昨日の続きです。この「清水屋」さんの展示で「尾形光琳・土佐光則・富岡鉄斎」と画家名が記されていた掛け軸画たち。そのなかで写真の軸装画の画風はこれまでたくさん見て来ていたので、おお、とウレシクなっていた。ただ、写真撮影後「説明文」でもあるだろうと思っていたら、どうもその絵と作者をつなぐ記載がない。う〜む、ですが、まぁしょがない。たぶん画風から言って富岡鉄斎はないだろうと思います。
　別々の軸装画ですが、たのしい「龍虎」図。
　わたしであれば、こういう楽しい絵があったらしっかり装丁を楽しんで、その家具としての配置にルンルンとするだろうなと思っていましたが、こちらではたくさんの他の浮世絵たちに埋もれて、ひっそりと微笑を返してくれていたに過ぎませんでした。やや不意打ち。
　きっと江戸期にはこの中山道・馬籠宿で逗留する貴人たちの休息のいっときを豊かに彩ったことでしょうね。幕末・公武合体のために幕府14代将軍・家茂に嫁いだ、孝明天皇の妹である和宮（かずのみや）はこの馬籠宿を華やかに彩ったと記録されている。この宿は幕府の代官が治める地域なので、この宿に泊まったりすることはなかったでしょうが、付き添いの宮廷高級官人たちはこの宿に宿泊したりしたことでしょう。
　わたしの家系伝承では、江戸期、備後福山の「今津宿」でその用向きを承っていた商人として活動していた歴史があり、薩摩藩がその宿場宿を「御用」としていたという。そういった目線から見ても、宿としての魂魄のようなものを感じさせていただいていた。著名画家の絵に投資する心情に思いが至る。

　そういう旅宿としての「品格」を装飾するために、こうした書画は床の間を豪華に彩っていた。
　こういう時空超越感は得がたい。とくにわたしのような北海道人には、ありがたい光景。歴史時間を肌で感じられるような体験は、たかだか150年、それもいきなりアメリカスタイルの生活文化にあふれた土地の人間には、その深みがたまらない。
　やや目が飛んでいてユーモアもある龍虎。しみじみと見入らされていた。
　
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【Edo-Period Painters’ “Dragon and Tiger” Scrolls / Kiso Magome Post Station, Shimizuya Inn】
Princess Kazunomiya’s splendid wedding procession also graced this post station. The hanging scroll paintings of dragon and tiger that have gazed upon the passage of history.・・・

　Continuing from yesterday. At this “Shimizuya” exhibition, the hanging scroll paintings were labeled with the artists’ names: “Ogata Kōrin, Tosa Mitsunori, and Tomioka Tessai.” Among them, the painting style in the photo’s scroll mounting was one I’d seen many times before, so I was delighted. However, after taking the photo, I thought there would surely be an explanatory text, but it seems there’s no notation connecting the painting to its artist. Hmm, but oh well. Judging by the style, I doubt it’s by Tomioka Tessai.
Separate hanging scrolls, but a delightful “Dragon and Tiger” painting.
　I thought to myself, if I had such a delightful painting, I’d take great pleasure in its mounting and be thrilled about its placement as a piece of furniture. Yet here, it was merely buried among many other ukiyo-e prints, quietly returning a smile. A bit unexpected.
It surely enriched the brief moments of rest for the noble guests staying at this Magome Post Station on the Nakasendo Road during the Edo period. Records state that Princess Kazunomiya, sister of Emperor Komei who married the 14th Shogun Iemochi for the sake of the Bakufu-Kobu Gattai (Shogunate-Imperial Court Alliance) in the late Edo period, brought splendor to this Magome-juku. Since this post station was governed by a shogunate magistrate, she likely didn’t stay here herself, but her accompanying high-ranking court officials probably lodged here.
　According to my family tradition, during the Edo period, my ancestors operated as merchants handling official business at Imazu-juku in Bingo Fukuyama. The Satsuma domain designated that post station as an “official” stop. Viewed through this lens, I felt the very soul of the inn. It made me understand the sentiment behind investing in paintings by renowned artists.

