わたしは住宅建築を中心に人間文化を探求するのがライフワーク。
個人住宅がメインで通常の現代住宅の他に、
古民家で暮らしていた昔人と仮想的対話、想像力を巡らし、
いろいろな暮らしの痕跡をみつめるのが本旨と思っています。

そういうふうに「取材」を考えて行くと昔人の生き様に
いろいろな思惟が沸き起こって来る。
そういうなかで宗教はきわめて濃密なものと位置づけられる。
日本では神社と仏教という宗教が根付いている。
神社の場合は参詣の対象として塑像のような存在はあまりない。
あえていえば「注連縄」がそういうものに相当するか。
建築については出雲大社などの社が象徴的だけれど、
むしろ、大神神社のように自然の山体そのものが相当するように
根深く太陽神信仰、自然崇拝の祖型を強く感じる。
一方仏教では、多彩な建築群と多くの仏像群が尊崇を集めてきている。
わが家の家系は、一時期仕事上の関わりから浄土真宗に宗旨が変わり、
その後真言宗に復元している。いま現在は真言宗徒。
わたし自身は家の末っ子なのでそこまでの属性意識はありません。
多くの日本人と同様「つかず離れず」というスタンスだと思います。
歴史好きなので宗教施設から多くの「機微」を探れるとも思っています。
でも、学生時代に興味を持って「般若心経」を独習したことがあって
そこに描かれているお釈迦さんの宗教観自体には尊崇の気持ちはある。
さすがに仏教全宗派共通の教えだけに普遍性が強く感じられる。

加齢と共に東京出張のときには仏閣の周辺が朝の散歩で行ける地が
宿泊地域として選択するようになっている。
比較的に多いのが川崎周辺、そうですね、川崎大師・平間寺。
年寄りは早起きなので、ホテルを出て電車に乗って川崎大師駅へ。
参道を歩いて５分ほどで、早朝の「朝勤」に参加することができる。
まぁ別に読経に参加するのではないのですが、
多数のお坊さんたちの読経に合わせて、小さく般若心経を唱えさせてもらう。
盛大な香の香りと盛大な読経の音声で一種のカタルシスを感じる。
特段、願い事があるワケでも呪詛の願いがあるワケでもなく（笑）
いわば宗教的雰囲気に浸る時間を過ごせるということでしょうか。
日本人はこういう時間を普遍的に経験しながら生き暮らしてきた。
そういう平均的ニッポン人の感覚を維持したいということか。
自分でもよくわかりませんが、自己充足感は得られる。
1128年創建という平間寺・川崎大師。
弘法大師空海が海中に投げ込んだ仏像を、漁師で暮らしていた平間氏が
この川崎の近海で網にすくい上げたことを縁起とする寺。
浅草寺の縁起とも不思議とそっくりの創建譚。
その真偽とは関わりなく、それを信じ続けた900年を超える人々の営為に
なにか癒される思いがします。

English version⬇

Kawasaki Daishi, Statue of the Four Heavenly Kings and the Goddess of Peace.
Religion and Humanity. An opportunity to talk with the ancients. We are thinking beings. It is an opportunity to calmly accept the religious views of our ancestors and explore the history of the world. The statue of the Four Heavenly Kings and the Statue of the Goddess of Peace at Kawasaki Daishi.

My life’s work is an exploration of human culture with a focus on residential architecture.
In addition to the usual modern houses, I also work on the construction of private residences.
I also engage in virtual dialogues with the people of the past who lived in old houses.
My main purpose is to have a virtual dialogue with people who used to live in old houses, as well as ordinary modern houses.

