共に東京出張のときには仏閣の周辺が朝の散歩で行ける地が
宿泊地域として選択するようになっている。
比較的に多いのが川崎周辺、そうですね、川崎大師・平間寺。
年寄りは早起きなので、ホテルを出て電車に乗って川崎大師駅へ。
参道を歩いて５分ほどで、早朝の「朝勤」に参加することができる。
まぁ別に読経に参加するのではないのですが、
多数のお坊さんたちの読経に合わせて、小さく般若心経を唱えさせてもらう。
盛大な香の香りと盛大な読経の音声で一種のカタルシスを感じる。
特段、願い事があるワケでも呪詛の願いがあるワケでもなく（笑）
いわば宗教的雰囲気に浸る時間を過ごせるということでしょうか。
日本人はこういう時間を普遍的に経験しながら生き暮らしてきた。
そういう平均的ニッポン人の感覚を維持したいということか。
自分でもよくわかりませんが、自己充足感は得られる。
1128年創建という平間寺・川崎大師。
弘法大師空海が海中に投げ込んだ仏像を、漁師で暮らしていた平間氏が
この川崎の近海で網にすくい上げたことを縁起とする寺。
浅草寺の縁起とも不思議とそっくりの創建譚。
その真偽とは関わりなく、それを信じ続けた900年を超える人々の営為に
なにか癒される思いがします。

English version⬇

Kawasaki Daishi, Statue of the Four Heavenly Kings and the Goddess of Peace.
Religion and Humanity. An opportunity to talk with the ancients. We are thinking beings. It is an opportunity to calmly accept the religious views of our ancestors and explore the history of the world. The statue of the Four Heavenly Kings and the Statue of the Goddess of Peace at Kawasaki Daishi.

My life’s work is an exploration of human culture with a focus on residential architecture.
In addition to the usual modern houses, I also work on the construction of private residences.
I also engage in virtual dialogues with the people of the past who lived in old houses.
My main purpose is to have a virtual dialogue with people who used to live in old houses, as well as ordinary modern houses.

When I think of “reporting” in this way, various thoughts about the way of life of the people of old come to me.
I think that the main purpose of this project is to explore the traces of the lifestyles of the people of the past.
In this context, religion is positioned as something extremely dense.
In Japan, the religions of Shinto shrines and Buddhist temples are deeply rooted.
In the case of shrines, there are not many plastic statues as objects of worship.
If I were to venture a guess, I would say that shimenawa (sacred straw ropes) are equivalent to such objects.
As for architecture, Izumo-taisha and other shrines are symbolic.
But, rather, the natural mountain itself, as in the case of Ogami Shrine, is equivalent to such a shrine.
I strongly feel the ancestral form of deep-rooted sun god belief and nature worship.
In Buddhism, on the other hand, a wide variety of architecture and many Buddhist statues have been revered.
My family’s religious affiliation was changed to Jodo Shinshu at one time due to work-related reasons, but was later restored to Shingon.
Later, it was restored to the Shingon sect. I myself am the youngest child in the family, so I have been a member of the Shingon sect for a while.
I myself am the youngest child in my family, so I am not conscious of that much of an attribute.
Like most Japanese people, I think I have a “stay close to the people” attitude.
I am also a history buff, so I think I can find many “subtleties” in religious sites.
However, when I was a student, I was interested in learning the “Heart Sutra” on my own.
I have a sense of reverence for the religious views of the Buddha himself as depicted in it.
As one would expect from a teaching common to all Buddhist sects, I feel a strong sense of universality.

As I get older, when I go on business trips to Tokyo, I choose a place where I can go for a morning walk around Buddhist temples and shrines.
I have come to choose places to stay where I can take a morning walk around Buddhist temples when I go on business trips to Tokyo.
The most common places are in the Kawasaki area, such as Kawasaki Daishi and Hirama-ji Temple.
Old people are early risers, so we left the hotel and took the train to Kawasaki Daishi Station.
A five-minute walk down the approach to the temple allows you to participate in the early morning “morning service.
Well, not really to participate in the sutra reading.
I am allowed to chant a small Hannya Shingyo (Heart Sutra) to the accompaniment of numerous monks reading the sutra.
The grand fragrance of the incense and the loud sound of the sutra chanting give me a kind of cathartic feeling.
I don’t have any particular wish or curse to make (laughs).
(laughs) I guess you could say that I can spend time immersed in a religious atmosphere.
Japanese people have lived their whole lives experiencing this kind of time universally.
Do you want to maintain this sense of the average Japanese person?
I am not sure myself, but I do feel a sense of self-sufficiency.
Hirama Temple and Kawasaki Daishi Temple were founded in 1128.
The statue of Buddha was thrown into the sea by Kobo Daishi Kukai, and Hirama, who lived as a fisherman
The temple is said to have its origin in the fact that the Hirama clan, who lived as fishermen, scooped up the Buddha image into a net in the waters near Kawasaki.
The tale of the founding of the temple is strangely similar to the legend of Sensoji Temple.
Regardless of its authenticity, the activities of the people who have believed in it for more than 900 years
I feel something healing in the work of the people who believed in it for more than 900 years.

