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【高級武家・連歌の会 in 伊予松山「湯築城」-4】




　日本史を見渡していて、言語文化コミュニケーションという領域での進化・変容が果たしてきた役割というものは必ずしも明確になっていないというか、あんまり興味は持たれていないと思う。
　有名な明智光秀が本能寺直前に開催した連歌の会、というのは有名だけれど、そういった文化は現代社会にまではそのままのカタチではほとんど伝わっていないので、具体的な想像力を持ちにくい。
　連歌という文化形式は廃れていったわけだけれど、ではその志向していた方向性って何だったのか、というふうに考えると、どうもわたしには「日本語を発展させる」という要素がもっとも大きな動因だったように思える。
　古代人のこころに根ざしていた原日本語というものがあって、そこに律令制度や仏教という世界宗教などの文化受容ということが押し寄せてきた。公文書では漢文の形式が採用されていく社会の趨勢があって、それに対して日本人ネイティブの「こころの表現」という領域がポッカリと空洞になっていたのではないか。
　この日本社会の連綿とした「歴史的課題」があって、それに対して日本人の「心性」をあきらかにする文化面での「需要」が底流としてあり続けたのではないだろうか。
　連歌というような文化の形式は、そういう主要な志向性を持っていたので、ある程度その目的が達成してくるようになると廃れていって、はるかな後世では明治に至って「言文一致」に基づく「日本文学」の創成で社会目的が達せられ文化継続の動因を失ってしまったのではないだろうか。そんな印象を抱いている。
　さて、湯築城城下での「連歌の会」のジオラマ展示。
　16世紀中頃の武家屋敷のある日の様子。主室では５人が集って連歌の会を催していた。連歌というのは和歌の上句にあたる「5/7/5」と下の句の「7/7」を交互に読み続けて「百韻（100句）」を完成させるという文化形式。上座に「宗匠」を指導者として招き、式目と呼ばれる約束事を教わりながら、教養力を高めようと必死に「苦吟」している。
　挙げ句（最後の一句）に近づいてきてみんな創作に苦心しているけれど、隣室の板の間台所では使用人が連歌を終えた客人に、茶を点てる準備をしている、という情景を復元させている。
　古事記の世界の牧歌的な社会から、アジア文化圏世界との交流進化を経て、さまざまな経験知を積み上げていった日本社会の、ある定点での情景ということが言えるのだろう。
　どうも一般人としては「そんなメンドイことよりも、美味しそうな団子と茶」のほうに大方の興味は向かっておりました（笑）。苦吟させられた末にようやくふるまわれた茶菓はさぞかし、こころを和ませてくれたに違いない。昔から日本人は花より団子かなぁ、と。

English version⬇

High-class samurai and renga association in Iyo Matsuyama “Yuzuki Castle”-4
The harmony between the common Asian culture and the spirit of the original Japanese people has been needed for a long time. This is one of the forms of the Japanese language cultural movement. The Japanese cultural movement…

Looking around Japanese history, the role played by evolution and transformation in the area of language and cultural communication is not always clear or of much interest.
　Although the famous renga (linked verse) gathering held by Akechi Mitsuhide just before Honnoji Temple is well known, it is difficult to imagine such a culture in concrete terms because it has hardly been transmitted to modern society in its original form.
　The cultural form of renga has fallen into disuse, but when I think about the direction it was heading in, I think that the most important factor was the “development of the Japanese language”.
　The original Japanese language was rooted in the hearts of the ancient people, and the Ritsuryo system and the cultural acceptance of world religions such as Buddhism were pushed into the original Japanese language. In response to the social trend toward the adoption of the Chinese writing system for official documents, the area of “expression of the heart” of the native Japanese was left empty.
　This is a continuous “historical issue” in Japanese society, and in response to this, there must have been an underlying “demand” in terms of culture to reveal the “mentality” of the Japanese people.
　Since such a cultural form as renga had such a major orientation, it fell into disuse when its purpose was achieved to some extent, and in later generations, it may be that the social purpose was achieved with the creation of “Japanese literature” based on “unanimity of speech and writing” in the Meiji era and lost its driving force for the continuation of culture. Such is my impression.
　The diorama exhibition of “Renga no Kai” at the Yuzuki Castle.
　A day in a samurai residence in the middle of the 16th century. In the main room, five people gathered to hold a renga (linked verse) party. Renga is a cultural form of waka poetry in which the upper part of the poem, “5/7/5,” and the lower part, “7/7,” are read one after the other to complete “100 rhymes (100 phrases). A “sozai” (master) is invited to the upper section as an instructor, and while being taught a set of rules of engagement called shikimoku, the students “kugin” frantically try to improve their cultural skills.
　While everyone is struggling to create a poem as they approach the end of the renga, a servant is preparing to serve tea to the guests who have finished the renga in the itanoma kitchen in the adjoining room.
　This is a scene from a fixed point in Japanese society, which has accumulated a variety of experiential knowledge through its evolution from the pastoral society of the Kojiki world to the world of Asian cultures.
　As an ordinary person, I was more interested in the delicious dumplings and tea than in such a mendouche (laugh). The tea and sweets that were finally served to the guests must have been very comforting to them. I have always thought that Japanese people are more interested in dumplings than in flowers.