When I think of “reporting” in this way, various thoughts about the way of life of the people of old come to me.
I think that the main purpose of this project is to explore the traces of the lifestyles of the people of the past.
In this context, religion is positioned as something extremely dense.
In Japan, the religions of Shinto shrines and Buddhist temples are deeply rooted.
In the case of shrines, there are not many plastic statues as objects of worship.
If I were to venture a guess, I would say that shimenawa (sacred straw ropes) are equivalent to such objects.
As for architecture, Izumo-taisha and other shrines are symbolic.
But, rather, the natural mountain itself, as in the case of Ogami Shrine, is equivalent to such a shrine.
I strongly feel the ancestral form of deep-rooted sun god belief and nature worship.
In Buddhism, on the other hand, a wide variety of architecture and many Buddhist statues have been revered.
My family’s religious affiliation was changed to Jodo Shinshu at one time due to work-related reasons, but was later restored to Shingon.
Later, it was restored to the Shingon sect. I myself am the youngest child in the family, so I have been a member of the Shingon sect for a while.
I myself am the youngest child in my family, so I am not conscious of that much of an attribute.
Like most Japanese people, I think I have a “stay close to the people” attitude.
I am also a history buff, so I think I can find many “subtleties” in religious sites.
However, when I was a student, I was interested in learning the “Heart Sutra” on my own.
I have a sense of reverence for the religious views of the Buddha himself as depicted in it.
As one would expect from a teaching common to all Buddhist sects, I feel a strong sense of universality.

As I get older, when I go on business trips to Tokyo, I choose a place where I can go for a morning walk around Buddhist temples and shrines.
I have come to choose places to stay where I can take a morning walk around Buddhist temples when I go on business trips to Tokyo.
The most common places are in the Kawasaki area, such as Kawasaki Daishi and Hirama-ji Temple.
Old people are early risers, so we left the hotel and took the train to Kawasaki Daishi Station.
A five-minute walk down the approach to the temple allows you to participate in the early morning “morning service.
Well, not really to participate in the sutra reading.
I am allowed to chant a small Hannya Shingyo (Heart Sutra) to the accompaniment of numerous monks reading the sutra.
The grand fragrance of the incense and the loud sound of the sutra chanting give me a kind of cathartic feeling.
I don’t have any particular wish or curse to make (laughs).
(laughs) I guess you could say that I can spend time immersed in a religious atmosphere.
Japanese people have lived their whole lives experiencing this kind of time universally.
Do you want to maintain this sense of the average Japanese person?
I am not sure myself, but I do feel a sense of self-sufficiency.
Hirama Temple and Kawasaki Daishi Temple were founded in 1128.
The statue of Buddha was thrown into the sea by Kobo Daishi Kukai, and Hirama, who lived as a fisherman
The temple is said to have its origin in the fact that the Hirama clan, who lived as fishermen, scooped up the Buddha image into a net in the waters near Kawasaki.
The tale of the founding of the temple is strangely similar to the legend of Sensoji Temple.
Regardless of its authenticity, the activities of the people who have believed in it for more than 900 years
I feel something healing in the work of the people who believed in it for more than 900 years.

Posted on 8月 9th, 2022 by 三木 奎吾
Filed under: 日本社会・文化研究 | No Comments »

中国軍はいま台湾封鎖して周囲に実弾射撃を行い、
ペロシさんを迎えた台湾の人々に恫喝を加え続けている。
自分より弱い者へは居丈高に恫喝を加えるという
まるでマンガのジャイアンのようで非常識な「国家」姿勢。
共産党独裁の中国国家の危険性が世界全体に露わになったと言える。

そういうなかで東京国立博物館では日中国交正常化50周年で
特別デジタル展「故宮の世界」展が開かれている。
しかし通常の展示催事と比較して、会場面積規模は1/4程度。
どのような経緯でこういった小規模開催となったのか、不思議。
この故宮・紫禁城建築のVR画像展も日本の凸版印刷の技術で開催なので
どのような芸術面での外交経緯だったのか、興味深い。
いまのところ、このあたりの情報は出てきていないのですが今後注視したい。
で、東京国立博物館はこのデジタルVR展だけではさすがにまずいと考えて
同時開催として「清朝宮廷の書画と工芸」と銘打って東京国立博物館が
所蔵・管理する清朝宮廷美術作品（これは実物）も展示していた。
日本絵画や西洋絵画については国内で目に触れる機会も多く、また、
日本国内での収蔵作品もたいへん多様で多いのですが
一方で中国絵画については日本ではあまり接する機会がない。
今回は展示自体が非常にさみしいものだったからか、
写真撮影については全許諾されていたので、たっぷり撮影させていただいた。
そのなかでも中国・清の時代に描かれた「慶豊図巻」が素晴らしかった。
画材テーマは1740年当時の都・北京の正月の市街のにぎわいぶり。
伝統的な独裁国家らしく皇帝・乾隆帝治政が素晴らしいので民も豊かである
といういやらしい「工作」的意図があけすけに語られている。
別に美術鑑賞としては支配者の見栄は耳にしたくはない（笑）。
「慶豊図巻」には5メートル以上、華やかな都市北京の賑やかさが緻密に描かれる。
前文に清朝重臣
の書家・梁詩正が乾隆帝自作の詩を書いている。
（３枚目の写真参照ください。）
ここに満月を寿ぐ句や「皇都」の言葉が見られる。
以上のことからこの長巻には、
元宵節（旧暦1月15日の祭）を迎えた北京が描かれているとわかる。

