昭和47年に「史跡・伝飛鳥板蓋宮跡」として史跡指定された地域は
平成28年10月に名称が史跡「飛鳥宮跡」と変更された。
日本書紀などでは推古天皇から持統天皇に至る７世紀の約100年間、
歴代天皇の宮が次々と飛鳥の地に造営されたと記されている。
昭和34年以来、橿原考古学研究所の発掘調査が続けられてきた。
宮の中心部分は東西約158m、南北約197mの長方形区画（内郭）で
区画の内側では大規模な掘立柱建物や石敷き広場などを発見。
この銘板の置かれた位置のすぐ左手に内郭北東側の建物の柱配置・井戸を
復元しているものです。
この内郭を囲むように建物や柱列、石組み溝などが営まれていて、
それらを「外郭」と呼んでいます。
内郭の東南側にはエビノコ大殿とされる大規模な掘立柱建物を中心にする
区画が存在することも確認されています。
これらの遺構は斉明天皇の「後飛鳥岡本宮」および天武持統天皇の
「飛鳥浄御原宮」などに相当するものと考えられている。〜以上、銘文より。

のちの藤原京や平城京などは東アジア世界との交流、相克が
激しさを増していった国際情勢を踏まえて、
いかにも都城にふさわしい「都市建設」が意図されていったけれど、
それ以前の王宮とは、天皇の居館を中心にした必要十分な構成。
これまで紹介してきた池工房や飛鳥寺とも指呼の間で数百メートルの位置。
現在、この宮跡に来て見ると周辺は水田地帯が広がっていて
また、当初は石敷きと区割りの石が史跡指定当時は明確だったのが
やがて草深くなってきていると見受けられる。
印象で言えば、非常に素朴な権力機構の遺構と感じられる。
仁徳帝が民の家から煙が上がっていない様子を見て節約に励んだという故事が
素直に受け止め可能なようにも思える。
石で踏み固めた権力痕跡がやがて田んぼになり草に覆われて
いかにも牧歌的な風景に還元されている平和な様子。

こういう風景に佇んでいると、
日本の原初の王権は本来この程度であったものが、
東アジアの超大国・唐が出現したことでそれへの外交対応、独立維持が
この国の権力機構の進展に非常に大きな要因だったとわかる。
現実に半島の動乱の政治・軍事情勢〜白村江戦争の結果、
百済の遺民が大挙日本に帰化して、唐の強大を身を以て知ったかれらが
亡命したこの日本の王権を強化することに必死だった。
そういった歴史の見方に強く同意したくなる。
中国の強権はつねに半島地域に対して剥き出しの暴力性を示し
列島社会はその脅威に備えた対応をしてきたのだと。
その安全保障的行動原理から律令と仏教を積極的に受け入れたという展開。
日本史の底流にこういう国際関係論があったことがわかる。
海を挟んでいることから幸いにして大陸的男系DNA根絶やし大量殺戮からは
歴史的に逃れられてきたとのが歴史の実相なのでしょう。
日本人の「平和意識」というものの原点なのかも知れませんね。

English version⬇

Asuka Palace Site (Itabukinomiya)” Asuka Historical Testimony-9
A land with vigorous natural resilience. The central area of power is quickly reduced to a landscape of rice paddies and grass. It is a landscape of the origin of Japan’s pacifism. …