Translated with DeepL.com (free version)
　

Posted on 3月 31st, 2024 by 三木 奎吾
Filed under: 日本社会・文化研究 | No Comments »

【豪族支配下のものづくり経済 in 伊予松山「湯築城」-3】



　さて１日、友人の葬儀の話題になりましたが、本日から中世の伊予松山城塞の話題に復帰。
　この湯築城は豊臣政権成立期に中央権力によって「地域権力」としては終焉した。家系としては同族とみなせる播州英賀の「三木氏」も同時期に織田政権の武将であった秀吉によって滅ぼされている。多くの「戦国大名」たちは滅亡したりしたわけだけれど、普通に考えればその当時の時代の「空気」を読んでいけば、生き延びていった武将達も多くいた。そういうなかで家系に連なる２つの家とも戦国大名としては滅亡したのにはどのような事情があったのかと、疑念も抱く。
　先行きに対しての洞察力に於いて敗北したことになる。現代世界でもたしかに政治的に見通しを誤るということはあるだろうけれど、ひとつ「時代の推移」についての直感力、情報収集力に於いて敗北したということは間違いがない。
　しかし英賀城三木氏については、いろいろ調査してきて、武家としては敗亡したしたけれど、その後支配者の秀吉にわびを入れたうえで同地域の民間素封家として延命し、江戸期には２地域の藩の経済を実質的に支配・運営する実態を維持してきている。江戸期の「大庄屋」階層というのはそういった出自の家も多いけれど、播州には「三木家住宅」という庄屋古民家が２軒あって、一般公開されてもいる。
　そのような「生き延び方」もあるワケだがさて伊予松山でどうだったか、今後の調査を進めたいと思っています。ただ一族からは「一遍上人」が出ていて、そういう意味では時宗開祖として、現代にまで生き延びてもいるのだと思う。
　有為転変、人間社会ではいっときの成功失敗だけでは論じられないのだと思う。
　さて絵柄は中世の「職人尽絵〜しょくにんづくしえ」の一部。１番目は大工職である「番匠師」。真ん中で立て烏帽子をかぶったのが棟梁。弟子達は手斧〜ちょうな〜を使って角材を削ったり墨付けなどをしている。後ろに立てかけた「絵図面」の建物を造作しているのだろう。その下は「鍛冶」折り烏帽子をかぶった親方がふいごをのぞきながら、かたわらでは金槌を振り下ろしている。

　一方こちらはサムライたちの命にかかわる「鎧」の制作者たち。「懸命」というコトバにはいのちがかかる、という意味合いが強いけれど、世界のコトバの中でここまで武人たちの内面がそのまま「共通語」になっているのはすごいと思う。その武人達のいのちを守るために、時代の最先端技術が結晶されていったに違いない。命を守ることに精根を尽くし、一方で戦闘するのにより自由度の高い武具であることという、この時代の要請にまっすぐに応えていったのだろう。
　伊予松山の湯築城ではこういった職人技が日々、繰り広げられていたのだろう。

English version⬇

Manufacturing Economy under the Ruling Clan in Iyo Matsuyama “Yuzuki Castle” – 3
The local powerful clans were in turmoil over their control of the area, and their rise and fall was repeated. The local clans were in turmoil over their control of the area, and the economy of manufacturing was booming. The…