　Such paintings and calligraphy adorned the alcove, lending a sense of dignity to the inn.
This feeling of transcending time and space is rare. For someone like me from Hokkaido, it’s a truly welcome sight. Experiences where you can feel history and time on your skin are profoundly moving for someone from a land that’s only 150 years old and suddenly flooded with American lifestyle culture.
　The dragon and tiger, their eyes slightly wild yet humorous, drew me in deeply.
●Notice
My book “Writers and Living Spaces” published as an e-book by Gentosha
Available on Amazon.

Posted on 9月 17th, 2025 by 三木 奎吾
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　子育て時期が終わって、こどもたちの成長期によく行っていた地元プロ野球チーム・北海道日本ハムファイターズの野球観戦から遠ざかっていました。
　別に地元チームへの関心がまったくなくなったワケではないけれど、子育て時期の終わりとともにすっかり足が遠のいた。興味の主要な分野は関東と関西へのほぼ月イチ行脚に転換していったのかなぁ。
　そういうなか息子が強く誘ってくれたので、はじめてこの新設球場にて試合観戦。
　札幌の隣町ではありますが、まことに雄大な北海道的な景観のなかに突然出現した牧歌的な超現代ドームと言った趣の球場。やや高台に建っているので、試合後に帰路に着くときには遠くの山並みが、試合の勝ち負けの矮小な気分を吹き飛ばしてくれるかのようです。☜それが大きな狙いかなぁ（笑）。
　この地元チームは、札幌市職員で構成される球場運営の第３セクター組織の超官僚主義的な対応にガマンの限界を突破してしまって、この隣接地域に球団が考える理想の「BallPark」を作り上げた。そのような姿勢の方が、むしろ本来のフロンティアスピリットで北海道らしい。開拓から１世紀半近くを経過してきて、地域自治体組織の制度疲労蓄積を垣間見せてくれていた。
　そういった経緯を耳にしながら、しかし、子育て時期の終焉とともに野球観戦の基本動機が失われていて、すっかり縁遠くなっていたのですね。
　最近は遠出はマイカー移動一択で徒歩10分ほどの周辺駐車場との往復でしたが、昨日の歩数はいつもの６割程度に留まった。夫婦とも健脚を持て余し。野球観戦のための物足りない歩数。
　カミさんはこれじゃ歩き足りないと、野球観戦の半ばではあちこち球場内散歩。わたしは野球観戦の楽しみにどうしても没頭してしまっていた。つくづくと、野球はピッチャーという思いを強く感じていた。１球１球、その球種と球速、コースの投げ分けでいろいろな個性の打者と対峙する。それを捕手と２人３脚で工夫しながらゲームを組み立てていく。スゴい、エラい。
　双方の投手のみなさんの戦いぶりを堪能させていただきました。最後を締めた日ハム守護神・斉藤投手のユニークな感想もヒーローインタビューで聞けて超オモシロかった。
　さて、今後の終活生活のなかでこの球場とのかかわりはどう展開していくかなぁ・・・。

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【Nippon-Ham Fighters Stadium “BallPark F Village”／First Time Watching a Game】
First time watching baseball in ages. Impressed by the architecture’s ingenuity. Savored both teams’ pitching staffs’ game management. Now then, what will my future relationship with baseball be? …

　After my children grew up, I drifted away from watching the local professional baseball team, the Hokkaido Nippon-Ham Fighters, whom I used to frequently see during their formative years.
It’s not that I lost all interest in the local team, but as the child-rearing period ended, I simply stopped going. My main interests shifted to traveling to the Kanto and Kansai regions almost monthly.
　Amidst this, my son strongly urged me to go, so I attended a game at this newly built stadium for the first time.
Though it’s in a town next to Sapporo, the stadium feels like an idyllic, hyper-modern dome suddenly appearing amidst truly grand, quintessentially Hokkaido scenery. Built on a slight hill, the distant mountain ranges visible on the way home after the game seem to blow away any petty feelings about the game’s outcome. ☜ That might be the main goal, I suppose (laugh).
This local team, fed up with the ultra-bureaucratic attitude of the third-sector organization running the stadium (composed of Sapporo city employees), broke through their limits of endurance and built their ideal “BallPark” in this adjacent area. That kind of attitude feels more like the true frontier spirit, more Hokkaido-like. Nearly a century and a half after the pioneering days, it offered a glimpse into the accumulated institutional fatigue within the local government organization.
　Hearing about these events, I realized that as the child-rearing phase ended, my fundamental motivation for watching baseball had faded, and I’d grown quite distant from it.
Lately, long trips meant driving my own car, just walking back and forth to a nearby parking lot about 10 minutes away. Yesterday’s step count was only about 60% of usual. Both my wife and I had our sturdy legs going to waste. It felt like an insufficient number of steps for a baseball game.
　My wife, finding this insufficient, started wandering around the stadium midway through the game. I, however, was completely absorbed in the joy of watching baseball. It really drove home how much baseball revolves around the pitcher. Pitch by pitch, they face off against batters of various personalities, varying their pitch types, speeds, and locations. They build the game together with the catcher, working in tandem. Amazing, truly impressive.
　I thoroughly enjoyed watching both teams’ pitchers battle it out. Hearing the unique thoughts of Nippon-Ham’s closer, pitcher Saito, during the hero interview at the end was super interesting.
Well, I wonder how my relationship with this stadium will unfold in my future end-of-life activities…