テーマ的には日本の「洛中洛外図」と同様のものでしょう。
日本の場合は襖絵として描かれるけれど、中国では長大な巻物表現。
洛中洛外図では賀茂川に掛かる橋や名所などが描かれて
建築と人間模様風俗が表現される。名所などの特定はわからないけれど、
この「慶豊図巻」でも制作意図はこれと同様のようです。
門構えや四合院的な建築周囲の塀囲い、建築外観が面白い。
また道路も非常に幅広な大路が舞台として表現されている。
移動手段として大小の馬高の馬が描かれているけれど、小さい方は馬ではなく、
違う動物種のようにも思われる。ほぼ人間程度の大きさの動物か。
中国版・洛中洛外図から、時代の空気感も読んでみたい。

English version⬇

Qing Dynasty painting “Qingfeng Scroll,” City of Beijing in the 1740s.
A Qing Dynasty version of the painting “Scenes in and around the City of Beijing”. The architecture and districts, as well as the general “customs” of the people who lived in the era, overflow onto the screen. A trip through time and space. The work is a short trip through time and space.

The Chinese military is now blockading Taiwan, firing live ammunition into the surrounding area and continuing to intimidate the Taiwanese people who greeted Pelosi.
The Chinese military is now blockading Taiwan, firing live ammunition around the island, and continuing to intimidate the Taiwanese people who welcomed Pelosi.
It is an insane “national” posture that stoutly adds argument to those who are weaker than oneself.
It is an insane “national” posture like Gian of the cartoon.
It can be said that the danger of the Chinese nation of the communist dictatorship was exposed to the whole world.

In such a situation, the Tokyo National Museum is holding a special digital exhibition
The special digital exhibition “The World of NPM” is currently being held at the Tokyo National Museum.
Compared to a normal exhibition, however, the size of the exhibition space is only about 1/4 of that of a regular exhibition.
One wonders how it came to be held on such a small scale.
The exhibition of VR images of the Palace Museum and the Forbidden City was also held using Japanese letterpress printing technology, so I wonder what kind of artistic diplomacy was involved.
It would be interesting to know how the artistic diplomacy was conducted.
So far, no information has emerged in this area, but we will keep a close eye on it in the future.
The Tokyo National Museum has decided that this digital VR exhibition alone is not good enough.
The Tokyo National Museum, however, thought it would be a bad idea to hold a concurrent exhibition titled “Calligraphy, Painting, and Crafts of the Qing Dynasty Court.
The museum also exhibited actual works of art from the Qing court that are in the Tokyo National Museum’s collection and under its management.
There are many opportunities to see Japanese and Western paintings in Japan.
Japanese and Western paintings are often seen in Japan, and the collection in Japan is very diverse and large.
On the other hand, there are few opportunities to come into contact with Chinese paintings in Japan.
Perhaps it was because the exhibition itself was very lonely.
I was allowed to take plenty of photographs, as I had full permission to do so.
Among them, the “Qing Feng Scroll” painted in the Qing Dynasty of China was wonderful.
The theme of the painting was the bustling city of Beijing during the New Year in 1760.
The people were prosperous because of the emperor Qianlong’s rule, as in a traditional dictatorship.
The work is openly intended to be a disgusting “manipulation” of the people’s wealth.
As an art appreciator, I do not want to listen to the pretensions of the rulers (laugh).
The “Qingfeng Scroll” is more than 5 meters long, and depicts the bustle of the gorgeous city of Beijing in great detail.
The preamble is a poem by Liang Shi-zheng, a calligrapher and senior official of the Qing Dynasty, written by the Ch’ien-lung Emperor himself.
(See the third photo.) Here is a poem that celebrates the full moon.
(See the third photo.) Here we can see phrases celebrating the full moon and the words “the imperial capital.
Based on the above, this long scroll is dated to the
The theme of this long scroll is the Japanese “Lantern Festival” in Luochu.