Well, on the 1st, we talked about the funeral of a friend, but today we return to the topic of the medieval Iyo-Matsuyama castle fortress.
　This Yuzuki Castle was terminated as a “regional power” by the central power during the establishment of the Toyotomi administration. The Miki clan of Banshu Eiga, which can be regarded as a family lineage, was also destroyed by Hideyoshi, a general of the Oda administration, at the same time. Although many “warring feudal lords” perished, there were many generals who survived by reading the “atmosphere” of the time. In such a situation, I have my doubts as to what the circumstances were for the demise of two families in the family line as warring feudal lords.
　It means that they were defeated in terms of their insight into the future. In the modern world, there may be times when people make mistakes in their political outlook, but there is no doubt that they were defeated in their ability to intuit and gather information about the “transition of the times.
　However, my research on the Eiga Castle Miki clan has revealed that although they were defeated as a warrior clan, they later apologized to Hideyoshi, the ruler of the region, and lived on as a private family in the region, maintaining substantial control and management of the economy of the two domains in the Edo period. There are many families of the Edo period that belonged to the “daimyo-ya” class, and in Banshu there are two old village headman’s houses called “Miki Family Residences” that are open to the public.
　There are also such “ways of survival,” but I would like to continue my research to find out how it was done in Iyo Matsuyama. However, there was a “Priest Ippen” from one of the families, and in this sense, I think he has survived to the present day as the founder of the Jishu sect of Buddhism.
　I believe that human society cannot be discussed only in terms of temporary successes and failures.
　The first is a “bansho-shi,” a carpenter, wearing an erect raven hat in the middle. The first is a “banshoji,” a carpenter, and the one in the center, wearing a erect crow’s hat, is the master carpenter. His apprentices are using hatchets to sharpen and ink square timbers. They are probably working on the building on the “picture plane” behind them. Below them, a master craftsman in a blacksmith’s hat peers over a bellows, while a hammer is swinging down the blade.

On the other hand, this is the creators of “armor,” which is vital to the lives of the samurai. The word “hard” has a strong connotation of “life”, but it is amazing that the inner lives of the samurai have become the lingua franca among the languages of the world. The most advanced technology of the time must have been crystallized to protect the lives of these warriors. The most advanced technology of the time must have been crystallized to protect the lives of these warriors, who devoted their energies to protecting their lives, while at the same time meeting the demands of the time for more flexible weapons for combat.
　This kind of craftsmanship must have been practiced daily at the Yuzuki Castle in Iyo Matsuyama.
　

Posted on 3月 30th, 2024 by 三木 奎吾
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【高校同期友人の突然の訃報、わかれ】


　人間70の坂を越えてくれば、お互いにいつなんどき消息が途絶えることは、この暗夜行路での自明のこととして受け入れていくしかない。
　しかしつい先日、正月の会で元気そうにしていた友人が、新聞の訃報欄からのしらせで、突然姿を隠すというのにはさすがに慄かざるを得ない。
　実感の湧かないまま、しばらくぶりのネクタイを締めて会場に向かう。
　わが家周辺に暮らしている高校同期の友人たち５人で１台のクルマに同乗して葬儀場に向かう。
　高校同期なので、そういう凶事への参列だけれど、クルマの中では軽口・冗談が飛び交って、時空が一瞬にして半世紀以上回帰していってしまう。友人を葬送するのには、しかしこういう人間関係こそがふさわしいと思っている自分たちがいる。
　会葬後、誰言うともなく勝手に自主開催の直会の席に10人以上が参集した。
　わたしはあんまり酒は飲まない方なのですが、あれこれの北海道の地酒を利き酒しているうちに、友人たちとの人生時間の深みに、まどろみ、心がたゆとうてしまっていた。
　このようにして人間は淡々と鬼籍に入っていくのかという不動の事実を前に、酒を酌み交わす。
　酒のさかなの話題は各人の深刻な「病気自慢大会」。
　医者になった友人からあれこれの情報を受け取って、それぞれが頓悟していく。
　これからもまた、ひとりふたりと戦線を離脱していくのだろう。ひとごとではない。
　しかし、そういうフラットな情報交換の場があることが、異境に旅立っていくときにもわずかだけれど、心の拠り所になって行くものかも知れない。ありがたいことだと思える。
　合掌。

English version⬇

[Sudden death of a high school classmate, farewell.
From adolescence to the end of life. We have been talking to each other in our own language in the whirlpool of our respective dark nights. At a direct meeting, they poured local sake together, using their illnesses as the perfect accompaniment. The story of the disease is a good one to share with others.

As we pass the age of 70, we have no choice but to accept the fact that we may disappear from each other’s lives at any moment as a self-evident fact of life in this dark night.
　However, I was horrified to learn that just the other day, a friend of mine, who seemed to be in good health at a New Year’s party, suddenly disappeared from sight, as reported in the obituary column of a newspaper.
　Without any sense of realization, I put on my tie for the first time in a while and headed for the venue.
　Five of my high school classmates who live near our house share a car and drive to the funeral home together.
　Since we were high school classmates, we were attending such an event, but in the car, light talk and jokes were exchanged, and time and space were instantly transported back more than half a century. We think that this kind of relationship is the most appropriate way to send off a friend.
　After the funeral, more than 10 people gathered at the reception, which was held on our own initiative without anyone’s notice.
　I am not much of a drinker, but as I tasted a variety of Hokkaido’s local sake, I was mellowed by the depth of the time I spent with my friends, and my mind drifted off into a state of relaxation.
　We were drinking sake in the face of the immovable fact that this is how people are becoming demons in a quiet manner.
　The topic of conversation was each person’s serious “illness bragging contest.
　Each of them received information from a friend who had become a doctor, and each of them came to a realization that he or she would have to fight again with each other.
　One by one, they will probably leave the front lines of battle in the future.
　However, the existence of such a place for flat exchange of information may be a source of emotional support, even if only for a short time, when they leave for other lands. I am grateful for that.
　With my best regards.