The area designated as a historic site in 1972 as “Historic Site, Den Asuka Itabukinomiya-gū Ato” was
The name was changed to “Asuka Palace Site” in October, 2008.
According to the Nihon Shoki (Chronicles of Japan) and other records, the palaces of successive emperors were located one after another for about 100 years in the 7th century from Emperor Suiko to Emperor Jito.
The Chronicles of Japan and other documents state that the palaces of successive emperors were built one after another in Asuka during the 100 years of the 7th century from Emperor Suiko to Emperor Jito.
Since 1959, the Archaeological Institute of Kashihara has continued excavations.
The central part of the palace is a rectangular section (inner wall) measuring approximately 158 m east to west and 197 m north to south.
A large dugout pillar building and a stone-paved plaza were found inside the inner wall.
The pillar layout of the building on the northeast side of the inner wall and the well are restored to the immediate left of the location where this nameplate is placed.
This is a restoration of the well and the pillar layout of the building on the northeast side of the inner wall.
The buildings, rows of pillars, and masonry ditches surrounding the inner wall are called the “outer wall.
These are called the “outer wall.
On the southeast side of the inner wall, there is a large hottate-bashira building, which is believed to be the Ebinoko-daiden.
These remains are the remains of the Saimei Tenmangu Shrine.
These remains are related to the “Go-Asuka Okamoto Palace” of Emperor Saimei and the “Asuka Kiyomihara Palace” of Emperor Temmu Mochito.
These remains are thought to correspond to the “Asuka Jomihara Palace” of Emperor Saimei and the “Asuka Jomihara Palace” of Emperor Temmu Jito. 〜The above is from the inscription.

The Fujiwara-kyo and Heijo-kyo Capital later became the center of international
The Fujiwara-kyo and Heijo-kyo Capital were built as “cities” that were suitable for a capital city in light of the international situation
The later Fujiwara-kyo and Heijo-kyo were intended to be “city-builders” that would be suitable for a capital city, but
The royal palaces of the earlier period were composed of a necessary and sufficient structure with the emperor’s residence at the center.
It is located within a few hundred meters from Ikegakobo and Asukadera, which we have introduced so far.
When we come to this palace site today, we see that the surrounding area is covered with rice paddies.
In addition, the stone pavement and ward stones were clear at the time of the initial designation as a historic site.
It can be seen that the grass is eventually becoming deeper and deeper.
In terms of impression, it seems to be the remains of a very simple power structure.
The legend that Emperor Nintoku saw no smoke rising from the houses of his people and encouraged them to save money seems to me to be a story that can be accepted honestly.
The traces of power stamped out with stones are still there.
The traces of power trampled with stones eventually turned into rice paddies and covered with grass.
The peaceful scene is reduced to a pastoral landscape.

Standing in such a landscape
I am reminded that Japan’s original kingship was originally only this small, and that the Tang Dynasty, the superpower of East Asia, was a great power.
The emergence of the Tang Dynasty, the superpower of East Asia, and its diplomatic response to the Tang Dynasty, as well as the maintenance of independence, were very important in the development of the country’s power structure.
The emergence of the Tang Dynasty, the superpower of East Asia, was an extremely important factor in the development of the country’s power structure.
In reality, the political and military situation on the peninsula was in turmoil, and as a result of the Baekchon River War
The Baekje people were naturalized in Japan in great numbers, and they learned firsthand of the might of the Tang Dynasty.
They were desperate to strengthen their royal power in exile in Japan.
I am inclined to strongly agree with this view of history.
Chinese power has always shown itself to be openly violent toward the peninsular region, and island societies were prepared for the threat.
The archipelagic societies have responded to this threat.
The security principle of the Japanese government led to its active acceptance of the Ritsuryo Code and Buddhism.
It is clear that this kind of theory of international relations was at the bottom of Japanese history.
Fortunately, the fact that Japan is located on the other side of the sea has historically allowed it to escape the continental eradication of its male DNA and the genocide of its people.
The reality of history is that Japan has historically escaped genocide by eradicating continental male DNA.
This may be the origin of the Japanese sense of peace.

Posted on 6月 30th, 2022 by 三木 奎吾
Filed under: 日本社会・文化研究, 歴史探訪 | No Comments »

飛鳥の時代のひとつの終焉のカタチは
東大寺大仏の開眼、造立ということだったように思う。
日本という国家、その共同幻想の基軸となった大きな柱は
鎮護国家思想であり、国内諸国に国分寺を建立し
奈良にはその中枢として東大寺を建立することでその思想の完成とした。
さらにその国家大方針の中核が大仏だったのでしょう。
後の世で鎌倉にも大仏が作られたのは、律令国家とは別思想の
武家政権としての中心軸と考え、先例に倣ったのだと思える。
この奈良大仏の造立・鍍金事業は草創期国家にとって想像を絶する大事業。

