同姓ということで古民家探索人としては強い興味を持って参観した徳島・三木家住宅。わたしの血脈とは違うけれど「忌部氏」としての生き様に静かに打たれております。住宅取材というのは結局は「いい家」を探究することだと思っていますが、同時にリスペクトできる生き方というものが、ある種のスパイスになって空間性の美感を支配するということに感動させられる。
１枚目の写真は四国の中央部の山地での暮らしぶりの眺望。平成と令和の大嘗祭で麁服（あらたえ）の調進を果たした当主の三木信夫氏のインタビューが新聞記事アーカイブで確認できた。「麻を栽培する畑を整地し春に種をまく。何度も間引きをしながら約100日で成長した麻を収穫し、茎の天日干しから煮沸、皮を剥ぐなどの工程を経て麻の繊維を紡いでいき『麁服』が完成する。麁服にできる麻は気温が平地よりも3～5度低い高地といった限られた場所でしか栽培できない。この繊細な技術を確実に継承していくことは今後の課題だ」
この三木家住宅には古文書が伝承されていて、1260年鎌倉期の亀山天皇即位儀礼・大嘗祭での麁服の調進記録が残されているという。たぶんその時代から現在地で忌部氏・三木家一族は住み続けてきたのだろう。箱木千年家は兵庫県にある本当に千年以上経過の旧家だけれど、この家もまた同程度の歴史を見出しうる。代々の墓域での実体感からは、いわば家存続の強烈な、連綿たる意志力を感じさせられる。
住宅性能という革新を体験してきた北海道に暮らす現代日本人として、こういう種類の家の価値感というものにも深く打たれる思いがしていた。いわば人として生きる使命感、それを担保する地道な生き方の実践。そういう種類の家系的な価値感というものだろうか。
建築としての家には古格な雰囲気がただよっている。デザインはシンプルな端正さを保持し、機能性にまっとうに帰依した様子が伝わってくる。２枚目の内部写真は公開されているPDF資料からの転載。


家のデザインには独特の表現性があると思っている。安藤忠雄さんのように芸術者的な表現もあることは理解できるし、それを良しと考える施主の自由意志もあって然るべきだとも思っている。また地域の「らしさ」をしっかりと保持し永続させていこうと考える全国各地での草の根の街並み文化保存的なデザイン意思にも強い共感・好感を持つ。
この三木家住宅のデザインからは、シンプルな機能性がもたらす直接性、生き抜く意思が伝わってくる。四国とはいえこの山岳高地では冬に厳しい寒さもあるだろう。その厳しい条件下で家系の使命に真っ正直に生き抜いていくという心底を強く感じさせられた。こういう種類の「美感」には、強い尊崇の念を思う。
こういう家が高断熱高気密仕様で改修されさらに永い存続が可能になれば、次世代へのバトン受け継ぎに役立つのかも知れない。そんな願いがふと、こころをよぎった。

English version⬇

A way of life and residential construction that martyrs the family’s mission　The Miki Family Residence in Tokushima, Japan – 4
This ancient house design conveys the strong will power of the clan. Perhaps it is the performance of the house that is appropriate for a way of life that perpetuates the family’s lineage. The house is designed to be a symbol of the family’s mission and the family’s strong willpower.