　

Posted on 3月 29th, 2024 by 三木 奎吾
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【中世の武家住宅 in 伊予松山「湯築城」-2】




　きのうの続編であります。伊予という地域は古来から日本の支配構造の中でも重要な地域とされてきた。律令制の地域区分でも、たとえば源平合戦期には源氏勢力の分断を狙った朝廷側は、最大の軍事功労者・義経に恩賞地として伊予を与えている。それまでの朝廷による武家コントロール法としては武家独自の恩賞システムの独走を許さず、いわば「楔を打ち込む」政治的意味合いがあったのでしょう。
　源氏軍という軍事独裁権力確立を目指していた頼朝としては、承服しがたかった。義経という頼朝として正式に「弟」と認めた一種の貴種に対して朝廷側として恩賞を与えることで「ゆさぶり」を掛けた。
　そういう虚々実々の駆け引きの道具として「伊予」の支配権はシンボル的な材料とされたワケだ。古代以来の朝廷の政権運営の中で、ひとつの大きな手駒だった事実。
　で、ながく地域有力豪族であった伊予河野家は、政戦の根拠地として道後温泉にほど近いこの地に築城したということになる。わたしたち夫婦も道後温泉のホテルに宿泊後、翌朝、こちらにレンタカーで松山市内中心部方向へと向かった次第です。クルマではほんの５分ほど。
　昨日記載したとおり、河野家は源平合戦期、屋島合戦で源氏方・義経に参陣してその平家追討で大いに功を立てた。その後鎌倉期には伊予国内で支配的な地位を占め続けた。
　湯築城発掘調査は合計で25万点にも上る土器類などが出土して、その繁栄ぶりが裏付けられているということですが、上に載せたのは「上級武家住宅」の復元と調査に基づく資料類。
　上の内部模型は武家達の談合の場面復元。そして城下の石手寺に遺されていた湯築城の城内絵図。そして発掘された礎石などからの「間取り図」論考の過程。
　現代の建築寸法基準からは一回り大きめの寸法で建てられた様子が伝わっている。上の間取り図では、北側を囲炉裏や台所・土間などの「生活空間」とした考え方。中央部に板の間・納戸を配置して、左側を最重要な「接客空間」としている。復元模型のジオラマ通りの空間。
　一方下の間取り図想定では、礎石の配置から中央部を最重要の接客「主室」としたもの。左側の空間は客人の家来や主人の家人などが控えている部屋と考えている。台所隣接の「草間」というのは土間と同様の機能だけれど、土の上に根太を敷き、その上に板を張った空間。
　目視的には６間×4.5間といった面積空間のように想像できる。約27坪ほどと考えられるけれど、先述したように寸法自体がやや「大ぶり」なので、30坪程度の平面面積が想像されます。武家住宅は農家住宅のように「生産手段」とは無縁な建築なのでより現代住宅と性質は似ているかも知れない。
　巨視的な背景情勢把握とあわせてこういった建築的把握が並行してくると、この時代の実相がよりわかりやすく、身近なものとして認識されてくる。日本中世の社会構造もみえてくる。

English version⬇

Medieval Samurai Houses in Iyo Matsuyama “Yuzuki Castle”-2
The reality of the Kono family, which consolidated the ruling system in Iyo after the Kamakura period. The reconstruction of “society” based on illustrations and foundation stone layouts. The diorama’s floor plan prioritizes “hospitality”. The diorama’s floor plan prioritizes “hospitality”.