Posted on 8月 9th, 2022 by 三木 奎吾
Filed under: 日本社会・文化研究 | No Comments »

中国軍はいま台湾封鎖して周囲に実弾射撃を行い、
ペロシさんを迎えた台湾の人々に恫喝を加え続けている。
自分より弱い者へは居丈高に恫喝を加えるという
まるでマンガのジャイアンのようで非常識な「国家」姿勢。
共産党独裁の中国国家の危険性が世界全体に露わになったと言える。

そういうなかで東京国立博物館では日中国交正常化50周年で
特別デジタル展「故宮の世界」展が開かれている。
しかし通常の展示催事と比較して、会場面積規模は1/4程度。
どのような経緯でこういった小規模開催となったのか、不思議。
この故宮・紫禁城建築のVR画像展も日本の凸版印刷の技術で開催なので
どのような芸術面での外交経緯だったのか、興味深い。
いまのところ、このあたりの情報は出てきていないのですが今後注視したい。
で、東京国立博物館はこのデジタルVR展だけではさすがにまずいと考えて
同時開催として「清朝宮廷の書画と工芸」と銘打って東京国立博物館が
所蔵・管理する清朝宮廷美術作品（これは実物）も展示していた。
日本絵画や西洋絵画については国内で目に触れる機会も多く、また、
日本国内での収蔵作品もたいへん多様で多いのですが
一方で中国絵画については日本ではあまり接する機会がない。
今回は展示自体が非常にさみしいものだったからか、
写真撮影については全許諾されていたので、たっぷり撮影させていただいた。
そのなかでも中国・清の時代に描かれた「慶豊図巻」が素晴らしかった。
画材テーマは1740年当時の都・北京の正月の市街のにぎわいぶり。
伝統的な独裁国家らしく皇帝・乾隆帝治政が素晴らしいので民も豊かである
といういやらしい「工作」的意図があけすけに語られている。
別に美術鑑賞としては支配者の見栄は耳にしたくはない（笑）。
「慶豊図巻」には5メートル以上、華やかな都市北京の賑やかさが緻密に描かれる。
前文に清朝重臣
の書家・梁詩正が乾隆帝自作の詩を書いている。
（３枚目の写真参照ください。）
ここに満月を寿ぐ句や「皇都」の言葉が見られる。
以上のことからこの長巻には、
元宵節（旧暦1月15日の祭）を迎えた北京が描かれているとわかる。

テーマ的には日本の「洛中洛外図」と同様のものでしょう。
日本の場合は襖絵として描かれるけれど、中国では長大な巻物表現。
洛中洛外図では賀茂川に掛かる橋や名所などが描かれて
建築と人間模様風俗が表現される。名所などの特定はわからないけれど、
この「慶豊図巻」でも制作意図はこれと同様のようです。
門構えや四合院的な建築周囲の塀囲い、建築外観が面白い。
また道路も非常に幅広な大路が舞台として表現されている。
移動手段として大小の馬高の馬が描かれているけれど、小さい方は馬ではなく、
違う動物種のようにも思われる。ほぼ人間程度の大きさの動物か。
中国版・洛中洛外図から、時代の空気感も読んでみたい。

English version⬇

Qing Dynasty painting “Qingfeng Scroll,” City of Beijing in the 1740s.
A Qing Dynasty version of the painting “Scenes in and around the City of Beijing”. The architecture and districts, as well as the general “customs” of the people who lived in the era, overflow onto the screen. A trip through time and space. The work is a short trip through time and space.

The Chinese military is now blockading Taiwan, firing live ammunition into the surrounding area and continuing to intimidate the Taiwanese people who greeted Pelosi.
The Chinese military is now blockading Taiwan, firing live ammunition around the island, and continuing to intimidate the Taiwanese people who welcomed Pelosi.
It is an insane “national” posture that stoutly adds argument to those who are weaker than oneself.
It is an insane “national” posture like Gian of the cartoon.
It can be said that the danger of the Chinese nation of the communist dictatorship was exposed to the whole world.