●Notice
My book “Writers and Living Spaces” published as an e-book by Gentosha
Available on Amazon.

Posted on 9月 15th, 2025 by 三木 奎吾
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　今週は亡父の命日供養での兄弟姉の集いや、幹事役を務めた高校同期の友人たちとの再会イベントも無事終了して、ようやく一段落。日常への復元。日常とはブログの執筆・思索や写真の整理整頓、さまざまな画像編集など「表現する」営為のことと自覚しています。
　今回のイベント集中のためAdobe-Photoshopの画像編集機能のAI的進化と考えられる「カラー化」技術を本格的に利用していました。同窓会で保持している記録は55年前の写真類なのでほぼモノクロ画像。それに対してこのソフトの技術を適用させた。同時に、父母の記録写真などもほとんどモノクロだったので、これもカラー化させてみた。結果は、過去と現在との時間差の擬似的な超越体験。
　そうしたら不思議と、いまブログで興味を持って考えつづけている「日本的・七五調短文文化」の心理のコアな部分への気付きも得られたと感じられた。日本的気候風土環境の中で特徴的な「庵」住文化を求める日本的心情と、この七五調短文文化の基本旋律はきわめて近縁的なのではないかと。
　この写真の方丈庵は日本の短文的随筆の３大傑作のひとつとされる「方丈記」執筆と深い相関性がある。戦乱期と京都の大火の連続期に遭遇した作家・鴨長明は、そこに「もののあはれ」と「無常感」を深く感受し、この復元された庵住居に「終の住み処」心理を見出していたと気付かされた。
　さらに思索を進めれば、七五調短文文化を住形式で表現するとすればこのような「庵」が最適解だとも思えてくる。後の世の「侘び寂び」的茶室志向とも通底するように思える。こういった住宅文化が、やがて「立って半畳・寝て一畳」という達観的住宅観に日本人を誘ったとも言える。

　一方わたしたち積雪寒冷の地の日本人として「よき住宅」を望んだとき、こうした七五調短文文化と通底する住形式文化には「技術思想」を学ぶことはできなかった。比喩的に言えば、やわらかき母性を求めたのに、過酷な父性的精神性を唱えられてしまった、みたいな無力感と言えるだろうか。
　やむなく北海道人は、北欧スウェーデンの住宅哲学「よき住宅」に範を求めた。
　いまだに写真のような「庵」と高断熱高気密住宅技術は邂逅していない。
　しかし北海道人も日本人であり、こうした鴨長明さんのたどりついた住宅意識それ自体には深い愛惜も感じている。愛着ではなく「愛惜」というコトバの選択だけれど。・・・
　そして現代のわたしたち積雪寒冷地域人間にとって、七五調短文文化は今後どうなっていくのか。
　どうも迷宮のような、スフィンクスの問いかけのような心理が木霊してくる。

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【The Culture of Seven-Five Syllable Short Prose and the Simple “Hermitage” Living Space / Kamo no Chōmei’s “Hōjō-an” -4】
Hermitages that visualize the pathos of things, wabi-sabi tea rooms. Will modern Hokkaido residents, who cherish high insulation and airtightness, be abandoned by Japanese culture? …

