{"id":36973,"date":"2022-05-31T06:05:41","date_gmt":"2022-05-30T21:05:41","guid":{"rendered":"http:\/\/kochihen.replan.ne.jp\/?p=36973"},"modified":"2022-05-31T18:24:09","modified_gmt":"2022-05-31T09:24:09","slug":"%e3%80%90%e3%83%a2%e3%82%b6%e3%82%a4%e3%82%af%e7%94%bb%e8%a1%a8%e7%8f%be%e3%81%ae%e5%8b%95%e6%a9%9f%e3%81%af%ef%bc%9f-%e3%83%9d%e3%83%b3%e3%83%9a%e3%82%a4%e3%83%bb%e6%82%b2%e5%8a%87%e8%a9%a9%e4%ba%ba","status":"publish","type":"post","link":"http:\/\/kochihen.replan.ne.jp\/?p=36973","title":{"rendered":"\u3010\u30e2\u30b6\u30a4\u30af\u753b\u8868\u73fe\u306e\u52d5\u6a5f\u306f\uff1f \u30dd\u30f3\u30da\u30a4\u30fb\u60b2\u5287\u8a69\u4eba\u306e\u5bb6-3\u3011"},"content":{"rendered":"

\"\"<\/a>
\n\"\"<\/a>
\n\"\"<\/a>
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\n\u305d\u3046\u3044\u3046\u5f81\u670d\u8005\u7684\u30a2\u30a4\u30c7\u30f3\u30c6\u30a3\u30c6\u30a3\u3068\u3057\u3066\u57fa\u5e95\u306b\u3042\u308b\u306e\u304b\u3082\u77e5\u308c\u306a\u3044\u3002
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\n\u305d\u3046\u3044\u3046\u60f3\u50cf\u3092\u5f37\u304f\u523a\u6fc0\u3055\u308c\u308b\u3002<\/p>\n

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\n\u897f\u6d0b\u3084\u4e2d\u56fd\u5927\u9678\u306a\u3069\u306f\u57fa\u672c\u306f\u3084\u306f\u308a\u77f3\u9020\u3002\u305d\u306e\u6587\u5316\u306e\u76f8\u9055\u304c\u8272\u6fc3\u3044\u3002<\/p>\n

English version\u2b07<\/p>\n

What was the motive for the mosaic expression? Pompeii, House of the Tragic Poet-3]
\nAn expression of the identity of their society. Or a means of expression of ancestor worship. In contrast, it is similar to the culture of Buddhist altars and ancient tombs.<\/p>\n

The two photos above are mosaics that decorated the “House of the Tragic Poet”.
\nThe humorous mosaic “Beware of Raging Dogs” is on the floor, perhaps because of its symbolism.
\nThe humorous mosaic of “Beware of Raging Dogs” is on the floor, but these mosaics decorated the walls.
\nThree other mosaics were also on display.
\nEven though the house was in a good state of preservation, the mosaics were not on display.
\nThe house was in a good state of preservation, but there were so many murals, many of them with a “mythological” theme for them.
\nMany of them are related to the Trojan War.
\nThe Trojan War is outlined as follows
\nLocation: Asia Minor (Ilios)
\nPeriod: Bronze Age
\nDate: somewhere between 1700 B.C. – 1200 B.C.
\n…so compare this with the founding date of the house, around 2200 years ago.
\nThis means that the epic poem was written around 1500 to 800 years ago, compared to the foundation of the house around 2200 years ago.
\nIf we replace it with a modern person, it would be like a wall painting of an epic poem of the Nara\/Heian-kyo period in a house of the Imadaki dynasty.
\nThe epic poems of the dynasties in Nara and Heian-kyo period are pinned up on the wall in a modern house.
\nThe inhabitants of this house are not the kind of people who would delve deeply into such a specific theme in their own home.
\nwho would delve into such a specific theme in his own home.
\nHowever, it is also evidence of a strong sense of kinship among the people depicted in the painting.
\nThe paintings were left as a proof of their own identity.
\nIt is just like how we cherish a Buddhist altar to worship our ancestors, or how we keep portraits and photographs of our ancestors in our homes.
\nThis is the same kind of mentality as when we cherish a Buddhist altar or display portraits and photographs in a Buddhist room to honor our ancestors.
\nThe second inference is that this is a kind of fetch, a “historical” sukiyori.<\/p>\n

The use of stone as a material is a trace of the spiritual world of the ancients.
\nIn contrast, what about the islanders of Far East Asia?
\nI do not think that there is much difference in human spirituality from that of modern humans.
\nI think that the difference in time and period of the last 2000-3000 years is probably not so great.
\nI think there is no difference in the mentality and thought patterns of people as the main actors.
\nIt is just that people respond differently due to the different environmental conditions in which they are placed.
\nFrom such a perspective, it would be a psychological analysis to order the production of a mosaic as a family’s personal asset and to leave it behind with care.
\nThe analysis of the mentality of ordering a mosaic as a family’s personal asset and leaving it as a treasured possession suggests the following.
\nI think the possibility of inference 1 is still high.
\nIn Japanese society, people have built ancient tombs and left behind shrines.
\nAfter Buddhism was introduced into society, the psychology of leaving behind family “butsudan” (Buddhist altars) and the most homogeneous psychology of leaving behind family “butsudan” may be felt.
\nIn the case of Japan, the Japanese people are not interested in a single type of rice cultivation, but rather in the concept of “rice cultivation” as a means to preserve a single culture.
\nIn the case of Japan, a mono-production-oriented society based on rice cultivation
\nThis kind of “family symbolism” may have been more likely to be found in kofun tombs.
\nIn the European Mediterranean world of Pompeii, the means of production is different.
\nI think the difference is due to such environmental factors. In the extreme
\nI think that “war” itself, as the backbone of human nature in a hunting society
\nas the basis of the conqueror identity of a hunting society.
\nThe great mosaic of Alexander the Great’s conquests, for example, strongly stimulates such an imagination.
\nThis kind of imagination is strongly stimulated by the mosaic of Alexander the Great’s conquests.<\/p>\n

We Japanese think that the basic architectural expression is wood and earth.
\nwhile in the West and mainland China, the basic structure is stone. The difference between the two cultures is very strong.<\/p>\n","protected":false},"excerpt":{"rendered":"

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