I visited the Miki Family Residence in Tokushima with great interest as an explorer of old private houses because we share the same family name. I was quietly struck by the way of life of the “Imobe clan,” even though it is different from my own bloodline. I believe that the coverage of housing is ultimately a search for “good houses,” but at the same time, I was moved by the fact that a way of life that I can respect becomes a kind of spice that dominates the sense of beauty of the space.
The first photo is a view of the way of life in the central mountainous region of Shikoku. An interview with Nobuo Miki, the head of the family, who performed the preparation of the clothing for the tamesai ceremonies in Heisei and 2022, can be found in the newspaper article archives. He said, “The fields where hemp is cultivated are cleared and the seeds are sown in the spring. The hemp stalks are then dried in the sun, boiled, and skinned before the hemp fibers are spun into “clothes. The hemp that can be used to make clothes can only be grown in limited areas, such as highlands where the temperature is 3 to 5 degrees lower than in the plains. It is our future task to ensure that this delicate technique is passed on to the next generation.
The Miki family’s residence has an old document that records the preparation of clothes for the ceremonial accession to the throne of Emperor Kameyama in 1260 during the Kamakura period (1185-1333), the first Emperor Kameyama’s death. Probably since that time, the Imobe and Miki families have continued to live in the present location. The Hakoki millennial family is truly a millennial family in Hyogo Prefecture, but this family can also be traced back to the same period. The sense of substance in the graveyard of generations of the family gives one a sense of the strong, unbroken willpower of the family to continue its existence.
As a modern Japanese living in Hokkaido, which has experienced innovations in housing performance, I was deeply moved by the sense of value of this kind of house. A sense of mission to live as a human being, so to speak, and the practice of a steady way of life to ensure it. This kind of family values, I suppose. The house as an architectural structure has an old-fashioned atmosphere. The third interior photo is a reproduction from a publicly available PDF document.

I believe that house design has a unique expressiveness. I understand that there is an artistic expression, such as that of Tadao Ando, and I also believe that there should be the free will of the client who thinks it is a good idea. I also have a strong sympathy and liking for the grass-roots design intent to preserve and perpetuate the “character” of the local community.
The design intent of the Miki family residence conveys the directness of simple functionality and the will to survive. Even though it is in Shikoku, there must be severe cold in winter in this mountainous highland. I was strongly impressed by the family’s heartfelt determination to live out their family’s mission honestly under such severe conditions. I have a strong sense of reverence for this kind of “sense of beauty. If such a house could be renovated to “highly insulated and airtight” specifications to ensure its longevity, it might be useful in passing the baton to the next generation. Such a wish suddenly crossed my mind.

Posted on 1月 28th, 2023 by 三木 奎吾
Filed under: 住宅マーケティング, 日本社会・文化研究 | No Comments »

本日も徳島県の山間の「空中住居」とでもいえる三木家住宅その２であります。
わたしたち現代人は利便性最優先で経済的根拠に基づいて住宅を建てたり、購入する場所を選んでいる。これが支配的で多くの場合、職場との時間距離と見合うかで判断して居住地を決定するケースが多いのだと思う。
一方でそれとは違って先祖代々その土地に住み続けて、そうすることが自然だと考えて住んでいるというケースもあるだろう。日本社会の構造としての食糧生産システム、農村社会のありようがそれに相当する。前者が現代的経済効率に根拠を置くのに対して、こちらは伝統的な経済共同体の価値感を重視する考え方と言えるのだろう。日本的ムラ社会もまた過去から経済基盤最優先の居住選択だろう。山岳地域での棚田主力では「水利」の面で困難が伴うので、その多くは水利を第１に考えた立地環境、多くは河川流域を開発した地域に立地する。
この徳島県の山岳高地に点在居住する共同体の中核的古民家を見ていると、どうもそういった常識的価値感とは違った生き様を見る思いがしてくる。いわば現代生活とも伝統的農業ムラ共同体社会とも違う、古代的なスピリチュアルな価値感、といったものを感じさせられていた。
上の写真はこの三木家住宅の「麻畑」とおぼしき畑地と令和の麁服（あらたえ）調進を成し遂げた記念碑。畑地は整然と区画されて入口には鳥居まで建てられている。この内部で朝廷に調進される麻が育成されていたと推定できる。訪問時にはシカの糞が随所で散見された。そういう光景も自然な施肥のように思えて意味ありげと思われる。自然環境と共生することが「神宿る」ことの実質と感じられるのだ。こうした高地をあえて居住地として選択する意思には、忌部氏という部民としての古代的価値感があるのだろう。「神がかり」ということが上位価値感であるという意思がこの地では現代まで一定の存続を果たしてきている。その奇跡性。