This is a sequel to yesterday’s article. The region of Iyo has been considered an important region in the Japanese ruling structure since ancient times. Even in the regional divisions of the Ritsuryo system, for example, during the Genpei wars, the Imperial Court, aiming to divide the power of the Minamoto clan, awarded Iyo to Yoshitsune, the man who had made the greatest military achievements, as a place of beneficence. As the Imperial Court’s method of controlling the warrior clans up to that time, it must have had a political meaning of “driving a wedge,” so to speak, by not allowing the warrior clans’ own system of bounties to run alone.
　Yoritomo, who was aiming to establish a military dictatorship called the Minamoto clan army, was reluctant to accept this. The Imperial Court was trying to “shake” Yoshitsune, who was officially recognized as a “younger brother” by Yoritomo, by giving him a bounty.
　The dominion over Iyo was used as a symbolic tool in such a game of deceit and deception. It is a fact that Iyo was one of the major pawns in the Imperial Court’s administration of the country since ancient times.
　The Iyo-Kono family, a powerful local clan for a long time, built a castle here, close to Dogo Hot Springs, as a base for their political battles. The next morning, after staying at a hotel in Dogo Onsen, my wife and I drove to the center of Matsuyama City in a rented car. It was only a five-minute drive.
　As I mentioned yesterday, the Kono family participated in the Battle of Yashima against the Minamoto clan’s Yoshitsune during the Genpei wars, and were very successful in their pursuit of the Heike clan. The Kono family continued to occupy a dominant position in Iyo during the Kamakura period (1185-1333).
　The Yuzuki Castle excavations have unearthed a total of 250,000 pieces of pottery and other artifacts that attest to the prosperity of the castle, and the above is a reconstruction of a “senior samurai residence” and materials based on the research.
　The model of the interior above is a reconstruction of a scene of a discussion among warriors. The model of the interior above is a reconstruction of a meeting between warriors. And the process of “floor plan” study based on excavated foundation stones and other materials.
　The floor plan shows that the building was built with dimensions that were one size larger than the modern building dimension standards. In the floor plan above, the north side is considered as “living space” with a sunken hearth, kitchen, and earthen floor. The left side is the most important “serving space” with an itanoma and a closet in the center. The space as shown in the diorama of the restored model.
　On the other hand, in the floor plan shown below, the center of the room is the most important “main room” for guests, based on the layout of the foundation stones. The space on the left is assumed to be the room where the guests’ retainers and the master’s household members are kept in reserve. The “Kusama” adjacent to the kitchen functions in the same way as an earthen floor, but it is a space where joists are laid on top of the earth and boards are placed on top of the joists.
　Visually, it appears to be a space of about 6 ken x 4.5 ken. The floor area is thought to be about 27 tsubo, but as mentioned earlier, the dimensions themselves are somewhat “large,” so a floor area of about 30 tsubo can be imagined. The samurai residences may be more similar in nature to modern residences, as they are not related to the “means of production” like farm residences.
　When we can understand the background situation from a macroscopic perspective, we can more easily understand the reality of this period and recognize it as something close at hand. The social structure of medieval Japan also comes into view.

Posted on 3月 28th, 2024 by 三木 奎吾
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【伊予松山「湯築城」と河野一族の残照】




　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 »

【日本人ネイティブな踊り・体動感覚】




　洛中洛外図・岩佐又兵衛作品からの詳細画像から。
　現代日本人の大人は街頭で踊ったりすることは稀でしょう。阿波踊りなどのイベントなどでは集団群舞が見られるけれど、ああしたものも一種の「様式化」ルールに基づいてコントロールされている。
　江戸幕藩体制社会が国内平和最優先で構築されていったときに、たぶんこういう初源的な日本人の体動感覚は、大きく規制されていったのではないか。
　戦国期、豊臣期の雰囲気を色濃く遺しているこの洛中洛外図・岩佐又兵衛作品では、その時代の「ふつうの人びと」の体動感覚が表現されているように思う。「京都の街のにぎわいを表現する」という画業目的から多少の誇張表現はあり得るけれど、まったくの根拠のない表現ではないだろう。
　いちばん上の図は京都市中でのさる店舗前で、女性２人が踊りで「客引き」している様子。現代人からすると「これは芸能人のパフォーマンスを頼んだのか」と思えるほど、体の内側からの強烈なリズム感に身を委ねて、全身をその熱気に乗せている様が伝わってくる。
　チラシを作って顧客に配布するとか、テレビやyoutubeなどで広告拡散する手段のない時代。店舗側の必死な努力がこういうカタチで結晶していったのだろうか。
　その下の図は花見の様子で、先頭の人物はなんとサクラの枝を折ったヤツを方に乗せて、一団を誘導している。あきらかに花見の帰りの様子なのだろうけれど、京都の街並みを象徴するような橋を、まるで舞台のように見立てて、集団群舞をグイグイと「乗せて」いるかのよう。３枚目の図はその花見の一団の様子だけれど、先頭の人物はどうみても年長者であり、一団の統率者とも見える。
　そういう社会的役割とおぼしき人物が、このように狂騰群舞を積極的に「仕掛けている」ことになる。　　　　現代人で考えれば、そういった役割の人物は、よくてもニコニコとして一団の後ろに付いている、というのが一般的だろう。万が一、ケンカなどが起こった際には、それを収める役割が重大で、盛り上げるのは、ほかの人物の好きに委ねるというのが一般的。間違っても枝を折って肩掛けするマナー違反はありえないだろう。
　さらに言えば、こういう体動感覚には当然ながら「リズム感」音楽性がイメージされている必要があるだろう。祭りでは笛や太鼓などの楽器が、人びとを狂騰させるワケだけれど、京都市中でのこうした群舞ではまさかそういった「楽団」があったとも思われない。踊り狂っているかれら、彼女らは、脳裏の中のある特定の音曲のリズム感に身を委ねていたのだろうか。
　そうだとすれば、日本の中世までの人びとにはネイティブに強烈な体内リズム感があったと思える。かれらのパワーに、圧倒されて見惚れている。