Thematically, it is probably similar to the “Rakuchu Rakugai-zu” in Japan.
In Japan, it is depicted as a sliding door painting, but in China, it is a long scroll representation.
In Rakuchu-Rakugai-zu, bridges over the Kamo River and famous places of interest are depicted.
The Raku-chu-Rakugai-zu depicts architecture, human figures, and customs. Although we do not know the specifics of the places of interest
but it seems that the intent of this “Keiho” scroll is the same as this one.
The gate, the fence around the building in the style of a shikai-in (a traditional Japanese-style house), and the exterior appearance of the building are interesting.
The roads are also represented as a stage with very wide avenues.
Although horses of various sizes and heights are depicted as means of transportation, the smaller ones do not appear to be horses at all.
The smaller one is not a horse, but seems to be a different animal species. The smaller one is not a horse at all, but seems to be a different animal species.
I would like to read the atmosphere of the period from the Chinese version of Rakuchu-Rakugaizu.

Posted on 8月 7th, 2022 by 三木 奎吾
Filed under: 「都市の快適」研究, 歴史探訪 | No Comments »

日本の神社には「狛犬」が付き物ですね。
建築としての神社というか、その空間性は好きなのですが、
必ずしも規格性とか統一性はないと一般的に言われます。
犬が一般的な意匠であることは疑いがないけれど、
イヌとは言っても、ほとんどライオンのようでもあり、
意匠性から考えると、エジプトのスフィンクスの普遍デザイン化とも思える。
神格に対してそれを守護して仕える存在ということなのでしょうか。
日本の古墳文化では中国の兵馬俑のような埴輪兵士像が一般的。
それとして意識的にとらえてきたことはなかったのですが、
ほとんど見るべきものがないかと思っていたCGグラフィックでの
東京国立博物館での北京故宮展示会で発見したのが上の写真。
なんと、鶴のワンペアが狛犬のように玉座左右に鎮座されている。

左右に離れて置かれている状態だったのですが、
画面上では近接させて一対の彫像をクルーズアップさせてみた。
こういう狛犬使用は、たしかいくつかの日本の神社建築でもみた記憶がある。
WEB上で調べてみたら、日本一の大鈴で有名とされる
鹿児島県出水の箱﨑八幡神社に下の写真のような狛犬。
中国北京の故宮、紫禁城の創立は以下のようなWiki記述。
〜1644年、明へ反旗を翻した李自成は北京を占領し紫禁城の一部を焼き尽くした。
しかし満州人・清王朝は李自成を北京から駆逐し紫禁城を再び修繕した。
火事から残された建物はそのまま明の時の漢民族風に維持し、
新しく改築された建物は満州風の特徴を加え、満漢両方特徴が揃った宮殿に。
その後、紫禁城は様式は変わらなく、現代に至る。〜
とされているようです。
一方の箱﨑八幡神社は島津家始祖の忠久が1180年代ころに創建の説。
時代相を考えると日本の現存「鶴」狛犬の方が古いのかも知れない。
故宮の方は1368年の明の建国時点で祖型がつくられたと考えても
日本の箱﨑八幡神社「鶴」狛犬に軍配が上がるのか。
まぁこういうことは検証のしようもないのですが、
東アジア世界では狛犬的風習がながく存在し続けてきたことは想像できる。
愛護的、もしくは神威をアピールする目的からライオンから鶴まで
モチーフはいろいろに変化しつつ、現代まで連なってきたのでしょう。

