本日は正月の夫婦旅・松山歴史篇。わたしの家系伝承では、兵庫県姫路市の「英賀城」に存在した武家・三木家というのに縁を遡れるとされてきています。歴史上の話なのでそこからもさまざまな有為転変、家系の交錯が見られるのですが、播州のこの三木氏というのが一応の筋道になっている。
　そういう「手掛かり」を受けてときどき関西・中国地域を巡る旅を重ねてきています。こういう導きがあるといろいろな出会いもあって、重層してきて面白さに深みが出てくるもの。
　最近の冬休み旅では夫婦で四国を歩くことが定番化。カミさんが四国大好きになっているので、その機会にわたしの年来の希望であった「伊予・河野氏」のことを調べたかったのです。
　というのは英賀三木氏というのは、伝承ではこちらの河野氏の一統だったとされているのです。伊予を初めとして四国に生きていた河野氏一族から分枝して、播州の瀬戸内海に面した姫路・英賀の河川と海運の重なる兵庫県の要衝地点に根拠地を構えたのが三木氏ということ。
　そうすると四国という存在、それも伊予松山が非常に身近になってくるのですね。家系探索がさらに一歩古層化してきているとも言える。
　河野氏というのはどうも源平期以前から伊予に蟠踞していた氏族の流れのようで、源平期・屋島合戦のときに船団を率いて義経の源氏軍に合力しその後壇ノ浦合戦にも参戦している。その「功」があって、鎌倉幕府体制では重く遇された。頼朝も参加した幕府のある宴席で、頼朝から数えて３番目の位置を与えられ、そのことが武士らしくチョーうれしくて家紋を「折敷三の字」にしたと言われる。折敷膳に掛けられていた布か紙に書かれた「三」の字が印象あざやかだったのでしょう。
　わが家に遺っている漆器にもこの家紋が描かれているので、時空を超えてご先祖さまたちが伝承してきたことは疑いがない。また河野氏と三木氏の結縁性も物語っている。
　そういった背景知識が頭にあって、この河野家の本拠の城塞「湯築城」を探訪してみた次第。カミさんは幸い、松山市内の「伊丹十三記念館」がゾッコン対象だったので、夫婦それぞれの単独お好み探訪ということで家庭的に平和裏に推移しておりました（笑）。
　いまは公園として整備されている湯築城跡ですが、湯築城資料館や復元武家屋敷など興味深い施設も整備されている。わたしは湯築城資料館でいろいろ質問させていただいている内に「館長」さまが質問対応していただくことになり、非常に興味深いお話をうかがうことも出来ました。
　館長のお話では英賀三木氏との関係性も十分に把握されていて、河野氏が1585年に滅亡した同時期に武将家としての三木氏も滅亡したことに偶然とは言い切れないものを感じられていたようです。
　来年の正月休みになるか、それ以外になるか不明ですが、また再訪させていただいて血脈の探究をライフワークのひとつにしたいと思っています。

English version⬇

Iyo Matsuyama “Yuzuki Castle” and the Remnants of the Kono Clan
Kono clan joined forces with Yoshitsune’s army in the Battle of Yashima. A powerful clan in Iyo dating back to the Genpei period. Although the Kono clan was destroyed in the Warring States period, their fortress still remains in Matsuyama. This is the historical exploration part of the family tree. The family history