English version⬇

Native Japanese sense of dance and body movement
In order to realize the “Taihei” society of the Edo period (1603-1868), the native Japanese “sense of dynamism” must have been strongly restrained. I want to be drawn into the sense of rhythm of unrestrained dancing. …….

From the detailed image of Rakuchu Rakugai-zu, a work by Matabei Iwasa.
　It is rare for modern Japanese adults to dance in the streets. Group group dances can be seen at events such as the Awa Odori dance, but even these are controlled by a kind of “stylized” rule.
　When the Edo shogunate and feudal system of society was established with the highest priority on domestic peace, this kind of primitive sense of Japanese physical movement was probably greatly restricted.
　This work by Iwasa Matabei, Rakuchu-Rakugai-zu, which strongly preserves the atmosphere of the Sengoku and Toyotomi periods, seems to express the sense of physical movement of “ordinary people” of those periods. Although there may be some exaggeration in the expression of the purpose of the work, “to express the liveliness of the city of Kyoto,” I do not think that the expression is completely groundless.
　The top image shows two women dancing and “touting” in front of a store in Kyoto. To a modern observer, it might seem as if they were asking for an entertainer’s performance, as if they were giving themselves over to a strong sense of rhythm from within their bodies and letting their whole bodies be carried away by their enthusiasm.
　This is an age when there is no way to make flyers and distribute them to customers, or to spread advertisements on TV or Youtube. I wonder if the desperate efforts on the part of the stores crystallized in this form.
　The figure below is a scene of a cherry blossom viewing party, and the person at the front is leading the group with a broken cherry blossom branch. The third image shows the group at the cherry blossom viewing party, and the leading figure is clearly an elder and appears to be the leader of the group.
　The person in the foreground is clearly an elder and appears to be the leader of the group.　　　　In the modern world, such a person would generally follow behind the group with a smile on his face at best. If a fight should break out, it is common for them to play the important role of containing the situation and leave the enlivening to the other members of the group. Even if I am wrong, there would be no breach of etiquette to break a branch and hang it over one’s shoulder.
　Furthermore, this kind of sense of physical movement would naturally require a “sense of rhythm” musicality to be imagined. At festivals, flutes, drums, and other musical instruments are used to make people go crazy, but I don’t think there was any such “orchestra” at these group dances in the city of Kyoto. Were they dancing wildly, surrendering themselves to the rhythmic sense of a particular piece of music in their minds?
　If so, people in Japan up to the Middle Ages seem to have had a strong sense of rhythm in their bodies. We are overwhelmed by their power and admire them.

Posted on 3月 26th, 2024 by 三木 奎吾
Filed under: 日本社会・文化研究 | No Comments »

【江戸初期京都の街角・男女「ナンパ」模様】




　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 »