In such a situation, the Tokyo National Museum is holding a special digital exhibition
The special digital exhibition “The World of NPM” is currently being held at the Tokyo National Museum.
Compared to a normal exhibition, however, the size of the exhibition space is only about 1/4 of that of a regular exhibition.
One wonders how it came to be held on such a small scale.
The exhibition of VR images of the Palace Museum and the Forbidden City was also held using Japanese letterpress printing technology, so I wonder what kind of artistic diplomacy was involved.
It would be interesting to know how the artistic diplomacy was conducted.
So far, no information has emerged in this area, but we will keep a close eye on it in the future.
The Tokyo National Museum has decided that this digital VR exhibition alone is not good enough.
The Tokyo National Museum, however, thought it would be a bad idea to hold a concurrent exhibition titled “Calligraphy, Painting, and Crafts of the Qing Dynasty Court.
The museum also exhibited actual works of art from the Qing court that are in the Tokyo National Museum’s collection and under its management.
There are many opportunities to see Japanese and Western paintings in Japan.
Japanese and Western paintings are often seen in Japan, and the collection in Japan is very diverse and large.
On the other hand, there are few opportunities to come into contact with Chinese paintings in Japan.
Perhaps it was because the exhibition itself was very lonely.
I was allowed to take plenty of photographs, as I had full permission to do so.
Among them, the “Qing Feng Scroll” painted in the Qing Dynasty of China was wonderful.
The theme of the painting was the bustling city of Beijing during the New Year in 1760.
The people were prosperous because of the emperor Qianlong’s rule, as in a traditional dictatorship.
The work is openly intended to be a disgusting “manipulation” of the people’s wealth.
As an art appreciator, I do not want to listen to the pretensions of the rulers (laugh).
The “Qingfeng Scroll” is more than 5 meters long, and depicts the bustle of the gorgeous city of Beijing in great detail.
The preamble is a poem by Liang Shi-zheng, a calligrapher and senior official of the Qing Dynasty, written by the Ch’ien-lung Emperor himself.
(See the third photo.) Here is a poem that celebrates the full moon.
(See the third photo.) Here we can see phrases celebrating the full moon and the words “the imperial capital.
Based on the above, this long scroll is dated to the
The theme of this long scroll is the Japanese “Lantern Festival” in Luochu.

Thematically, it is probably similar to the “Rakuchu Rakugai-zu” in Japan.
In Japan, it is depicted as a sliding door painting, but in China, it is a long scroll representation.
In Rakuchu-Rakugai-zu, bridges over the Kamo River and famous places of interest are depicted.
The Raku-chu-Rakugai-zu depicts architecture, human figures, and customs. Although we do not know the specifics of the places of interest
but it seems that the intent of this “Keiho” scroll is the same as this one.
The gate, the fence around the building in the style of a shikai-in (a traditional Japanese-style house), and the exterior appearance of the building are interesting.
The roads are also represented as a stage with very wide avenues.
Although horses of various sizes and heights are depicted as means of transportation, the smaller ones do not appear to be horses at all.
The smaller one is not a horse, but seems to be a different animal species. The smaller one is not a horse at all, but seems to be a different animal species.
I would like to read the atmosphere of the period from the Chinese version of Rakuchu-Rakugaizu.

Posted on 8月 7th, 2022 by 三木 奎吾
Filed under: 「都市の快適」研究, 歴史探訪 | No Comments »

日本の神社には「狛犬」が付き物ですね。
建築としての神社というか、その空間性は好きなのですが、
必ずしも規格性とか統一性はないと一般的に言われます。
犬が一般的な意匠であることは疑いがないけれど、
イヌとは言っても、ほとんどライオンのようでもあり、
意匠性から考えると、エジプトのスフィンクスの普遍デザイン化とも思える。
神格に対してそれを守護して仕える存在ということなのでしょうか。
日本の古墳文化では中国の兵馬俑のような埴輪兵士像が一般的。
それとして意識的にとらえてきたことはなかったのですが、
ほとんど見るべきものがないかと思っていたCGグラフィックでの
東京国立博物館での北京故宮展示会で発見したのが上の写真。
なんと、鶴のワンペアが狛犬のように玉座左右に鎮座されている。

左右に離れて置かれている状態だったのですが、
画面上では近接させて一対の彫像をクルーズアップさせてみた。
こういう狛犬使用は、たしかいくつかの日本の神社建築でもみた記憶がある。
WEB上で調べてみたら、日本一の大鈴で有名とされる
鹿児島県出水の箱﨑八幡神社に下の写真のような狛犬。
中国北京の故宮、紫禁城の創立は以下のようなWiki記述。
〜1644年、明へ反旗を翻した李自成は北京を占領し紫禁城の一部を焼き尽くした。
しかし満州人・清王朝は李自成を北京から駆逐し紫禁城を再び修繕した。
火事から残された建物はそのまま明の時の漢民族風に維持し、
新しく改築された建物は満州風の特徴を加え、満漢両方特徴が揃った宮殿に。
その後、紫禁城は様式は変わらなく、現代に至る。〜
とされているようです。
一方の箱﨑八幡神社は島津家始祖の忠久が1180年代ころに創建の説。
時代相を考えると日本の現存「鶴」狛犬の方が古いのかも知れない。
故宮の方は1368年の明の建国時点で祖型がつくられたと考えても
日本の箱﨑八幡神社「鶴」狛犬に軍配が上がるのか。
まぁこういうことは検証のしようもないのですが、
東アジア世界では狛犬的風習がながく存在し続けてきたことは想像できる。
愛護的、もしくは神威をアピールする目的からライオンから鶴まで
モチーフはいろいろに変化しつつ、現代まで連なってきたのでしょう。