752年に造立されたもので当時の鋳金工芸の粋を集めたわが国最大の鋳仏であり、
世界でも類例をみない。そして現代の工業技術への多くの啓示が秘められている。
多湿な風土をもつわが国で戦火に２度も見舞われながら腐食現象が起きていない。
これは建立当時の先人の技術“焼付け金メッキ”が行なわれたからといわれる。
大仏を造ったのは百済亡命者・国骨富の孫、国中真麻呂大仏師。
そして大鋳師・高市真国、高市真麻呂の家来の技術者など延べ42万3,000余人、
役夫218万人を使って大仏本体鋳造３年、組立てに２年、仕上げと塗金に６年、
計11年の歳月を費してやっと完成している。
高さ16ｍ余、幅約12ｍ、重さ112.5ｔという巨大さで蓮華座に坐っている。
752年(天平勝宝4)4月9日に大仏開眼会が挙行されて完成を祝ったが
鍍金メッキ作業はその後から5年掛けて行われたとされる。
「塗練金4,187両１分４銖、為滅金25,134両２分銖、右具奉。
金4,187両を水銀に溶かしアマルガムとしたもの25,224両を仏体に塗った。
金と水銀を1:5の比率で混合しアマルガムとした。
アマルガムによる金メッキが始まってから塗金仕事をする人々に病気が流行した。
この不思議な病気の原因はまさに「水銀中毒」。
蒸発する水銀を吸うことでの中毒と真相をつきとめた大仏師・国中公麻呂は、
東大寺の良弁僧上とともに毒ガスマスクを工夫して病気発生を予防した。
科学技術の進歩は公害が付きもので、これを克服しなければ進歩はない。
＜東京都鍍金工業組合「奈良の大仏と表面処理」より要旨＞

唐という強権国家の登場の危機的な東アジア世界情勢を受けて
必死に近代国家建設に取り組んだこの時期の歴史が生々しく立ち上ってくる。
奈良期は疫病や地震などの災害が多発したと言われる。
この大仏鍍金での公害発生などは極めつけの災禍と思われる。
悩んだ聖武帝は自ら発願した大仏造立でありながら転々と遷都を繰り返している。
しかしこういう「工業発展」の取り組みがその後の日本社会の高度化に
どれほどの貢献をしたか、計り知れないものがあると思う。

English version⬇

[Overcoming Amalgam Poisoning and Plating the Great Buddha Asuka Historical Testimony-8
The mixture of gold and mercury struck the workers as pollution. The “Jingo-no-Kokoku” of hardship. Emperor Shomu must have been deeply distressed. …

One way to end the Asuka period was the opening and construction of the Great Buddha at Todaiji Temple.
The great statue of Buddha at Todaiji Temple was the end of the Asuka period.
The major pillar that served as the basis of the common illusion of the nation of Japan was the idea of a “shin-governed state.
The main pillar of the Japanese nation, the basis of its common illusion, was the idea of a nation that would protect and defend the nation.
The idea was completed with the construction of the Todaiji Temple in Nara, which served as the center of the nation.
Furthermore, the core of this national policy was probably the Great Buddha.
The reason why the Daibutsu was also built in Kamakura in the later period was because of the idea of the central axis as a warrior government, which was a different idea from the Ritsuryo State.
The reason why the Daibutsu was also built in Kamakura in the later period seems to be that it was considered as the central axis of the samurai government and followed the precedent.
The construction and gilding of the Great Buddha in Nara was an unimaginably large undertaking for the pioneer state.