　This week, with the memorial service for my late father and the reunion event with my high school friends—where I served as organizer—both successfully concluded, things have finally settled down. Back to daily life. I realize that daily life means engaging in the act of “expression”: writing and reflecting on my blog, organizing photos, and various image editing tasks.
　To prepare for these events, I began seriously utilizing Adobe Photoshop’s “colorization” technology, which represents an AI-driven evolution in image editing. The photos preserved from our high school reunion are nearly all monochrome, dating back 55 years. I applied this software’s technology to them. Simultaneously, since most of my parents’ photographs were also monochrome, I colorized those as well. The result was a pseudo-transcendent experience bridging the temporal gap between past and present.
Then, strangely enough, I felt I gained insight into the core psychology of the “Japanese 7-5 rhythm short-form prose culture” I’m currently exploring with interest on my blog. The Japanese sentiment seeking the characteristic “hermitage” dwelling culture within Japan’s climate and environment, and the fundamental melody of this 7-5 rhythm short-form prose culture, seem to be extremely closely related.
　This photo of the Hōjō-an hermitage has a deep correlation with the writing of the “Hōjōki,” considered one of the three great masterpieces of Japanese short essay writing. I realized that the author, Kamo no Chōmei, who encountered a period of continuous war and the great fires of Kyoto, deeply sensed the “mono no aware” (pathos of things) and the “sense of impermanence” there, finding in this restored hermitage dwelling the psychology of a “final place to live.”
　Taking this thought further, if one were to express the culture of short, seven-five syllable verse in a dwelling form, such a “hut” seems the optimal solution. It also appears to share a common ground with the later “wabi-sabi” aesthetic found in tea ceremony rooms. This residential culture may well have gradually led the Japanese to embrace the detached view of housing encapsulated in the saying: “Standing, half a tatami mat; lying down, one tatami mat.”

　On the other hand, as Japanese people living in snowy, cold regions who desired “good housing,” we could not learn “technical thinking” from this housing culture that shares a common ground with the culture of short, rhythmic prose. Metaphorically speaking, it might be described as a sense of helplessness—like seeking gentle motherly warmth, only to be presented with a harsh, fatherly spirituality.
　Thus, Hokkaido residents inevitably sought inspiration in the Nordic Swedish housing philosophy of “good housing.”
To this day, the “hut” depicted in photographs has yet to encounter high-insulation, high-airtightness housing technology.
Yet Hokkaido residents are also Japanese, and they feel a deep sense of cherishing for the very housing consciousness that Kamo no Chōmei arrived at. Note the choice of the word “cherishing” rather than “attachment.” …
And for us modern inhabitants of snowy, cold regions, what will become of the culture of short, rhythmic prose?
A labyrinthine, sphinx-like question echoes in my mind.

●Notice
My book “Writers and Living Spaces” published as an e-book by Gentosha
Available on Amazon.

Posted on 9月 13th, 2025 by 三木 奎吾
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　現代に生きる我々一般は、だんだん本を読まなくなってきている。いわゆる「出版」の経済規模は1995年をMaxとしてそこからほぼ半減の時期を迎えてきている。しかもその出版でも「マンガ」の占める割合がどんどん増加してきていて、いかにもな散文文学作品というものはひょっとして絶滅危惧文化になる可能性。しかしそういう趨勢の中でもブログというSNS表現手段は生き残っていく可能性はある。・・・
　一方で鴨長明が生きた時代は文学を支える経済構造は基本的に「王朝文化」。GoogleのAI解説に「平安時代の文学経済構造」と聞くと以下の回答。
　〜平安時代の文学経済構造は、荘園の広がりによって貴族に富が集中し、それが文学活動の基盤となりました。特に仮名文字の普及と宮廷女房の活躍により物語や和歌が発展し、裕福な貴族の女性が書くことで文学が経済的な裏付けを得て、現代に続く「王朝文化」の形成につながりました。〜