さて、現代世界ではアメリカのペロシ下院議長が訪台し、
そこから中国の国内情勢の緊張状態もあって戦争寸前の緊張が続いている。
中国の強権国家ぶりはアメリカに対しては張り子の虎に終始したが、
その汚名をそそぐというゆがんだ「中華皇帝」の暴走があり得る。と、見ていたら
日本のEEZ内海域に中国の実弾ミサイルが放たれた。
日米同盟としてどう対応するべきか？
国際関係最大の危険因子の動向に否応なく対応しなければならない。
危機に当たって冷静に毅然とした対応を祈念する次第。

English version⬇

Discovery of “crane guardian dogs” around the throne in the Palace Museum in Beijing
The decoration of “komainu” (guardian dogs) was universally practiced in the East Asian world. Furthermore, might they have their roots in the Sphinx? Stimulating the imagination. …

Japanese shrines are accompanied by “komainu” (guardian dogs).
I like shrines as architecture, or rather their spatiality.
It is generally said that they are not necessarily standardized or unified.
Though there is no doubt that the dog is a common design
I would say it is a canine, but it almost looks like a lion.
In terms of design, it seems to be a universal design adaptation of the Egyptian sphinx.
Does it mean that it is a being that protects and serves a deity?
In Japanese tumulus culture, terra-cotta statues of soldiers like the Chinese terracotta warriors are common.
I have never consciously regarded them as such.
I had wondered if there was almost nothing to see in the CG graphics.
The photo above was discovered at the Beijing Palace Museum exhibition at the Tokyo National Museum.
To my surprise, one pair of cranes are seated on either side of the throne like komainu (guardian dogs).

They were placed far apart on the left and right sides.
On the screen, I brought them closer together and cruised up the pair of statues.
I remember seeing this kind of use of komainu in some Japanese shrine buildings.
I found on the web that there is a shrine in Hakozaki, Izumi, Kagoshima Prefecture, which is famous for its large bell, the largest in Japan.
I found on the web that Hakozaki Hachiman Shrine in Izumi, Kagoshima Prefecture, which is famous for the largest bell in Japan, has a guardian dog like the one in the photo below.
The Forbidden City, a palace in Beijing, China, was founded in 1644, according to the following Wiki article.
〜In 1644, Li Jicheng’s army, rebelling against the Ming Dynasty, occupied Beijing and burned a part of the Forbidden City.
However, the Manchu and Qing dynasties drove Li Jisheng out of Beijing and rebuilt the Forbidden City.
The buildings that survived the fire were maintained in the Han Chinese style of the Ming Dynasty, while the newly renovated buildings were restored in the Manchu style.
The newly reconstructed buildings were given Manchu features, creating a palace with both Manchu and Han characteristics.
The style of the Forbidden City remained unchanged until the present day. 〜The Forbidden City is said to have been built in the Manchurian style.
The Forbidden City is said to have been built in the same style as the Forbidden City.
Hakozaki Hachiman Shrine, on the other hand, is said to have been built around the 1180s by Tadahisa, the founder of the Shimazu family.
Considering the period, the existing “crane” guardian dogs in Japan may be older.
The NPM may be considered to have been ancestral at the time of the founding of the Ming Dynasty in 1368, but it is not clear whether this is the case or not.
Does this mean that the “crane” guardian dogs of the Hakozaki Hachiman Shrine in Japan are older than those of the NPM?
Well, there is no way to verify this.
We can imagine that in East Asia, the custom of using guardian dogs has been in existence for a long time.
The motifs have varied from lions to cranes, but the modern-day guardian dogs have always been a symbol of the gods’ power and authority.
The motifs have changed in various ways, and have continued to the present day.

Now, in the modern world, we are witnessing the visit of U.S. Speaker of the House Pelosi to Taiwan.
The tension in the world today is on the verge of war due to the visit of US Speaker Pelosi to Taiwan and the tense domestic situation in China.
China’s powerful state has been a tiger in the face of the U.S., but it is now on the verge of war.
The warped “emperor of China” who wants to clear his name could go out of control. And, if we were to look at it.
A live Chinese missile was released into Japan’s EEZ.
How should we respond as the Japan-U.S. alliance?
We must respond to the trend of the greatest risk factor in international relations without hesitation.
I pray for a calm and resolute response to the crisis.

Posted on 8月 5th, 2022 by 三木 奎吾
Filed under: 日本社会・文化研究, 歴史探訪 | No Comments »