Today is the Matsuyama historical part of our New Year’s couple’s trip. According to my family tradition, I can trace my family history back to the Miki family, a warrior family that existed at Eiga Castle in Himeji City, Hyogo Prefecture. Since this is a historical story, various changes and crossings of family lines can be seen from there, but the Miki family of Banshu is a tentative source.
　With these “clues” in mind, I have occasionally traveled to the Kansai and Chugoku regions. With this kind of guidance, there are various encounters, which add layers and depth to the fun.
　On our recent winter vacation trip, walking around Shikoku as a couple has become a regular occurrence. Since my wife has become a fan of Shikoku, I wanted to take this opportunity to research the Iyo-Kono clan, which I have wanted to do for many years.
　According to tradition, the Eiga Miki clan was a branch of the Kono clan. The Miki clan branched off from the Kono clan that lived in Iyo and other parts of Shikoku, and established a stronghold in Hyogo Prefecture at a strategic point where rivers and marine transport overlapped at Himeji and Eiga, facing the Seto Inland Sea in Banshu.
　This makes the existence of Shikoku, and Iyo Matsuyama in particular, very familiar. It can be said that the search for the family lineage has become one step older.
　The Kono clan seems to have been coiled in Iyo before the Genpei period, and during the Battle of Yashima in the Genpei period, they led a fleet of ships to join Yoshitsune’s Genji forces, and later participated in the Battle of Dannoura. Because of his “merits,” he was treated favorably by the Kamakura shogunate regime. At a banquet attended by Yoritomo, he was given the third position in the order of precedence, and it is said that he was so happy to receive this honor that he chose “Oriziki San-no-ji” as his family crest. The character for “three” written on the cloth or paper that hung over the oriziki table must have made a vivid impression.
　Since the family crest is also depicted on lacquerware that has survived in my family, there is no doubt that it has been handed down through time and space by our ancestors. It also shows the connection between the Kono clan and the Miki clan.
　With this background knowledge in mind, I decided to visit Yuzuki Castle, the stronghold of the Kono family. Fortunately, my wife had a crush on the “Juzo Itami Memorial Museum” in Matsuyama City, so our visit was a family-friendly and peaceful one, as each of us had our own personal preference (laugh).
　The ruins of Yuzuki Castle are now maintained as a park, but there are also interesting facilities such as the Yuzuki Castle Museum and a restored samurai residence. While I was asking various questions at the Yuzuki Castle Museum, the “director” of the museum was kind enough to answer my questions, and I was able to hear some very interesting stories.
　He seemed to have a good grasp of the relationship with the Eiga Miki clan and felt that it could not be a coincidence that the Miki clan as a military family also perished at the same time the Kono clan perished in 1585.
　I am not sure if it will be during the New Year holidays next year or otherwise, but I would like to revisit the site and make the exploration of the bloodline one of my lifeworks.

Posted on 3月 27th, 2024 by 三木 奎吾
Filed under: 歴史探訪 | No Comments »

　この図は、岩佐又兵衛作「洛中洛外図・舟木本」のひとこま。
　高精細な画像解析で、そのディテールがクッキリと浮かび上がってきてたいへんオモシロい。洛中洛外図というのは一種の「映画」のような総合芸術であって、多くの人が興味を持つ「都のにぎわいはどんなだろうか」テーマを細部の「風俗情報」まで含めて画業として仕上げる日本独自の芸術ジャンル。
　織田信長が越後の上杉謙信を懐柔籠絡するのに、謙信が若い時期に京都を訪れていて、そのことがかれの精神に深く根を下ろしていると判断して、洛中洛外図を製作させて贈与したことが知られている。
　「あなたが昔、愛していた京都の街のイマドキはこんなになっていますよ。事実上支配しているのはわたしですから、友好関係で行きましょう。武田信玄なんか、やっつけちゃいましょうよ」と働きかける重要なツールになったというのです。
　信長のことだから、謙信がどういうふうに京の街で過ごしていたかも入念に調べ上げて、「おお、昔行ったあの場所はいまこんなふうになっているのか（興味津々）」と手懐けられていったことでしょう。
　謙信は結構律儀で一本スジな性格なので、「無二の関係で行こう」となって、対信玄対策で織田軍との連携を一時期は強めていたことが知られている。信長の奸計にハマったと言えるだろう。ただし、やがて破綻して交戦状態になっていくけれど、そのときは武田の危険性も大きく低下していたので信長としては一定の余裕があったと思う。
　そういう歴史のなかでの役割を果たした洛中洛外図ですが、この舟木本作者の岩佐又兵衛は、歴史の中の人間として一度会ってみたいなと思う人物。荒木村重の妾腹の男子として武家に生まれたけれど、やがて絵師という自由業になって、こういう作品を生み出し、さらに江戸に行って浮世絵の草創にも関わったとされている。雑誌という表現手段について事業をしてきた人間として、なにか心に掛かってくる人物。
　この絵柄ではなんと、京都市中のある辻で若サムライが、ベッピンさんに「ナンパかけようか、どうしようか」と談合している様子と、一方、姫様のお付きの女房がそういう男たちをしっかり品定めして、「これなら姫さんもまんざらでもなさそうだし、ナンパかけてきたらひとつ縁をつながせてみるか」みたいな悪だくみ表情を見せている。
　この戦国末・江戸初期の時代の開放的な時代相が端的に見えてくる。お姫さまも「頬を赤らめる」ほどに「お、ちょっといいかも」という反応を見せている。
　総合芸術としての１コーナーですらこういう「物語性」を観察し表現する人間観に共感を覚える。
　こういう表現力、表現領域というものは、同時代の西洋や中国などのアジア世界でも特異なものだったのではないだろうか。イマドキの「大衆芸能」感覚に近い分野への天才が発揮されているように思ってしまいます。