　そういうなかで飛鳥時代以来の「漢字導入」に伴う「咀嚼期」として大和コトバが「かな」文字の発展によって民族オリジナルの作品創造に向かっていった。平安時代末期、そういった文化素地のなかで1175年、かれ鴨長明21歳の時に「高松女院歌合せ」に和歌を献じて大きく注目を集めたとされる。今日、和歌という文学形式は馴染みが薄くなってきているけれど、いかにも民族オリジナルな七五調の短文形式に、音楽的・映像的・動画的なイメージ訴求力で訴えかける文化基盤が生成していた。わたしもこういう短文文化を少し調べていて、その「創造性」に認識を深め強い興味を持ってきている。短い文章の中に多様なイメージを鮮烈に表すオモシロさ。
　そういう文化世界の中で鴨長明さんは46歳時に朝廷から「和歌所の寄人」に任ぜられている。
　想像するしかないが、この叙任によって平安期文学の世界での指導的「地位」が確立したのだろう。
　そこから、表現の純粋な「求道者」的にこの「方丈庵」で本格的に著作活動に打ち込んだ。
　源平の争乱期という「無情」な世の中で焼き討ちなどの惨禍が繰り返し勃発し、この簡易で住居場所移動の容易な住居形式にたどりついた。戦乱期適応型の生き方と住まい方、ということになるだろうか。人はその生きる時代の中で最適解をもとめて生き抜いていくということだろう。深く身に迫ってくる。

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【The “Short-Form Culture” Production Hub in an Unfeeling Era / Kamo no Chōmei’s “Hōjō-an” -3】
Considering the economic structure of culture in the era Kamo no Chōmei lived in, contrasted with the modern world. Japanese hearts were cradled by short-form culture. …

　We ordinary people living in the modern age are gradually reading fewer books. The economic scale of so-called “publishing” peaked in 1995 and has since entered a period of nearly halving. Moreover, within that publishing, the proportion occupied by “manga” is steadily increasing, raising the possibility that traditional prose literary works might become an endangered cultural form. However, even within this trend, the SNS expression medium known as blogs has the potential to survive. …
On the other hand, the era in which Kamo no Chōmei lived was fundamentally supported by a “court culture” economic structure. When asked about the “literary economic structure of the Heian period” by Google’s AI explanation, it responded as follows:
~The literary economic structure of the Heian period was based on wealth concentrated among the nobility through the expansion of manors, which became the foundation for literary activities. Particularly, the spread of kana script and the active participation of court ladies fostered the development of narratives and waka poetry. Literature gained economic backing through being written by wealthy noblewomen, leading to the formation of the ‘court culture’ that continues to this day.”
Within this context, Yamato Kotoba (the native Japanese language) underwent a period of assimilation following the introduction of Chinese characters since the Asuka period. This assimilation period saw Yamato Kotoba evolve through the development of kana script, moving towards the creation of original national works. By the late Heian period, within this cultural foundation, in 1175, when he was 21 years old, Kamo no Chōmei gained significant attention by contributing waka poems to the Takamatsu-nyoin Poetry Contest. Today, the literary form of waka has become less familiar, but a cultural foundation had been established that appealed through the uniquely native seven-five syllable short verse form, possessing a powerful ability to evoke musical, visual, and cinematic imagery. I too have been researching this culture of short texts, deepening my recognition of its “creativity” and developing a strong interest. The fascination lies in how diverse images can be vividly expressed within such concise writing.
Within this cultural world, Kamo no Chōmei was appointed by the imperial court at age 46 as a “poet of the Waka Office.”
　We can only imagine, but this appointment likely established his leading “position” within the literary world of the Heian period.
From there, as a pure “seeker” of expression, he devoted himself fully to writing at this “Hōjō-an” hermitage.
Amid the “merciless” world of the Genpei Wars, where disasters like arson raids repeatedly erupted, he arrived at this simple dwelling form, easy to relocate. It represents a way of life and dwelling adapted to times of war. People seek the optimal solution within the era they live in to survive. It strikes a deep chord.

●Notice
My book “Writers and Living Spaces” published as an e-book by Gentosha
Available on Amazon.