そういう奇跡性を表すようにこの三木家には鎌倉から室町にかけての古文書「三木家文書」が残されている。写真は文保２（1318）年の後醍醐天皇の大嘗会（天皇践祚）時点でのもので、上の方は勅使が神部２人を連れて阿波国に下向する旨を国司に申し渡した文書。下は官宣旨という「下文」とされ、先例に倣って麁服（あらたえ）を織らせるようにという申し渡しの内容。

さらには南北朝の時代、正平22（1368）年という南朝で使われた元号年で表された三木家当主・重村に宛てられた「感状」の綸旨。鎌倉時代末には三木家は南朝に忠誠を尽くした地域武士団の棟梁であったという。脈々と古代的価値感が根付いていることに驚く。四国の山深い地域、現代ではほとんど限界集落と思える地域で、こういう「神宿る」価値感が残り続けていることは、ある種、民俗の底深さを教えてくれる。
日本という国家社会にはまちがいなくこういう山上での空中生活を「神との共生」として尊崇するスピリチュアルな部分が根底にあるのだと思う。アイヌの人びとの伝統的価値感とも通底するような、歴史以前社会から連綿と伝わる民族性の実質なのだろう。先般見た高鴨神社のように弥生以前をも感じさせる。
現代社会はこういう神々しさをどのように未来へ手渡していけるのだろうか？

English version⬇

Commitment to a mountain highland lifestyle where the gods reside　MIKI Residence, Tokushima – 2
Ancient “kamikari” life on the mountain, which is different from the rural village community. The spiritual values of this lifestyle remind us of the roots of folklore. Tokushima, Japan

Today, we continue our look at the Miki Family Residence #2, an “aerial dwelling” in the mountains of Tokushima Prefecture.
We modern people choose where to build or buy a house based on economic rationale, placing the highest priority on convenience. In many cases, this is the dominant factor, and in many cases, people decide where to live based on the distance from their workplace in time.
On the other hand, there may be other cases where people have lived in the same place for generations, and they live there because they think it is natural to do so. The food production system as a structure of Japanese society and the way rural society is organized correspond to these cases. While the former is based on modern economic efficiency, the latter emphasizes the values of a traditional economic community. The Japanese “mura” society has also placed the highest priority on economic infrastructure in its choice of settlement. Since terraced rice paddies in mountainous areas are difficult to manage in terms of “water use,” most of them are located in areas where water use is the primary consideration, often in developed river basins.
Looking at these old private houses, which are the core of the community living scattered in the mountainous highlands of Tokushima Prefecture, one gets the impression of a way of life that differs from such common sense values. I felt a sense of ancient spiritual values that are different from those of modern life and traditional farming communities.
The photo above shows what appears to be the “hemp field” of the Miki family residence and the monument that commemorates the completion of the “araatae” ceremony in 2025. The field is neatly divided into sections, and even a torii gate has been erected at the entrance. It can be presumed that hemp to be supplied to the Imperial Court was cultivated in this area. When we visited, deer droppings were found everywhere. Such a sight seemed to be a natural way of fertilization and meaningful. It seems to me that living in harmony with the natural environment is the essence of “dwelling with the gods. The intention to choose such highlands as a place to live may be due to the ancient sense of value of the aborigines as a tribe. The will that “kami hakari” is a higher value has survived to the present day in this area. The miraculousness of it.

As if to show such miraculousness, the Miki family has left behind an old document, the Miki Family Document, dating from Kamakura to Muromachi period. The upper one is a document in which an imperial envoy sent a notice to the provincial governor that he was going down to Awa province with two Shinto priests. The lower part is said to be a “letter of condolence” called “kansenjinshin,” in which the imperial envoy instructed the provincial governor to have them weave clothes in accordance with the precedent.