English version⬇

Street corner in Kyoto in the early Edo period, with men and women “picking up women”.
The early Edo period was filled with a much more open and free atmosphere than the mid-Edo period or later. The universal human feeling of love is beautifully depicted. …

This is a scene from “Rakuchu Rakugai-zu, Funaki version” by Matabei Iwasa.
　It is very interesting to see the details clearly come to life through high-definition image analysis. Rakuchu-Rakugai-zu is a kind of comprehensive art like a “movie,” a uniquely Japanese genre of art in which the theme of “what the bustle of the capital is like,” which is of interest to many people, is made into a work of art, including detailed “information on customs and manners.
　It is known that Nobunaga Oda, in his efforts to win over Kenshin Uesugi of Echigo, had Kenshin visit Kyoto when he was young, and judging that his spirit was deeply rooted in the city, he had him produce and give him the Rakuchu-Rakugaizu (Scenes in and around Kyoto). He is known to have had a map of the city of Kyoto made and given to him, judging that his spirit was deeply rooted in the city. I am the de facto ruler of Kyoto, so let’s have friendly relations. Let’s go on friendly relations and defeat Shingen Takeda.
　Nobunaga must have carefully studied how Kenshin was spending his time in Kyoto, and he must have been intrigued to know that the place he had visited so long ago was now like this.
　Kenshin is known to have been quite disciplined and single-minded, so he decided to “go with a non-partisan relationship” and strengthened his cooperation with the Oda forces for a time as a countermeasure against Shingen. It can be said that Nobunaga’s wiles fell into place. However, it eventually collapsed and the two sides entered into a state of war, but at that time, the danger to Takeda had greatly diminished, so Nobunaga had a certain amount of leeway.
　The Funaki book author, Iwasa Matabei, is someone I would like to meet once as a person in history. He was born into a samurai family as the son of a concubine of Araki Murashige, but eventually became a free-lance painter and created these works, and it is said that he also went to Edo and was involved in the creation of Ukiyoe. As someone who has been involved in the business of magazines as a means of expression, something about this man is very interesting to me.
　In this picture, a young samurai is discussing with a beppin-san at a street in Kyoto, asking whether he should pick her up or not, while the wife of the princess is assessing the men and says, “Well, she doesn’t look too happy about this, so if she tries to pick him up, I’ll try to make a connection with her. If they try to pick up on her, I’ll try to make a connection with her.
　The openness of the period at the end of the Warring States period and the beginning of the Edo period is clearly visible in this scene. The princess also shows a “blush on her cheeks” as she responds, “Oh, that’s kind of nice.
　I feel sympathy for the human viewpoint that observes and expresses this kind of “narrative” even in one corner as a comprehensive art form.
　This kind of expressive power and domain of expression must have been unique in the West, China, and other Asian countries of the same period. I can’t help but think that he is displaying a genius for a field that is similar to the “popular entertainment” sense of the Imadaki era.
　

Posted on 3月 25th, 2024 by 三木 奎吾
Filed under: 「都市の快適」研究 | No Comments »