さて、現代世界ではアメリカのペロシ下院議長が訪台し、
そこから中国の国内情勢の緊張状態もあって戦争寸前の緊張が続いている。
中国の強権国家ぶりはアメリカに対しては張り子の虎に終始したが、
その汚名をそそぐというゆがんだ「中華皇帝」の暴走があり得る。と、見ていたら
日本のEEZ内海域に中国の実弾ミサイルが放たれた。
日米同盟としてどう対応するべきか？
国際関係最大の危険因子の動向に否応なく対応しなければならない。
危機に当たって冷静に毅然とした対応を祈念する次第。

English version⬇

Discovery of “crane guardian dogs” around the throne in the Palace Museum in Beijing
The decoration of “komainu” (guardian dogs) was universally practiced in the East Asian world. Furthermore, might they have their roots in the Sphinx? Stimulating the imagination. …

Japanese shrines are accompanied by “komainu” (guardian dogs).
I like shrines as architecture, or rather their spatiality.
It is generally said that they are not necessarily standardized or unified.
Though there is no doubt that the dog is a common design
I would say it is a canine, but it almost looks like a lion.
In terms of design, it seems to be a universal design adaptation of the Egyptian sphinx.
Does it mean that it is a being that protects and serves a deity?
In Japanese tumulus culture, terra-cotta statues of soldiers like the Chinese terracotta warriors are common.
I have never consciously regarded them as such.
I had wondered if there was almost nothing to see in the CG graphics.
The photo above was discovered at the Beijing Palace Museum exhibition at the Tokyo National Museum.
To my surprise, one pair of cranes are seated on either side of the throne like komainu (guardian dogs).

They were placed far apart on the left and right sides.
On the screen, I brought them closer together and cruised up the pair of statues.
I remember seeing this kind of use of komainu in some Japanese shrine buildings.
I found on the web that there is a shrine in Hakozaki, Izumi, Kagoshima Prefecture, which is famous for its large bell, the largest in Japan.
I found on the web that Hakozaki Hachiman Shrine in Izumi, Kagoshima Prefecture, which is famous for the largest bell in Japan, has a guardian dog like the one in the photo below.
The Forbidden City, a palace in Beijing, China, was founded in 1644, according to the following Wiki article.
〜In 1644, Li Jicheng’s army, rebelling against the Ming Dynasty, occupied Beijing and burned a part of the Forbidden City.
However, the Manchu and Qing dynasties drove Li Jisheng out of Beijing and rebuilt the Forbidden City.
The buildings that survived the fire were maintained in the Han Chinese style of the Ming Dynasty, while the newly renovated buildings were restored in the Manchu style.
The newly reconstructed buildings were given Manchu features, creating a palace with both Manchu and Han characteristics.
The style of the Forbidden City remained unchanged until the present day. 〜The Forbidden City is said to have been built in the Manchurian style.
The Forbidden City is said to have been built in the same style as the Forbidden City.
Hakozaki Hachiman Shrine, on the other hand, is said to have been built around the 1180s by Tadahisa, the founder of the Shimazu family.
Considering the period, the existing “crane” guardian dogs in Japan may be older.
The NPM may be considered to have been ancestral at the time of the founding of the Ming Dynasty in 1368, but it is not clear whether this is the case or not.
Does this mean that the “crane” guardian dogs of the Hakozaki Hachiman Shrine in Japan are older than those of the NPM?
Well, there is no way to verify this.
We can imagine that in East Asia, the custom of using guardian dogs has been in existence for a long time.
The motifs have varied from lions to cranes, but the modern-day guardian dogs have always been a symbol of the gods’ power and authority.
The motifs have changed in various ways, and have continued to the present day.

Now, in the modern world, we are witnessing the visit of U.S. Speaker of the House Pelosi to Taiwan.
The tension in the world today is on the verge of war due to the visit of US Speaker Pelosi to Taiwan and the tense domestic situation in China.
China’s powerful state has been a tiger in the face of the U.S., but it is now on the verge of war.
The warped “emperor of China” who wants to clear his name could go out of control. And, if we were to look at it.
A live Chinese missile was released into Japan’s EEZ.
How should we respond as the Japan-U.S. alliance?
We must respond to the trend of the greatest risk factor in international relations without hesitation.
I pray for a calm and resolute response to the crisis.