Built in 752, it is the largest cast Buddha in Japan, the culmination of the best of the metal casting craftsmanship of the time, and is unparalleled in the world.
It is also unparalleled in the world. It is also a revelation to modern industrial technology.
In Japan, which has a humid climate, the Buddha was twice exposed to war and fire, yet has not experienced any corrosion.
It is said that this is due to the excellent “baking gold plating” technique used by the predecessors when the statue was built.
The Great Buddha was built by the great Buddhist priest Kuninaka Manamaro, grandson of the Baekje exile Kokkotomi.
The Great Buddha Master Kuninaka Manamaro, grandson of the Baekje exile Kunikotsufu, built the Great Buddha, and a total of more than 423,000 people, including the great castor Koichi Makoku, Koichi Manamaro’s retainers and technicians.
It took a total of 11 years, including 3 years for casting, 2 years for assembly, 6 years for finishing and lacquering, and 2.18 million workers.
It took a total of 11 years to complete the construction.
It is 16 meters high, 12 meters wide, and weighs 112.5 tons, and sits on a lotus throne.
The completion of the statue was celebrated with an opening ceremony on April 9, 752 (Tempyo-shoho 4).
The gilding and plating work is said to have been carried out over the next five years.
The gold was plated with 4,187 gold pieces and 25,134 gold pieces.
The 25,224 kyos of gold (4,187 kyos) dissolved in mercury to form an amalgam was applied to the body of the Buddha.
Gold and mercury were mixed in a ratio of 1:5 to make an amalgam.
After the amalgam gold plating process began, there was an epidemic of illness among those who worked in the gold plating industry.
The cause of this mysterious disease was precisely “mercury poisoning.
Kuninaka Koumaro, a great Buddhist priest, discovered that the poisoning was caused by inhaling evaporating mercury.
Together with the monk Ryoben of Todaiji Temple, he devised today’s poison gas masks to prevent the outbreak of the disease.
Scientific and technological progress is accompanied by pollution, which must be overcome before progress can be made.

In response to the critical world situation in East Asia with the emergence of the powerful Tang Dynasty
The history of this period, in which people desperately worked to build a modern state, comes vividly to the fore.
The Nara period is said to have been rife with plagues, earthquakes, and other disasters.
The pollution caused by the plating of the Great Buddha is considered to be the most serious disaster.
Emperor Shomu, who was troubled by the disaster, repeatedly relocated the capital from one place to another, even though he himself had initiated the construction of the Great Buddha.
However, it is difficult to say how much this kind of “industrial development” contributed to the subsequent advancement of Japanese society.
I think it is immeasurable how much these “industrial development” efforts contributed to the subsequent advancement of Japanese society.

Posted on 6月 28th, 2022 by 三木 奎吾
Filed under: 日本社会・文化研究, 歴史探訪 | No Comments »

博物館展示での楽しみは「時代考証」が見えるかたちで再現されること。
表面的な政治動乱などの様子は詳細に研究されるけれど、
一般民衆の「生き様」の部分というのはなかなか再現されない。
そんなことに着目するのはややフェッチなのでしょうか。
写真は奈良県立万葉文化館地下のジオラマ展示。
こういうのにゾッコンにさせられます（笑）。

このジオラマの設定は「歌垣〜うたがき・かがい」の場で
野菜や果物、青果を販売する老人と買い求める女性の様子。
驚かされるのは取引商品のうち、わかりやすい「リンゴ」「大根」の
大きさが現代とはまったく違って小型であること。
リンゴはほとんど栗くらいの木の実として表現されている。
これでは一口でまるごと口に収まってしまいそうで、
ちょっと歯ごたえに乏しいかも知れないけれど、
これはこれで面白い食感を楽しめそうだなと感じさせられる。
品種を特定できないけれど、柑橘類のようなものも販売されている。
大根も商売人の老人が手に取って紹介しているけれど、
これはニンジンか、と思えるほどのサイズ感。
１回大根おろしを作ったら、ほぼ１人前で消えて無くなるほどに
かわいらしい大きさ。あ、おろし金などは普及していないか。
小ぶりなので5-6本を束ねてセット販売されている。
家族単位での食用ではふつうこれくらいの取引だったとも思える。
となりに展示されている「長ネギ」も大根と大差ないので
ほとんど「薬味」としての食用利用だったことが偲ばれる。
この老人の店は青果専門の業容だけれど、魚類はもっぱら行商スタイルか。
内陸部の大和盆地には河川交通で運ばれたろうけれど、
こういう路面販売では鮮度維持の課題がながく問題だっただろう。
老人の脇には丈夫そうな麻袋が置かれていて、
このなかに販売用の青果が詰め込まれ、
店舗面を構成するムシロとセットで路面店舗が作られた。
ひとが集まる場に容易に出張ることができるので、
非常に「スーパー」なマーケットというように思える。
老人はこぼれるばかりの笑みを浮かべているけれど、
「営業」というイメージが強く立ち上ってくる。
初源的な商業行為をみるような気がしてくる。