　加齢してきて、自分自身をテーマにして少しは「いのち」というものと向き合うような気分に納得感が生まれ出てくるようになってきた気がします。「おいおい、今更かよ（笑）」と笑われそうですが、いろいろなこの世でのことに区切りを付けるという結節点がやがてやってくるという実感は、やはり自分自身にとって大きな心理的変化だと思っています。
　で、当然ですが先人のみなさんも同じことに深くとらわれて生きてきたことは間違いがない。
　そういう時間を超えた人間同士の「対話」の機会、空間として宗教というのはその存在意義があったのでしょう。ようやくその当たり前のことに思いが至ってきている。いかにも遅い（笑）。
　わたしは、人間が生み出してきた芸術・美術という精神の「外化」されたものに強くこころが奪われています。さまざまな先人達のこころの叫び声のようなものがそれらには格納されている。
　少年期には仏陀などには関心も持たず、いわんや異人さんたちの崇めるキリスト教一神教の社会構造の中で教会に奉仕するかのような宗教画には拒絶反応も持った。そういうなかでモナリザとか、モネの睡蓮シリーズなどの直接宗教とは関わらないテーマには反応はした。
　一方で日本では鳥獣戯画を嚆矢とするような最初から自由な空気感に満ちた「マンガ」的表現が奔放に展開していたのではないかと思っていた。俵屋宗達の「風神雷神」などにも、日本人の縛られない精神性が表現されていると思う。
　そういうことで生きてきたけれど、最近は、仏像や宗教画（仏教絵画）にも、そういう精神性が深く宿っていることにしんしんと気付かされている。額田王をモデルとしたと言われている「石位寺 石造浮彫伝薬師三尊像」を知人の紹介で参観させていただいたときに、その仏としての「表情」に深い人間性の刻印をみたことが大きかったか、いや、それ以前に止利仏師の作とされる飛鳥大仏の表情に、深く癒されていたことがあっただろうか。
　わたし側の見方と生き方が変化していくことでそういう側面への感受性が大きくなって来たと言うことなのかも知れない。同じ人間同士、先人が感じていた苦悩や解脱などのの心象が、興味深い対象として自ずと大きくなって来たのかも知れない。
　ということで、いまのところ、キリスト教世界の宗教画にはそういう機縁は得られていませんが、多少は日本だけでなく、写真の朝鮮の仏教美術「地獄十王図軸」といったアジアの古仏教美術などからすこしづつ、やがて世界共通的な世界観に至れるものか、恐る恐る近づき始めております（笑）。

English version⬇

The relationship between the human mind, its expression in art, and religion.
The architectural space of temples has functioned as a Japanese “asylum” because of the prayer for “eventual salvation from this unholy land. Dialogue with such a mind. …

As I have aged, I feel that I have come to have a more satisfying sense of “life” as a theme for my own life. I am sure I will be laughed at for saying, “Oh, come on, it’s too late now (laugh),” but I think it is a big psychological change for me to realize that the nexus of bringing various things in this world to a close will eventually come.
　And, of course, there is no doubt that our predecessors have lived their lives with the same deep preoccupation.
　Religion must have had its raison d’etre as an opportunity and space for “dialogue” between people that transcended time. We are finally coming to realize the obvious. How late it is (laughs).
　I am strongly fascinated by the spiritual “externalization” of art and art produced by human beings. They contain the cries of the hearts of our predecessors.
　When I was a boy, I was not interested in the Buddha, and I rejected religious paintings that seemed to serve the church in the Christian monotheistic social structure worshipped by foreigners, so to speak. In such a situation, he did respond to themes not directly related to religion, such as the Mona Lisa and Monet’s Waterlilies series.
　On the other hand, I thought that in Japan, there was an unrestrained development of “manga” style expression filled with a sense of freedom from the very beginning, as in the pioneering “Birds and Beasts” caricatures. I believe that the unbounded spirituality of the Japanese is expressed in works such as Sotatsu Tawaraya’s “Fujin Raijin” (Wind God and Thunder God).
　I have lived my life in such a way, but recently I have been reminded that such spirituality is deeply embedded in Buddhist statues and religious paintings (Buddhist paintings) as well. Perhaps it was because I was deeply healed by the expression on the face of the Great Buddha of Asuka, which is said to have been created by the great Buddhist monk Toributsuji, when I visited the “Stone relief statue of Yakushi Sanzon,” which is said to be modeled after King Nukata, through the introduction of an acquaintance. Or perhaps I had been deeply healed by the expression on the face of Asuka Daibutsu, which is said to have been created by the great Buddhist priest Shuri.
　Perhaps my sensitivity to this aspect has grown as my way of looking at and living in the world has changed. As fellow human beings, the mental images of suffering and liberation that our predecessors felt may have naturally grown as interesting subjects.
　I have not been able to find such an opportunity in religious paintings of the Christian world, but I am beginning to approach the world with some fear, hoping that I can eventually reach a common world view, not only in Japan but also in other Asian ancient Buddhist arts such as the “Ten Kings of Hell” Buddhist art of Korea shown in the photo. (Laughs).