Furthermore, in the period of the Northern and Southern Dynasties, the “Kanjou” (impressed letter) addressed to Shigemura, the head of the Miki family, expressed in the year Shohei 22 (1368), the original year used by the Southern Dynasties. By the end of the Kamakura period, the Miki family was the leader of a local warrior clan loyal to the Southern Court. It is surprising that ancient values have taken root in the area from generation to generation. The fact that such a sense of “kami shuku” (the gods reside in the land) continues to exist in a mountainous region of Shikoku, an area that today seems almost a marginal settlement, tells us something about the depths of folklore.
I have no doubt that Japan’s national society has a spiritual basis in its reverence for this kind of aerial life on the mountains as “coexistence with the gods. This is the essence of the ethnicity that has been handed down from pre-historic society, which is also the same as the traditional values of the Ainu people. Like the Takagamo Shrine I saw the other day, it also reminds us of the Yayoi period.
How can modern society pass on this kind of godliness to the future?

Posted on 1月 26th, 2023 by 三木 奎吾
Filed under: 古民家シリーズ, 歴史探訪 | No Comments »

断熱と気密は「あたたかい家」の基本要件であり北海道ではその技術開発を待望する広範な世論があって、ユーザーと行政・業界の三位一体で住宅革新が進んだ。もっとも大きな促進剤はオイルショックによる暖房コストの急上昇という事態だったと言えるでしょう。待ったなしで北国住宅としての人道的生活防衛本能にスイッチが入った側面が大きいと思える。
そういう広範な世論というものが、今回の脱炭素の目標からは体感しにくい。本来であれば断熱気密化のさらなる高度化がわかりやすいと言えるけれど、たとえば外壁断熱厚を200mmから400mmに重厚化してもそのメリットはコストとの見合いではそれほどではない。むしろごく限られたゲインしか得られにくい。また、わかりやすい「自然エネ活用」の象徴として太陽光発電をシンボル化させても、そもそも積雪時に稼動してくれない。ユーザー感覚からするとそれ相当の価値感が見えにくい。
さらに北国の生活者からすると住宅とクルマには暮らし上の両輪という相関性がある。その判断基準からすると太陽光発電とEVという「推奨される暮らしの未来形」にはどうも疑問が強い。3-4ヶ月の冬期間、命にも関わる移動手段が発電しないエネルギー源に依存するという未来形に納得感がなかなか湧いてこないのだ。公共交通網が不十分で札幌市の面積だけでも東京都全域、神奈川・千葉・埼玉の各県にまたがるほど広大面積の北海道では、クルマ移動は命を支える重要なライフラインだといえる。
太陽光発電についてその設置場所を屋根ではなく、多少の効率低下を受け入れても通年発電可能な壁面設置という「代案」が出てきたことはまだ評価できるかも知れない。ただ壁面設置の場合は周辺のほかの建物と道路付き、敷地環境の未来予測まで自己責任判断とならざるを得ない。制度設計の側としても限定付きの推奨に留めざるを得ないと言えるだろう。

こうした背景条件から、制度設計として「ポイント制」を取ることにしたわけです。
【脱炭素化の対策】として以下のような要素を選択しそれぞれ任意に選び取る方向にシフトした。
○更なる断熱性能の強化〜外皮平均熱貫流率UA値を0.20～0.28以下に強化：3pt～5pt
○再生可能エネルギーの活用〜太陽光発電設備の設置：3pt～6pt
・蓄電池設備の設置：5pt
・木質バイオマスの利用：1pt
○地域資源の活用〜道産木材を構造材や内外装材に活用：2pt
これらのポイントを加算して10ポイントでCO2削減1トン分としたのです。選択制としてはわかりやすい指標だと思います。ユーザーと住宅企業の話合いでの脱炭素手法の「見える化」を制度として担保する施策。もちろん多様な気候特性が北海道内でも各地域で違いがあるので、各地域なりの制度の弾力運用・アレンジが可能なようにしている。
さらに2050年段階のゼロエネ・脱炭素については要素技術の進化がどこまで進むのか、未確定な要素が大きく現段階ではそれらの進歩を睨みながら選択の余地を未来の判断に残した。

English version⬇

Points for decarbonization methods and measures Northern-style housing ZERO-2
The system is designed to allow users to select points from decarbonization factors such as further improvement of thermal insulation performance, use of renewable energy, and use of local resources. ・・・・・.