一方で買う側の女性は背中に大きな編みカゴを背負い、
片手にもザルを持っている。
貨幣というものがまだまだ根付いてはいない時代、
購買にあたっても「物々交換」が基本だったことが推定され、
このように買い物もなかなか大変な肉体労働だったと思える。
一度こんな老人のお店で買い物をして見たい（笑）。

English version⬇

Food Culture and Ingredients at the Time of Manyo Asuka Historical Testimony-6
Trading fruits and vegetables in an exchange-type commerce. The V-sign is telling the price or inviting laughter? …

One of the pleasures of museum exhibits is that the “historical research” is reproduced in a visible form.
Although superficial political upheavals are studied in detail, the “way of life” of the general populace is not so easily reproduced.
but it is difficult to reproduce the “way of life” of ordinary people.
Is it a bit of a fetish to focus on such things?
The photo shows the diorama exhibit in the basement of the Nara Prefecture Complex of Manyo Culture Museum.
This is the kind of thing that makes me fall in love with it (laughs).

The setting of this diorama is a place of “Utagaki – song and music.
An old man sells vegetables, fruits, and produce, and a woman buys them.
What is surprising is that among the products traded, the sizes of “apples” and “radishes,” which are easy to understand, are very different from those of today.
The size of the apples and daikon radishes, which are easily recognizable, are quite different from those of today.
The apple is represented as a nut almost the size of a chestnut.
It seems as if it would fit in one’s mouth in one bite.
It may lack a little bit of crunchiness, but this is an interesting texture to enjoy.
However, it is an interesting texture to enjoy.
There are also some citrus-like fruits on sale, although I cannot identify the variety.
An old merchant holds up a daikon radish and introduces it to us, but we can’t help but wonder if it is a carrot.
They are so big that one might think, “Is this a carrot?
After one serving of grated daikon, it would be gone in about one serving.
It is a cute size. I wonder if grating machines are widely used in Japan.
Since they are small, they are sold in sets of 5-6 daikon grated in bundles.
I think this is how much they were usually sold for family use.
The “long green onions” displayed next to them are not much different from daikon radish.
It is remembered that they were mostly used as “condiments” for food.
The old man’s store specializes in fruits and vegetables, but fish is sold exclusively by hawkers.
Fish would have been transported to the inland Yamato Basin by river transportation, but this kind of street sales would not be able to maintain freshness.
However, the issue of maintaining freshness must have been a problem for this type of street vendor.
Beside the old man was a sturdy-looking jute bag.
The old man was flanked by sturdy burlap sacks, into which produce for sale was packed.
The street-level store was built in combination with the mushiro that made up the store’s facade.
The storefront was built in combination with the mushiros that made up the store’s surface.
It seems to be a very “super” market, as it can easily go to places where people gather.
The old man is all smiles, but the image of “sales” stands out strongly.
The image of “sales” rises strongly.
It is as if we are witnessing a primordial commercial act.

On the other hand, the woman on the buying side carries a large woven basket on her back and a colander in one hand.
On the other hand, the woman on the buying side carries a large woven basket on her back and a colander in one hand.
This was a time when money had not yet taken root.
It is presumed that “barter” was the basic method of purchasing goods.
Shopping was also a very hard physical labor.
I would like to shop at such an old man’s store once (laugh).