【風神雷神〜アジア世界の宗教と神格】




　きのう、出張からようやく帰還。この時期の移動では服装がまったく予測できませんね。札幌から関東へ行ったわけですが、札幌では自然にダウンジャケット。一方の関東ではサクラも開花という情報があって「え、どうしよう」ですね。わたしは自由の愛好者（笑）なので、なるべく身軽に動きたくて荷物はリュック１個に収めたい。一応ビジネスとしてのジャケットは１枚着ているので、外套をどうするか、悩ましいところ。今回は大成功でダウンジャケットのままでしたが、東京はこの時期としては寒い方で推移していましたね。途中、地震のアラートでちょっと驚かれされたけど（笑）。
　さて、きのうのブログで宗教と美術について日頃感じていることを書いたのですが、風神雷神図についても触れたところ、読者の方からその風神雷神について、中国・莫高窟の似た画像の指摘があった次第です。
　そういうきっかけがあってのブログなのですが、上の図は俵屋宗達の「風神雷神図屏風」と中国莫高窟の壁画、そして1190年代に建てられた三十三間堂に収められた風神と雷神の像であります。わたしとしては画家・俵屋宗達の風神雷神図に深く傾倒しているものですが、さりとて金科玉条のように「独創オリジナル」と思っているワケではありません。
　宗教画としてのモチーフとしてはかなり一般的なものだといえるのでしょう。ただ、指摘を受けるまで風神雷神のことを調べてみるような動機は持っていませんでした。美術作品として「だけ」見る、という現代人のごく一般的な常識に従っていた。言われてみれば風神雷神図の社会的機能としては宗教のためのひとつの表現として依頼され成立した画業であることは間違いない。
　そんなことからチラチラと読みあさってみると、風神雷神は古代のインドに由来する「地神」格が出自のように思われますね。一方の雷神は中国の同様神格「雷公」が出自のようです。
　そういったアジア各地の地神たちが、仏教という宗教の中でそれぞれに役割を配置されて、日本には風神雷神というワンセットで導入されてきたのでしょう。一神教ではない仏教の発展スタイルにこのことは関わっているのかも知れませんね。このようなことからやがて日本社会で「本地垂迹説」というものが盛り上がっていく由縁であるのかも知れません。世界宗教としての仏教にはそういう一種の「統合性」が特徴でアジア人には受容しやすかったのかも。
　三十三間堂の像２体については画家の俵屋宗達はとくに仔細に検討したことでしょう。
　しかし莫高窟にせよ三十三間堂にせよ、現代日本で「風神雷神図」といえば俵屋宗達や尾形光琳、酒井抱一の時代を超えた美術作品の競作に興味が集中している。逆に言えば、どうしてそこまで日本人はかれら画家たちの作品に共感し続けてきたのか、こっちの方がより興味深いと思っています。

English version⬇

Wind God and Thunder God – Religions and Deities of the Asian World
The wind god of ancient India and the thunder god derived from the thunder lord of China. Asian earth gods incorporated into non-monotheistic Buddhism. Did the Japanese accept them as pure art in a non-religious manner? …

I finally returned from a business trip yesterday. Clothing is completely unpredictable when traveling at this time of year. I went from Sapporo to Kanto, and in Sapporo I naturally wore a down jacket. On the other hand, I heard that cherry blossoms are in full bloom in the Kanto region, which makes me think, “Oh, what should I do? I am a lover of freedom (lol), so I want to move as light as possible and keep my luggage in a single backpack. Since I am wearing one jacket for business purposes, I am wondering what to do with my cloak. This time I was very successful and kept my down jacket on, but Tokyo remained on the cold side for this time of year. I was a bit startled by an earthquake alert on the way (laugh).
　In my blog yesterday, I wrote about my daily thoughts on religion and art, and I mentioned the Wind God and Thunder God, and a reader pointed out similar images of the Wind God and Thunder God at Mogao Grottoes in China.
　The above images are from Sotatsu Tawaraya’s “The Wind and Thunder Gods,” a wall painting of the Mogao Grottoes in China, and a statue of the Wind God and Thunder God in Sanjusangendo, a temple built in the 1190s. I am deeply devoted to the Wind and Thunder Gods by the painter Sotatsu Tawaraya, but this does not mean that I consider them to be “original” as if they were some kind of golden rule.
　It is a fairly common motif in religious paintings. However, I had no motivation to look into the Wind God and Thunder God until you pointed it out to me. I was following the very common sense of modern people, which is to look at it “only” as a work of art. If you ask me, there is no doubt that the social function of the Wind God and Thunder God painting is that it is a painting work that was commissioned and established as one form of expression for religion.
　From this, it seems that the Wind God and Thunder God originated from the “earth god” status that originated in ancient India. On the other hand, the god of thunder seems to have originated from a similar Chinese deity, the “Thunder God.
　These local deities from various parts of Asia have been assigned different roles in the religion of Buddhism, and have been introduced to Japan as a single set of Wind God and Thunder God. This may have something to do with the development style of Buddhism, which is not a monotheistic religion. This may be the reason why the theory of “Honji-dakujaku” (manifestation of the true nature of the Buddha) eventually gained momentum in Japanese society. Buddhism as a world religion may have been characterized by a kind of “integrity” that made it easy for Asians to accept.
　The painter Sotatsu Tawaraya must have examined the two statues at Sanjusangendo in particular.
　However, whether it is the Mogokutsu or the Sanjusangendo, the interest in “Wind and Thunder Gods” in contemporary Japan is concentrated on the timeless works of Sotatsu Tawaraya, Korin Ogata, and Hoitsu Sakai, whose works are in competition with each other. Conversely, I am more interested in why Japanese people have continued to sympathize with the works of these artists to such an extent.