Posted on 9月 11th, 2025 by 三木 奎吾
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　過去の人物、作家などの住空間を探訪して「住空間と人間性の相関性」について思惟をめぐらせてみたい、というわたしのセカンドライフのテーマ。そのことにどれほど世間的な「関心」が集まるかは今のところ不明。心意としては内面を吐露し「作品」をこの世に置き土産として残してくれた作家・画家たちの住まいを探訪することで、同じ日本人として深い理解に至るのではと考えてのこと。
　その方法論として残されている住空間を可能な限り写真に収め、その画像から「浮かび上がってくる」空気感をいわば「杖」にしたいと思っている。そういう探訪の中でその居住した事実が明確でしかも残されている建物となると、どうしても近世、明治期以降が主たる対象年代になる。
　ところがなんと、京都下鴨神社の境内に尊敬する日本文学の古典「方丈記」の作者・鴨長明が住んでいた「庵」が復元建築されているという情報をキャッチ。たまたま京都で所用があった機会に参観・写真撮影してきました。萱で造作された塀で囲まれてその外部からのみの参観でしたが、蔀戸（しとみど）が開放されていたので、写真撮影の仕方を工夫することで、内部の一部も画像として収めることができました。
　その第１回。
　下鴨神社は京阪電車の京阪本線・鴨東線の終点「出町柳」駅から徒歩５分ほどでたどりつける。そこから５分ほどで下鴨神社の摂社である「河合神社」があり、以前はこの境内に「方丈庵」は展示されていたそうですが、いまはその北側徒歩５分ほどの場所に独立的に建てられている。参観料たしか500円を支払っての遭遇であります。周辺は環境もいにしえにふさわしく整備されていてまことに耽溺的。
　上の写真は方丈庵の「後ろ姿」で、その下の写真は河合神社の手前のせせらぎ（瀬見の小川）の様子。鴨長明さん存命の頃には、イラストのような解除（おはらい）がこのせせらぎに対して行われていたようです。こういう雅な営為文化を日本のみやこでは連綿と継続してきているのですね。
　鴨長明という名は小学校くらいの時期の国語か、歴史か不明ですが日本文学のなかで遭遇する「作家」の初源に近い存在。〜ゆく河の流れは絶えずして、しかももとの水にあらず〜というフレーズはいまでも脳内に残響する。日本人的感受性のコアと感じ続けてきた。　＜以下、あした以降＞

●お知らせ
拙書「作家と住空間」幻冬舎から電子書籍で発刊
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https://amzn.asia/d/eUiv9yO

English version⬇　

【Exploring Kamo no Chōmei’s Hermitage “Hōjō-an” in Shimogamo, Kyoto】
~The river flows ceaselessly, yet the water is never the same… An encounter with the hermitage where that phrase was penned. That it is an essay fills me with profound delight. …

　My theme for my second life is to explore the living spaces of historical figures and writers, contemplating the correlation between living environments and human nature. I’m not sure how much public “interest” this holds at present. My intention is that by visiting the homes of writers, painters, and others who lived in the past—places where they left behind their “works,” like parting gifts that reveal their inner selves—I might gain a profound understanding as a fellow Japanese person.
　My methodology involves photographing these preserved living spaces as much as possible, intending to use the atmosphere that “emerges” from these images as a sort of “crutch.” Naturally, when seeking buildings where the fact of habitation is clear and the structure itself remains, the primary target period inevitably becomes the modern era, specifically the Meiji period and later.
　However, I recently learned that within the grounds of Kyoto’s Shimogamo Shrine, a reconstructed version of the “hut” where Kamo no Chōmei, author of the revered Japanese literary classic “Hōjōki,” once lived, now stands. I happened to have business in Kyoto and took the opportunity to visit and photograph it. Surrounded by a thatched fence, viewing was only possible from the outside. However, the sliding doors were open, so by experimenting with my photography technique, I managed to capture images of part of the interior as well.
Part 1.
　Shimogamo Shrine is about a 5-minute walk from Demachiyanagi Station, the terminus of the Keihan Main Line and Keihan Kamotō Line. From there, it’s another 5 minutes to Kawai Shrine, a subsidiary shrine of Shimogamo. I heard Hōjō-an used to be displayed within Kawai Shrine’s grounds, but now it stands independently about a 5-minute walk north of there. I paid the admission fee, I believe it was 500 yen, for this encounter. The surrounding environment is beautifully maintained, befitting ancient times, and truly immersive.
The photo above shows the “rear view” of Hōjō-an, while the photo below depicts the babbling brook (Semi no Ogawa) just before Kawai Shrine. During Kamo no Chōmei’s lifetime, purification rites like the one illustrated here were apparently performed at this very brook. Such elegant cultural practices have been continuously preserved in Japan’s capital city.
The name Kamo no Chōmei is one of the earliest “authors” encountered in Japanese literature, likely encountered in elementary school Japanese or history class. The phrase ~The river flows ceaselessly, yet the water is never the same~ still echoes in my mind. I have always felt it represents the core of Japanese sensibility.

●Notice
My book “Writers and Living Spaces” published as an e-book by Gentosha
Available on Amazon.

Posted on 9月 9th, 2025 by 三木 奎吾
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