Posted on 6月 26th, 2022 by 三木 奎吾
Filed under: 未分類 | No Comments »

きのうは飛鳥大仏という具体的な金属加工芸術品とその生産を考えた。
文明が進歩発展していくということは
めずらしきもの、キラキラしたるものが起爆力として先導していく。
日本国家の始原期・飛鳥の時代において「近代化思想」は仏教が先導役。
八百万の自然崇拝型の民のこころに「刺さる」ものとして
極限的には仏像であるとか、金属加工物が果たした役割は計り知れない。
列島各地域に八百万として存在した地域権力に対して
中央権力機構としてかれらを支配し服従させるのに、金属加工の技術力は
即物的なパワーとして機能したに違いない。
各地域の権力者にしても、自らの正統性を誇示するには
中央王権との強固な結びつきを目にもあきらかにすることは
必需的な動機形成だったことだろう。

写真は池工房遺跡の上に建つ奈良県立万葉万葉文化館展示から。
飛鳥池工房遺跡からは金の粒と金箔、銀片などと
金や銀を溶かしたとみられる坩堝が見つかり金銀の加工が確認された。
玉とされた「ガラス」類も出土している。

出土状況から多量の金銀の扱いが推定される。
「銀も黄金も玉もなにせむに、勝れる宝、子に及〜しかめやも」
有名な山上憶良の歌は飛鳥で身近に生産される工程を見ていた証拠か。
当時金は国内からは産出されず、朝鮮を経てもたらされていた。
銀については国産の可能性もある。
日本で鉄器は弥生時代から使われ始めた。大陸・半島からの伝来。
古墳時代には全国的に普及していた。
水田耕作は最初期は「芦原の中津」を探して造作していったのだろうけれど、
徐々にそうした自然状態の最適地は探し尽くされ、
その後は鉄器による開墾と土木が不可欠な土地に用地を拡大したのだろう。
そうするとより強力なスキ・クワの類が必需品化していった。
飛鳥池工房での鉄製品のなかでいちばん多く出土するのはクギ。
ほかにはカスガイ、ノミ、タガネ、刀子など建築の基本材料。
それまでの木繊維での編み上げ結束工法の限界を超える接合部の
補強金物の出現で建築の大型化、多層化が実現していった。
列島内で鉄が生産されなかったことから、朝鮮半島での利権維持が
列島王権の不可欠な「生命線」になって、やがて白村江出兵のような
直接的関与の伏線動機になっていく。
その後、山陰地方で鉄鉱山が開発されるようになって
全国各地で鉱脈が発見され、同時に海に囲まれた大量の森林資源が
鉄生産に不可欠なバイオマス資源として活用されていく。以降、
江戸末期までにはほぼ全国の山は「ハゲ山」と化すほどに開発された。
江戸幕府は頻繁に「留め山」のような森林保護令を発している。
結局はこうした資源エネルギーの推移が日本史の主役とも言える。

このことは人類史全般でもまったく同様。
列島社会では建築は石ではなく木造で発展していくことになるが、
奈良期の建築の大型化、大量化は資源の枯渇を招き
鎌倉初期の奈良大仏殿再建工事では山口県地方まで良材を求めたりしている。
飛鳥池工房はこうした日本の金属加工・工業そして建築の起点として
始原期の状況を生々しく伝えてくれている。

English version⬇

Asuka Historical Testimony – 5] “Blacksmithing Workshop,” a Technological Force at the Beginning of the Nation
Metalworking “industrialization” was essential for a nation to grow into an archipelagic society. Resources and energy are the universal historical factors of mankind. …

Yesterday, I considered the Asuka Great Buddha, a concrete metalworking artifact and its production.
The progress and development of a civilization is
The progress and development of a civilization is driven by something unusual and sparkling as a catalyst.
In the Asuka period, the original period of the Japanese nation, Buddhism played a leading role in the “modernization idea.
Buddhism was the one that “stuck” in the hearts of the 8 million nature-worshipping peoples.
In the extreme, the role played by Buddhist statues and metalwork is immeasurable.
In contrast to the local power that existed in each region of the archipelago as eight million people, the central power structure
The technical power of metalworking functioned as an immediate power to control and subjugate them as a central power structure.
The metalworking technology must have functioned as an immediate power to control and subjugate them as a central power structure.
In order to show off their legitimacy, the local authorities had to
It was a necessary incentive for each regional power to make its strong ties to the central
This must have been a necessary motive.