Posted on 3月 23rd, 2024 by 三木 奎吾
Filed under: 歴史探訪 | No Comments »

　わたしは少年期の最後に政治少年化していた時期がありました。ちょうど70年安保闘争期だったので、そういう時代の空気感の中で揺籃されていたのでしょう。そういうなかで体験や心理の葛藤なども経験した結果、読書傾向としてそれまでの「大江健三郎」的価値感から自分を解き放つ道を選択してきました。その導き役として司馬遼太郎の「歴史観」に救われた、という感覚を持っています。
　別に大江さんを全否定するわけではないけれど、ちょうど「解脱」するような感覚と共に司馬遼太郎的な歴史探訪、その丹念な民族史の掘り起こし姿勢に深く癒されていたといえます。誤解されることを怖れずに言えば、人に対して憎悪を持つことから離脱して、平明に人を受け入れることを選んだ、みたいな心理でした。
　政治運動から距離を置いて、ごくあたりまえの人間観に救済されたと。
　で、司馬さんの膨大な作品世界にしずかに身を委ねて、歴史上の人物たちとの対話をしてきた。
　そういうなかで、いくつかの「建築と人間」という要素について司馬さんの探究心が発揮されたテーマを感じ続けていました。そういうなかで印象的なものが「若衆宿」日本文化だと思います。
　若衆宿というのは、古層からの日本文化に根付いている文化であり、村落の未婚の若者が夜集まって仕事をしたり話し合いをしたりして親睦をはかり、寝泊まりをする宿所。一般的に男女別でとくに日本の男子は一種の「通過儀礼」として少年から大人になっていく倫理感などを叩き込まれる建築空間。
　司馬さんも西郷隆盛という人物の分析にあたってこのことに深く拘泥したことがわかる。薩摩藩の中の郷中組織という典型的な若衆宿、その郷中頭に何度もなったのが西郷隆盛。その後、街道をゆくシリーズ「熊野・古座街道」で、司馬さんが熊野を歩かれた時のこと、深い谷間を歩き、渓流の音を聞きながら、司馬さんはかつてそこにあったに違いない若者宿のことについて思索を巡らし始めている。そして南方の島々の慣習がこの日本列島に及ぼした影響の一つではないか、つまり南方起源説を仮説として掲げているのですね。
　そんな漠然とした知見を持っていて、わたし自身も自分の学生運動を経験したことと重ね合わせて「若衆宿」という日本文化の基層から深く影響されたと思うのです。若さの特権とも言えるけれど、大人にはなりきれていない「通過儀礼」のような印象でしょうか。
　そういった成り行きで、たまたま参観したことがある東京国立博物館・東洋館の一展示写真のことが深く思い起こされた。その参観撮影時には気付かなかったけれど、最近写真整理の時間を持てて、この写真の「ハウスタンバラン」＜精霊小屋＞を再発掘した次第。まさに「これじゃん」であります。
　やはり日本文化には色濃く、南方アジア島嶼起源の精神性があるのだと思えたのですね。今後、こういう部分をすこしづつ掘り下げていって見たいと気付かされた次第です。

English version⬇

Japan’s “Wakashu Inn” and Papua New Guinea’s “Spirit Hut
The New Left Movement of my youth was deeply rooted in the spirit of the Wakashujuku of old Japan. This project is an effort to carefully dig up such traces. Cultivation of the ability to make calm judgments. The cultivation of a sober judgment.