Insulation and airtightness are the basic requirements for a “warm house,” and there was widespread public opinion in Hokkaido that longed for the development of such technologies, which led to housing innovation through the concerted efforts of users, government, and industry. The most significant catalyst was the sharp rise in heating costs due to the oil crisis. It seems to me that the humanitarian instinct to defend life in the north was switched on without having to wait for the oil crisis.
It is difficult to get a sense of this kind of broad public opinion from the current decarbonization goals. Although it would be easy to understand the need for more advanced insulation and airtightness, the benefits of increasing the thickness of exterior wall insulation from 200mm to 400mm, for example, are not so great in relation to the costs involved. In fact, it is difficult to obtain only a very limited gain. Also, even if photovoltaic power generation is symbolized as an easy-to-understand “use of natural energy,” it will not operate in the event of snow accumulation. From the user’s point of view, it is difficult to see the equivalent sense of value.
Furthermore, from the perspective of people living in northern Japan, there is a correlation between housing and cars as two wheels in the wheel of daily life. Based on such criteria, the “recommended future lifestyle” of solar power generation and EVs is highly questionable, and it is difficult to accept the future of relying on a non-electric energy source for transportation during the 3-4 month winter period, which can be life-threatening. In Hokkaido, where the public transportation network is inadequate and the area of Sapporo alone spans the entire metropolis of Tokyo, as well as the prefectures of Kanagawa, Chiba, and Saitama, driving is an important lifeline that can sustain life.
It may be commendable that an “alternative” to roof-mounted solar power generation has emerged, in which solar power can be installed on the walls of buildings all year round, even if the efficiency of the system is slightly reduced. However, in the case of wall-mounted solar power generation, the user must be responsible for the future forecast of the site environment, including the surrounding buildings and roads. The designers of the system have no choice but to make a limited recommendation.

These background conditions led to the decision to take a “point system” as the institutional design.
The following elements were selected as [decarbonization measures] and shifted to the direction of arbitrarily selecting each of them.
Further reinforcement of thermal insulation performance: Raise the UA value of the average heat transfer coefficient to 0.20-0.28 or less: 3pt-5pt
Use of renewable energy – Installation of photovoltaic power generation equipment: 3pt – 6pt
Installation of storage battery facilities: 5pt
Use of woody biomass: 1pt
Utilization of local resources – Use of Hokkaido timber for structural and interior/exterior materials: 2pts
These points were added together to make 10 points equal to a 1-ton reduction in CO2 emissions. This is an easy-to-understand indicator for a selective system. This is a measure to ensure “visualization” of decarbonization methods in discussions between users and housing companies as a system. Of course, diverse climatic characteristics differ from region to region even within Hokkaido, so the system is designed to allow elastic operation and arrangement of the system in each region’s own way.
Furthermore, there are many undetermined factors regarding the progress of elemental technologies for zero-energy and decarbonization in 2050, so at this stage we are leaving room for future decisions while keeping an eye on the progress of these technologies.

Posted on 1月 24th, 2023 by 三木 奎吾
Filed under: 住宅マーケティング, 住宅性能・設備 | No Comments »