　

Posted on 3月 24th, 2024 by 三木 奎吾
Filed under: 日本社会・文化研究 | No Comments »

【人の心、その表現である美術と宗教の関わり】


　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 »

【健康維持には適正な「運動歩数」が最適か？】


　ここ数日、日中に歩きまわるようになっています。
　わたしはだいたい、１日7-8000歩程度を目安にして，主に散歩などで運動量を一定程度確保するパターンを維持してきました。もうちょっと若い時期にはヘタなりにゴルフに行って運動量を確保していたりしましたが、だんだん時間のムダが多すぎることから縁遠くなってしまった。ゴルフ場との往復時間も考えれば、ほぼ丸１日つぶれてしまうことに耐えられなくなってきてしまったということかと。
　たぶんこういう嗜好性の変化はパソコンやスマホが基本になってしまった現代人のライフスタイルが関係しているのかも知れませんね。常にWEB経由で情報が飛び交って、Slackだとかの常時アクセス環境が当たり前になってしまったことがライフスタイルを変える要因になって来ている気がします。
　そういう環境になって、しかも北海道の冬場ということだと、歩きまわるという行動スタイルではなくひたすらクルマ移動に置き換わるので、どうしても運動量が不足気味。まぁその分、雪かきというヘビー級の運動機会があるけれど、こればかりは「天気次第」ということで自力コントロールが難しい。
　特に今年は降雪量が例年よりも多かったので、家を気軽に離れていられなかった（笑）。
　北国の夫婦は、お互いに助け合って家事労働をシェアしなければならない。雪かきは主にわたしの任務領域なので、心理的には１−３月の間は常時、空模様をチェックしながら生きて行かざるを得ない。しかしそういう「無理矢理でもやらなきゃならない」ことがあるというのは、良い面もあるでしょう。それが「共助」の考え方が自然に身について規範になることでしょうか。
　そんな冬がようやく終息の気配になってきて、日々の散歩習慣などが戻って来ていますが、ここ数日は移動でも公共交通主体で「動き回って」おります。こういう歩き方をし始めると最初の１日には、一気に脚に負担が掛かってどうにも筋肉痛が出ていましたが、翌日からは慣れてきて「鍛えられ」てきている感じ。
　本格的な春のスタートアップを控えて、健康維持のために前向きに馴らしていきたいと思っております。
　歩けば自然に人間は「前向き」になる。後ろ向きに歩いている人は滅多に見たことがない。

English version⬇

Is the Right Number of Exercise Steps the Best Way to Stay Healthy?
As we age, information technology and SNS-like web conversations increase. It is important to be open to exploring health maintenance strategies from a purposeful perspective, under the pressure of such daily “information”. ・・・・・・・・.

I have been walking around during the day for the past few days.
　I have maintained a pattern of getting a certain amount of exercise, mainly by going for a walk, about 7-8,000 steps a day. When I was a bit younger, I used to get my exercise by going golfing in my own bad way, but I gradually became disconnected from it because it was too much of a waste of time. I guess I have become intolerant of wasting almost an entire day, considering the time it takes to get to and from the golf course.
　Perhaps this change in preference has something to do with our modern lifestyles, which are now based on computers and smartphones. I feel that the constant flow of information via the Internet and the constant access to Slack and the like has become the norm, and this is what has changed our lifestyles.
　In such an environment, and in the wintertime in Hokkaido, we are not walking around, but driving instead, so we are lacking in exercise. This means that I have to shovel snow, which is a heavyweight workout, but it is difficult to control myself because it depends on the weather.
　Especially this year, the amount of snowfall was more than usual, so we could not leave the house easily (laugh).
　Couples in northern Japan have to help each other and share household labor. Since shoveling snow is mainly my area of duty, psychologically I am forced to live my life checking the skies at all times during the period from January to March. But there is a good side to having such “forced” things to do. It may be that the concept of “mutual aid” becomes a natural part of our lives and becomes the norm.
　As the winter finally seems to be coming to an end, I am getting back into the habit of taking daily walks, but for the past few days I have been “moving around” mainly by public transportation, even when moving around. When I started this kind of walking, on the first day, my legs were burdened all at once and I had muscle aches in any case, but from the next day on, I feel like I am getting used to it and “working out”.
　We are looking forward to getting acclimated in a positive way to maintain our health before the real spring start-up.
　Walking naturally makes people “positive”. I have seldom seen anyone walking backwards.

　

Posted on 3月 22nd, 2024 by 三木 奎吾
Filed under: 未分類 | No Comments »

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