Posted on 8月 5th, 2022 by 三木 奎吾
Filed under: 日本社会・文化研究, 歴史探訪 | No Comments »

昨日、炎暑38度の東京から札幌に帰還。
関東に行っている間、ほぼ気温は38度前後で高温安定していた。
そういうなか目的地まで歩行での移動もたくさん発生する。
コンクリートやアスファルトからの照り返し、輻射もあるので
熱射感はハンパなく、その上マスク着用を維持するとなると
カラダに熱がこもり続けることになる。
適度に口から熱放射できれば、温度感調整もできるけれど、
マスク着用状態では、どうしても阻害されてしまう。
・・・しかし、日本社会ではマスク着用への同調圧力はまことに強い。
北海道人としてはある部分、エトランゼの心理もあるのですが、
来訪者としてはエチケットは必ず守るという心理が優勢になる。
行動すると１−２分で口のまわりに湿気が滞留するのがすぐわかる。
このような空気感の中でビジネスゾーンには極度に人口集中している。
短期間にいろいろな訪問先を周回するのには集中の利便性は高い。
しかし、体力的には今回はさすがに限界点を見た思いがしました（笑）。

で、北海道に帰ってきて新千歳空港からクルマで高速を飛ばしてくると
清涼な緑が支配的な景観にカラダと心理が満たされてくる。
いつもとは少し湿度は高めに感じるけれど、爽快感はハンパない。
まぁカミさん１人で迎えに来てくれたのでマスクも外していられる。
身も心も空気感もなにもかもが開放されていく（笑）。
心なしか、アタマの回転数も一気に復元してくる気がする。
・・・ということですが、ときどき東京のビジネス環境に身を置くのは
いろいろな意味で「情報のリフレッシュ」機会といえる。
都心の最近のオフィスビルでは写真のようなセキュリティロボットが
広大に広がるエントランス階を見回りチェックしている。
たぶんこのロボットの映像記録装置には写真を撮影している不審者として
わたしが記録され続けていることでしょう（笑）。
そういうIT環境と人間性の接点みたいなおかしさも感じて
あたり構わず写真に収めておりました。
札幌のオフィスビルの中にもこういう装置が導入されたものもあるのでしょうが
わたし的にはあんまり遭遇したことが無かった。
ロボットに対して野次馬根性というのもなんかシュールなんだけど・・・。

もう１枚は炎暑の中の渋谷近辺移動のワンシーン。
上空に首都高の高架道路が走っていて、その下はルート246。
そこを渡るのに、地下歩道があってその様子であります。
アメリカの街中のような落書きが街の空気感に馴染んでいる。
考えて見ると20才の頃から数えれば半世紀、
こんな都市の移り変わりをウォッチし続けてきている。
たぶんいろいろなセンサーで現代リアルタイム感を更新しているのでしょう。
・・・でも帰ってきての開放感がすごい（笑）。

English version⬇

Regular dialogue with “Tokyo” as Hokkaido people.
Robots and onlookers’ guts. Obviously suspicious behavior. Check out the atmosphere of Tokyo as it is today. Business decisions are made in this environment….

Yesterday, I returned to Sapporo from Tokyo where it was a scorching hot 38 degrees Celsius.
While I was in Kanto, the temperature was mostly stable at around 38 degrees Celsius.
In such a situation, we had to do a lot of walking to get to our destination.
The heat from the concrete and asphalt, as well as the radiation
The feeling of heat radiation is not so bad, and if you keep wearing a mask on top of that, you will feel the heat in your body.
If you have to wear a mask on top of that, the heat will stay in your body.
If you can radiate heat from your mouth, you can adjust the temperature.
However, wearing a mask prevents this.
However, in Japanese society, the pressure to wear a mask is very strong.
As a Hokkaido native, I have a certain ethereal mindset, but as a visitor, etiquette is a must.
As a visitor, the psychology of always observing etiquette prevails.
When you act, you can immediately feel the moisture stagnate around your mouth within 1-2 minutes.
The business zone is extremely populated with this kind of atmosphere.
Concentration is highly convenient for circling various destinations in a short period of time.
However, physically, I felt that I had indeed seen the breaking point this time (laugh).