わたしは別にオカルトに興味がある人間ではありません（笑）。ただ最近は奈良県の古都地域、飛鳥とか纏向・桜井とか橿原などの土地の魅力に強く惹かれてきております。たしかに古代からの日本国家の祖型がそこにあって、文書では明確ではないけれど考古的には確実性が高い痕跡に魅了されてきていることは、ブログを見ていただいているみなさんにはご理解いただけることと思います。
そういうなかで数次訪れているのが奈良県御所市鴨神の金剛山東山麓にある神社・高鴨神社。以下社伝から要旨抜粋。
〜弥生中期、鴨族の一部は葛城川岸辺で水稲農耕をはじめ一般に本社を上鴨社、御歳神社を中鴨社、鴨都波神社を下鴨社と呼んだ。このほか鴨一族はひろく全国に分布しその地で鴨族の神を祀った。賀茂（加茂・賀毛）を郡名にするものが安芸・播磨・美濃・三河・佐渡の国にみられる。中でも京都の賀茂大社は有名で本社はそれら賀茂社の総社にあたる。・・・この地は大和の名門豪族・鴨一族発祥の地で本社はその鴨族が守護神として祀った社の一つ。『延喜式』神名帳には「高鴨阿治須岐詫彦根命（たかかもあじすきたかひこねのみこと）神社」とみえ官幣に預かる名神大社。最高社格をもつ神社。〜
御所の街並みは非常に興味深くて参観時、道に迷ってたどりついた神社（笑）。なんですが池越しに美しい社殿のたたずまいを見てすっかりゾッコンになった。その後いろいろなご縁も生まれたりしております。この高鴨神社で上の写真のような「光のスジ」を体感した。拝殿・本殿を参観後、鳥居方向に参道を歩いていてなにげに写真を取ったのですが、このような光線が感じられ写真にもしっかり映り込んでいる。（この写真は別テーマ記事でも使用済み）


神社のHPには以下のような記述。「カモはカミと同源でありカモすという言葉から派生。「気」が放出している様子を表しています。当神社の神域は鉱脈の上にあることも重なり、多くの「気」が出ていることでも有名。夏場に参詣すると涼しく感じられるのはその為。気は身体にたいへん良く、ぜひ神域を巡られて神様の「気」を受け、心身共によみがえられることをお祈り申し上げます。」
この光線が撮影されたのは冬至に近い時期の午後２−３時ころ。参道は本殿・拝殿を背にしてまっすぐ真南に位置する鳥居方向に向かって顕現した。なので季節的に太陽光の自然光線とは思えない。もし「木漏れ日」であれば、写真右側からのスジになるはずなのです。そのような「乱反射光」を生み出すような対象物は周辺には確認できない。わたしはこのHPの文章に書かれている鉱物資源による「発光現象」の科学知見は持っていないので、いまのところ不明、ナゾとなっています。しかし伝承で石見銀山周辺では朝鮮から来た鉄鉱石資源技術者たちがその独特の発光現象をはるかな海上・船から見てから現地を探索し鉱脈を発見したという説を読んだ記憶がある。・・・
なかなか神秘的な気分を感じて面白くワクワクはさせられている（笑）。読者の方でなにか理解の助けになる情報がありましたら、ぜひお知らせください。よろしく。

English version⬇

Luminescence phenomenon over a vein at Takagamo Shrine, Gosho, Nara Prefecture?
This shrine area is located on a mineral vein and is famous for its large amount of “chi” (energy). Is it possible for such mineral resources to react to light? I wonder. I wonder…

I am not a person who is interested in the occult (laugh). However, I have recently been attracted to the ancient capital regions of Nara Prefecture, such as Asuka, Kumamukai, Sakurai, Kashihara, etc. It is true that the ancient ancestors of the Japanese nation existed there. I am sure that the ancient ancestors of the Japanese nation existed there, and I am fascinated by the traces that are not clearly documented but are highly archaeologically certain, as you can understand from my blog.
One such shrine I have visited several times is Takagamo Shrine, located at the eastern foot of Mount Kongo in Kamogami, Gosho City, Nara Prefecture. The following is an excerpt from the shrine’s biography.
〜In the middle of the Yayoi period, a part of the Kamo clan began rice farming along the banks of the Katsuragi River, and generally called the head shrine Kamigamo-sha, the Mitose shrine Nakagamo-sha, and the Kamotonami shrine Shimogamo-sha. In addition, the Kamo clan was widely distributed throughout the country, and the Kamo deities were worshipped at their shrines. The Kamo (Kamo or Kage) clan was also found in the counties of Aki, Harima, Mino, Mikawa, and Sado. Kamo-taisha in Kyoto is the most famous of these, and its headquarters is the head shrine of all Kamo shrines. The head office is one of the shrines enshrined as a guardian deity by the Kamo clan, a prestigious Yamato clan. In the Engishiki, the shrine is named Takakamo Ajisukitakahikone-no-mikoto Shrine, and is a Meishin-taisya (great shrine) under the jurisdiction of the government. The shrine has the highest shrine rank. 〜The town of Gosho is very interesting.
The townscape of the Gosho is very interesting, and when I visited the shrine, I got lost on the way there. I was very interested in the streets of the Gosho, and when I visited the shrine, I got lost on the way there (laugh), but when I saw the beautiful shrine building over the pond, I fell in love with it. Since then, I have been fortunate enough to have many opportunities to visit the shrine. At this Takagamo Shrine, I experienced a “streak of light” like the one in the photo above. After visiting the hall of worship and the main shrine, I casually took a photo as I was walking along the approach to the torii gate. (This photo has already been used in another thematic article)