There was a period at the end of my youth when I became a political boy. It was right around the time of the 70-year Security Treaty struggle, so I must have been cradled in the atmosphere of that era. As a result of my experiences and psychological struggles, I have chosen to free myself from the “Kenzaburo Oe” sense of value that I had been reading up to that point. I feel that I was saved by Ryotaro Shiba’s “view of history” as a guide.
　It is not that I totally reject Mr. Oe, but I can say that I was deeply healed by Ryotaro Shiba’s historical exploration and his meticulous approach to digging up ethnic histories with a sense of “liberation”. Without fear of being misunderstood, it was a kind of psychological detachment from hatred toward people, and a choice to accept people in a peaceful manner.
　He said that he had distanced himself from political movements and had been rescued by a very ordinary view of humanity.
　So, I surrendered myself peacefully to the vast world of Mr. Shiba’s works and engaged in dialogue with historical figures.
　In this context, I kept sensing several themes that demonstrated Mr. Shiba’s inquisitive mind about the elements of “architecture and human beings. One of the most impressive of these themes is the “wakashu yado” Japanese culture.
　Wakashu-juku is an inn where unmarried young people of a village gather at night to work, discuss, and socialize, and where they sleep and stay together. Generally, men and women are separated, and Japanese boys in particular are taught the ethics of becoming an adult from a boy as a kind of “rite of passage” in this architectural space.
　It is clear that Mr. Shiba was deeply concerned about this when he analyzed the character of Saigo Takamori. Saigo-Takamori was a typical young innkeeper in the Satsuma clan’s Gochu organization, and he became the head of the Gochu several times. Later, when Mr. Shiba walked in Kumano in his Kaido Yuku series, “Kumano/Koza Kaido,” walking through deep valleys and listening to the sound of mountain streams, he began to ponder about the youth inns that must have once existed there. And you hypothesize that it may have been one of the influences of the customs of the southern islands on this Japanese archipelago, in other words, the theory of southern origins.
　With such vague knowledge, I think I myself was deeply influenced by the base of Japanese culture called “wakashujuku,” overlapping with my own experience of the student movement. I guess you could say that it is a privilege of being young, but it gives the impression of a “rite of passage” that does not quite make one an adult.
　This led me to think deeply about a photo exhibit in the Toyokan (Asian Gallery) of the Tokyo National Museum, which I happened to have visited. I did not notice it at the time of the visit, but recently I had time to reorganize my photos and rediscovered the “Haus Tambourin” (Spirit House) in this photo. This is exactly what I was looking for.
　I was able to see that the Japanese culture has a strong spirituality of the southern Asian island origins. I am now aware that I would like to delve a little deeper into this aspect of Japanese culture in the future.

Posted on 3月 21st, 2024 by 三木 奎吾
Filed under: 日本社会・文化研究 | No Comments »

　わたしは自然の動物たちに無用にエサを与えることは自重しております。
　以前、自宅兼用事務所を建てた時期、それまでの集合住宅マンションから久しぶりの「地面を感じる住まい」になって、うれしくて、ついバードテーブルを置いてしまった。増築前だったので、シンボルツリーも植えていたので、スズメ社会に評判になってしまったようで、ついつい「かわいくて」エサを与えたところ、ハンパない大量のスズメが蝟集して、ご近所迷惑が心配になってしまった。
　また30年以上前、スズメにとって見慣れない３重ガラス入りサッシはただ空を反映して見えたようで、激突して動かなくなって死んでしまう個体も出てしまった。そんな経験から、野生動物にエサを与えることは非常に罪深いことなのだと思い至った次第です。たぶん地獄で閻魔様から断罪される可能性（笑）。
　しかし自然の動物たち、とくに札幌円山公園のような場所の動物たちは、人間とはエサを勝手に与えてくる存在だと見切っている。なので人間を見かけると近寄ってきたりする。「お、バカな人間がまたやってきた。エサにありつけそうだ」という心理なのでしょう。決して人間に愛情を感じての行為ではない。かれらの即物的な条件反射行動だと思います。そのように仕向けた人間社会の側の罪業。
　人間社会と野生動物社会の共生という問題は人間の倫理と深く関わっていて、そう簡単な解は存在しないと思います。ただ、野生動物の自然な姿はたしかに微笑ましくはある。
　久しぶりに札幌円山公園を散歩すると水辺に越冬中のつがいのカモたちが。観察しにわたしが近づいていくと、メスの方が積極的に近寄ってくる。オスの方はやや遅れて、寒さもあってか、身を丸めた姿勢でおずおずと付いてきた。メスの心理はよくわかるけれど、わたしには餌やりする考えはない。
　「あ、こいつはダメ人間だ」と彼女は即座に判断したようだけれど、かといって即座に身を隠す、無視するといった風情でもない。オスの方はただ付いてきただけで、自分の考えはなさそう（笑）。
　一瞬の、一期一会でのイキモノ同士の「対話」なのですが、本当はここから先が大事なのでしょうね。
　こちらにはエサやりする意思はない。けれどもカモを捕獲するような意思、もっと進んで食糧の対象とする考えもない。カモは、エサをくれるヤツではないと判断するけれど、さりとて自分に危害を加える考えもなさそうだという一種の「了解」もある。「なによ、こいつ？」。
　しかしわたしはこのようにかれらの映像を写真に撮る。かれらにしてみれば「肖像権の侵害」だけれど、かれら社会にはそういう概念はないだろう。ひたすら人間社会側の「勝手」な論理世界。「ただ観察するだけ」という人間側の姿勢はかれらにはどう「写っている」のか、考えてしまう。
　春になればまたたぶん、ヒグマたちとの接近遭遇がさらに多発するだろう。人間が作り出した都市空間と人為的な加工を施した「自然環境」。考えて見ればカモはよくてヒグマはダメという論理は確かに奇妙ではあるだろう。あくまでも人間の「勝手」だ。しかしこれは人間社会として自然への絶対の「強制」ルールだろう。さて野生とはどういう棲み分けがあり得るのだろうか？