So, when I came back to Hokkaido and drove from New Chitose Airport to the highway by car
The cool, green scenery that dominates the landscape fills my body and mind.
The humidity is a little higher than usual, but the feeling of refreshment is unbelievable.
Well, my wife came alone to pick me up, so I could take off my mask.
My body, mind, air, and everything else is liberated (laughs).
My mind’s speed seems to be restored all at once.
I think that sometimes it is good to be in the business environment of Tokyo to “refresh information” in various ways.
In many ways, it is an opportunity to “refresh information.
In recent office buildings in central Tokyo, security robots like the one in the photo
The security robot in the photo is patrolling the sprawling entrance floor.
The robot’s video recorder probably keeps a record of me as a suspicious person taking pictures
I am probably recorded in the robot’s video recorder as a suspicious person taking pictures (laughs).
(laugh) I felt a strange connection between the IT environment and humanity.
I was taking pictures without thinking about it.
I suppose some of the office buildings in Sapporo have such devices, but
I have never encountered such a device in my life.
It was surreal to me to see the guts of an onlooker against a robot….

The other picture is a scene from a trip around Shibuya in the blazing heat.
There is an elevated highway of the Metropolitan Expressway running above us and Route 246 below.
There is an underground walkway to cross it.
The graffiti, like that of an American town, fits in with the atmosphere of the city.
When I think about it, it has been half a century since I was 20 years old, and I have been watching the changes in the city.
I have been watching the changes of such a city for half a century since I was 20 years old.
Perhaps I am updating the sense of modern real time with various sensors.
But I feel a great sense of freedom when I come back (laugh).

Posted on 8月 3rd, 2022 by 三木 奎吾
Filed under: 住宅マーケティング, 出張＆旅先にて | No Comments »

昨日は今回のひとつの目的。長時間の講演会イベント参加。
で、空いている午前中、美術館巡り。やはり美への素朴な思いというものはある。
こういう心情には自分自身で抗いがたい、数寄。

で、ほぼ欠かさず訪れるのが広尾の山種美術館であります。
日本画のコレクションではたぶん日本を代表する美術館ではないか。
今回の展示テーマは「水のかたち」。
―《源平合戦図》から千住博の「滝」まで―
特集展示：日本画に描かれた源平の世界
ということですが、どの展示も圧倒的な訴求力ですばらしい醍醐味。
千住博さんというのは海外で活躍されている日本人画家で
いま現代、リアルタイムでの日本人の美感探究。
「滝」という著名作品がきわめつけとして展示されていました。
これは白と黒のモノクローム表現なのですが、
「ウラ展示」として、カラーでの同様表現もあって興趣を起こさせた。
また、源平合戦図という超大作障壁画もあって、引き込まれる。
まことに日本人の美感の連続性を強く感じさせてくれます。
個人的には奥村土牛さんが渦潮を描いた「鳴門」作品と対比的な
石田武「鳴門海峡」の迫力にはしばし、時を忘れさせられていました。

で、そういう展示作品群のなかで「撮影してもいいですよ」
というサービス展示が１点あるのがこの美術館のウリで、今回は
小林古径「河風」。
美術館のFacebookページでは
「団扇を手に縁台に座り、足先を水に浸して涼をとる娘｡
髪型や着こなしは菱川師宣や喜多川歌麿などの美人画を連想させますね。
表具屋から紹介されて奥村土牛が愛蔵していたんですよ。」という紹介。
いかにも庶民的な若い日本女性の美感がピンナップされている。
とくに左足がちょっと水から出ている箇所に、
夏の日本女性の「しぐさ記憶」を官能的にくすぐってくれる。
着物は地味な模様で逆に「素肌感」をつよくコントラストさせている。
足下を流れる水の表情には、そうか、こんなふうな見方もあるんだ、
という一種意表を突いている部分もある。
なによりも女性の顔の表情は、伝統的な民族的な美そのもの。
やはり日本人はこういう透明感に圧倒的に癒される。