The shrine’s website has the following description. The word “kamo” is derived from the word “kamosu,” which is the same origin as “kami. It represents the release of chi. The shrine’s sacred area is famous for the large amount of “chi” that is emitted, due in part to its location on top of a vein of ore. This is why it feels cooler when you visit the shrine in the summer. I hope you will visit the shrine to receive God’s “chi” and revive your body and soul.
This ray of light was taken around 2-3 p.m. near the winter solstice. The approach was manifested toward the direction of the torii gate, which is located directly south, with the main shrine and worship hall behind it. So I don’t think it was the natural rays of seasonal sunlight. If it were “sunlight filtering through the trees,” it would have been a swath from the right side of the photo. No object that would produce such “diffuse reflected light” can be identified in the vicinity. I do not have scientific knowledge of the “luminous phenomenon” caused by mineral resources described in the text of this website, so it is unknown and a riddle at present. However, I remember to have read a legend that iron ore resource engineers from Korea saw the unique luminous phenomenon from the sea and ships far from the Iwami Ginzan Silver Mine, and then explored the area and found a vein of ore. It was quite interesting and exciting.
It is quite interesting and exciting to feel a sense of mystery (laugh). If any readers have any information that can help us understand this, please let us know. Thank you in advance.

Posted on 1月 22nd, 2023 by 三木 奎吾
Filed under: 日本社会・文化研究 | No Comments »

浮世絵という表現形式を得て、日本の出版文化は実質的に産声を上げた。それまでの日本美術とは宗教寺院や支配層への奉仕が主たる生存形式であって、狩野派などの絵画制作集団はときの権力機構などに寄生してその維持を図ってきた存在だった。狩野派は権力者の城郭襖絵などの「公共建築需要」を受注落札する専門的集団であって一種の美術版ゼネコン的存在だったと思える。また「鎌倉殿の13人」でも登場した運慶はあのように権力に取り入ることで創作の機会を得てきていた。わたしがいちばん好きな日本画「風神雷神図」俵屋宗達作品は京都の名刹寺院からの注文製作だった。そのようなひとつの伝統的ジャンルとして「洛中洛外図屏風絵」があって、国宝に指定されているのが舟木本・岩佐又兵衛筆作品。かれがこのジャンルの集大成作品を生み出した後、活躍の舞台を京都から江戸に移して、浮世絵文化への橋渡し役を果たしたと言われている。
日本絵画は京都が主流だった時代には画題テーマは宗教であったり、王朝文学の背景画であったり、障壁画などであったものが、江戸では浮世絵文化の勃興とともに画題がビッグバンして、市井の名所図会・役者絵・美人画と直接的な大衆の興味分野にシフトしていった。まさに「芸術の大衆化」だった。
個人的な思いかも知れないけれど芸術家というのは日本では余技として描いた作品の方が多くの人に愛されているのではないだろうか。わたしは俵屋宗達と、岩佐又兵衛に強く惹かれているけれど、どうも専業画家というよりも別に生計を立てていて、画業は余技というスタイルが、むしろ民衆のこころには響くなにごとかがあるのではないかと思っている。俵屋宗達は扇の専門店を経営していたと言われる。キャンバスに向かう心理に於いて自由さがあって、制作するこころに狭量を感じないということではないか。