English version⬇

A couple of ducks waiting for spring by the water in Maruyama, Sapporo.
The boundary rules between humans and wild animals that have taken up residence in man-made “nature”. How will they react to the human attitude of not harming or feeding them? A couple in Maruyama, Sapporo.

I am very careful about needlessly feeding animals in the wild.
　During the period when I built my former home-cum-office, I was so happy to have a “home where you can feel the ground” for the first time in a long time from my previous apartment complex that I ended up putting up a bird table. Since it was before I had built an addition to my house, I had planted a symbolic tree, which seemed to have gained a reputation among the sparrow community.
　More than 30 years ago, sparrows seemed to see the unfamiliar triple-glazed sashes as just a reflection of the sky, and some of them died after crashing into them and becoming motionless. Such experiences made me realize that feeding wild animals is a very sinful thing to do. Possibly condemned by Enma in hell (laughs).
　However, animals in nature, especially those in places such as Sapporo Maruyama Park, see humans as beings who feed them without permission. So, when they see a human, they will come up to us. They think to themselves, “Oh, here come those stupid humans again. I can get some food. It is not an act of love for humans. It is their immediate and conditioned reflex action. It is a sin on the part of human society that has made them do this.
　The problem of coexistence between human society and wild animal society is deeply related to human ethics, and I do not think there is an easy solution. However, the natural appearance of wild animals is indeed a source of smiles.
　When I took a walk in Sapporo Maruyama Park for the first time in a while, I saw a pair of ducks wintering by the water. As I approached to observe them, the female was more aggressive in approaching. The male was a little later, perhaps due to the cold weather, but he followed me slowly, curling himself up into a ball. I understand the female’s mentality, but I have no desire to feed her.
　She seemed to immediately judge, “Oh, he’s a bad person,” but she did not immediately hide or ignore me. The male was just following her around and didn’t seem to have any thoughts of his own (laughs).
　It was a momentary, once-in-a-lifetime “dialogue” between the two animals, but I think it is what happens from this point on that is really important.
　I have no intention to feed them. We have no intention to feed them, but we also have no intention to capture them or even to consider them as food. The ducks are not a feeder, but there is a kind of “understanding” that they have no intention of harming us. “What the hell?” I don’t know.
　But I take pictures of them like this. For them, it is an “infringement of their right of portrait,” but I don’t think they have such a concept in their society. It is a logical world of “self-indulgence” on the part of human society. I wonder how the human side’s attitude of “just observing” is “perceived” by them.
　In spring, there will probably be many more close encounters with brown bears. The urban space created by humans and the “natural environment” artificially processed by humans. It is indeed strange to think that ducks are allowed but brown bears are not. It is a “self-indulgence” of human beings. However, this is an absolute “compulsory” rule for nature as a human society. What kind of segregation is possible in the wild?

Posted on 3月 19th, 2024 by 三木 奎吾
Filed under: 「都市の快適」研究 | No Comments »