一方、対照的だったのが東京国立博物館での
日中国交回復50周年記念の「故宮の世界」展示。
写真は展示会場「平成館」２階の入口周辺の様子ですが、
休日とは思えないほどの閑散ぶりでスタッフのみなさんも手持ち無沙汰。
だいたいチケット窓口で「展示はCG画像展示でほとんど実物はありませんよ」
と予防的に案内をしている始末であります。
・・・、というのが見学しての感想でありました。

English version⬇

Japanese people’s sense of coolness and beauty “KAWAKAZE” by KOBAYASHI Kokei.
A girl sits on a porch with a fan in her hand, dipping her toes in the water to cool off, reminiscent of the beauty paintings of Hishikawa Shisen and Utamaro. The eroticism inherited by the people of Japan. …

Yesterday was one purpose of this event. Attending a long lecture event.
In the morning, when I had free time, I visited art museums. After all, there is such a thing as a simple desire for beauty.
These feelings are irresistible to me, Suki.

I am a regular visitor to the Yamatane Museum of Art in Hiroo, which is probably the most representative collection of Japanese-style paintings.
It is probably the leading museum in Japan in terms of its collection of Japanese-style paintings.
The theme of this year’s exhibition is “The Shape of Water.
-From “Battle of Genpei” to “Waterfall” by Hiroshi Senju, the theme of this year’s exhibition is “Forms of Water.
Feature Exhibit: The World of Genpei as Depicted in Japanese Paintings
Each of the exhibits is overwhelmingly appealing and a true delight.
Hiroshi Senju is a Japanese painter who is active overseas.
His work “Waterfall” is the best example of his exploration of Japanese aesthetics in real time.
His work titled “Waterfall” was the most prominent work on display.
It is a black and white monochrome work.
The “behind-the-scenes” exhibit included a color version of the same work, which was very interesting to see.
There was also a very large painting of the Genpei wars, which drew visitors in.
It was truly a strong reminder of the continuity of the Japanese sense of beauty.
Personally, I was impressed by Okumura Togyu’s “Naruto” work depicting the whirlpools and the contrasting
The power of Takeshi Ishida’s “Naruto Straits” contrasted with Togyu Okumura’s “Naruto” work depicting the whirlpools made me forget the time.

Among the exhibited works, there is one work that is free to be photographed.
Among such exhibits, one of the specialties of this museum is that there is one work that is “free to photograph”.
This time it was “Kawakaze” by Kobayashi Kokei.
On the museum’s Facebook page
A girl sits on a porch with a fan in her hand, dipping her toes in the water to cool off.
The hairstyle and the way she is dressed are reminiscent of the paintings of beautiful women by artists such as Hishikawa Shisenobu and Kitagawa Utamaro.
It was introduced to me by a tableware maker and was in the collection of Okumura Togyu.” The introduction of “Okumura Togyu,” a young and very popular artist.
The work is a pin-up of the beauty of a young Japanese woman in a very folksy manner.
Especially, the left foot is slightly out of the water.
The kimono is a simple pattern, and the image is reversed.
The kimono’s subdued pattern contrasts strongly with the sense of “bare skin.
The expression of the water flowing beneath her feet is a kind of surprise.
The expression of the water flowing under the feet is also a kind of surprise.
Above all, the expression on the woman’s face is the very essence of traditional ethnic beauty.
Japanese people are overwhelmingly healed by this kind of transparency.

On the other hand, a stark contrast was the “World of the NPM” exhibition at the Tokyo National Museum
The photo shows the entrance area on the second floor of the Heiseikan, the venue for the exhibition.
The photo shows the entrance area on the second floor of the Heiseikan, where the exhibition was held.
It was so deserted that it was hard to believe that it was a holiday.
The ticket window was usually staffed with a precautionary warning that the exhibition was a computer-generated image display, and that there were almost no actual items on display.
The staff was so busy that it was hard to believe that it was a holiday.
I was very impressed with the exhibition.

Posted on 8月 1st, 2022 by 三木 奎吾
Filed under: こちら発行人です, 日本社会・文化研究 | No Comments »