今日、メディアは大きな転換期に差し掛かっている。WEBによる既存メディアの革新は留まるところを知らないけれど、一方で個人の価値感世界だけを押しつけるような動画などは早くも壁に突き当たり始めてきている。いわゆるYouTuberの停滞・行き詰まりが指摘されてきている。ある特定個人の言説だけを信奉し依存するというのではまるで新興宗教のようでそれはやはり危険性が高い。公平性・客観性という価値感はやはり不可欠な情報要素なのだと思う。メディアは情報の公平な「広場」機能であるべきで、最終的判断は情報の受けてが自己判断できるその材料を提供するのが本来の使命だろう。
そんな時代の中で、浮世絵という日本社会が経験してきたニューメディアの興亡ぶりから今日学ぶべきことも多いのではないか。歴史からいろいろな真実を汲み取って活かしていく必要があるのでしょう。

English version⬇

The Development and Rise and Fall of the Media, Ukiyoe-4: Edo Period, Boso Machiya-13
Today’s media are in a state of confusion. There are many things to be learned from the historical transition of Ukiyo-e with an open mind. …

With the acquisition of ukiyoe as a form of expression, Japan’s publishing culture was practically born. Until then, Japanese art had mainly existed as a service to religious temples and the ruling class, and painting groups such as the Kano school were parasites on the power structure of the time in order to maintain their existence. The Kano school was a group that specialized in bidding for “public building needs,” such as sliding door paintings of castles for powerful people, and it seems to have been a kind of art version of a general contractor. Unkei, who also appeared in “The Thirteen of Kamakura-dono,” had the opportunity to create works by taking advantage of the power of the authorities. My favorite Japanese painting, “The Wind and Thunder Gods,” by Sotatsu Tawaraya, was commissioned by a famous temple in Kyoto. One such traditional genre is “Rakuchu Rakugai-zu Byobu-e,” and the Funaki version, by Iwasa Matabei, is designated a national treasure. After he created the culmination of this genre, he moved the stage of his activities from Kyoto to Edo, where he is said to have served as a bridge to the Ukiyoe culture.
In the Kyoto period when Japanese painting was the mainstream, the themes of paintings were religion, backgrounds of imperial literature, and barrier paintings, etc. In Edo, however, with the emergence of the ukiyo-e culture, the themes of paintings were in a big bang and shifted directly to areas of popular interest, such as cityscapes, portraits of actors and beauties, etc. It was truly a “popularization of art. It was truly the “popularization of art.
It may be my personal opinion, but I think that artists in Japan are more loved for the works they created as an afterthought. I am strongly attracted to Sotatsu Tawaraya and Matabei Iwasa, but I think that the style of artists who earn their living separately and do painting as an afterthought rather than as full-time painters may have something that resonates with the public. Tawaraya Sotatsu is said to have operated a store specializing in fans. I think that this indicates that there is a freedom in the mind that goes into the canvas, and that there is no sense of narrowness in the mind of the creator.

Today, the media is approaching a major turning point, and while there is no end in sight to the innovation of existing media via the Web, videos and other media that impose only personal values are already beginning to hit a wall. The so-called “YouTuber” has reached a plateau and a dead end. Belief in and dependence on a particular individual’s discourse is like a new religion, which is also highly dangerous. I believe that the values of fairness and objectivity are indispensable elements of information. The media should function as an impartial “forum” for information, and its original mission should be to provide information that enables the recipient of information to make a final judgment on his or her own.
In such an era, there are many lessons to be learned from the rise and fall of new media such as Ukiyo-e, which Japanese society has experienced. It is probably necessary to take various truths from history and make use of them.

Posted on 1月 20th, 2023 by 三木 奎吾
Filed under: 日本社会・文化研究, 歴史探訪 | No Comments »