The photo is from the exhibition at the Nara Prefecture Complex of Manyo Man’yo Culture Museum, which stands on top of the Ikegakobo site.
From the Asuka Pond Studio site, gold grains, gold leaf, silver fragments, and other items that appear to have been melted down into gold and silver were found.
The crucible in which the gold and silver were melted was found at the Asuka Pond Studio site, confirming the processing of gold and silver.
Glass, which was thought to be jade, was also excavated.

The excavation of the crucibles suggests that a large amount of gold and silver was handled.
What is silver, gold, and jade, but a treasure so great, that it may be passed on to a child?
This famous poem by Yamakami Imura may be evidence that he was familiar with the production process in Asuka.
At that time, gold was not produced domestically, but was brought to Japan via Korea.
Silver may have been domestically produced.
Ironware began to be used in Japan from the Yayoi period. They were introduced from the continent and peninsula.
They were widespread throughout the country during the Kofun period.
Paddy field cultivation probably started in the beginning by looking for “Ashiwara no Nakatsu” (the middle of Ashiwara).
Gradually, the best sites in such natural conditions were exhausted.
After that, the land was expanded to areas where cultivation and civil engineering with iron tools were indispensable.
As they did so, more powerful skis and spears became a necessity.
Among the iron artifacts excavated at the Asukaike workshop, the most frequently found item was a spike.
Other basic building materials include kasugai, chisels, taganes, and sword hammers.
The emergence of reinforcing hardware for joints, which exceeded the limits of the previous method of weaving and binding wood fibers, led to the development of the construction method.
The emergence of reinforcing hardware for joints that exceeded the limits of the wood-fiber weave-and-bind method led to the realization of larger, multi-layered buildings.
Since iron was not produced in the archipelago, the maintenance of interests on the Korean peninsula was an essential “life force” for the kingship of the archipelago.
This became an indispensable “lifeline” for the royalty in the archipelago, and eventually became a foreshadowing motive for direct involvement, such as the invasion of the Hakuchon River.
This became a foreshadowing motive for direct involvement.
Later, iron mines began to be developed in the San’in region, and
The discovery of mineral deposits in various parts of the country, and at the same time, the large amount of forest resources surrounded by the sea
biomass resources essential for iron production. Since then
By the end of the Edo period, almost all the mountains in the country were developed to the extent that they were turned into “bald mountains.
The Edo Shogunate frequently issued decrees to protect forests, such as the “Maeyama (mountain retaining)” ordinance.
In the end, these resource-energy transitions can be said to have played a leading role in Japanese history.

The same is true of human history in general.
In archipelagic societies, architecture developed not from stone but from wood.
However, the increasing size and mass production of architecture during the Nara period led to the depletion of natural resources, and the development of wooden architecture in the early Kamakura period led to the development of the Great Buddha in Nara.
The large size and mass production of buildings during the Nara period (710-794) led to the depletion of resources, and the reconstruction of the Great Buddha Hall in Nara in the early Kamakura period (1185-1333) required the use of timber from Yamaguchi Prefecture.
Asuka Ike Kobo is the starting point of metalworking, industry, and architecture in Japan.
The Asuka Pond Studio vividly conveys the conditions of the early days of metalworking, industry, and architecture in Japan.

Posted on 6月 24th, 2022 by 三木 奎吾
Filed under: 日本社会・文化研究, 歴史探訪 | No Comments »

聖徳太子絵伝とは聖徳太子一代の伝記を絵画化したもの。
古くは奈良後期に四天王寺絵堂に太子絵伝の壁画があったことが文献からわかる。
現存中最古の遺品は1069年旧法隆寺絵殿の障子絵（国宝。東京国立博物館）で、
秦致真(はたのちしん)の作と知られる。後世の補修が何度か加えられているが、
画面構成や図様は当初の模様を伝え、平安時代の作者・制作年の明らかな遺品。
鎌倉時代以降、太子信仰隆盛とともに絵巻や掛幅などに数多くの絵伝がつくられた。
で、わたしが見たのはこの飛鳥寺での寺宝の陳列。
タイトルとして「推古天皇の勅命を奉じ仏像制作に励む鞍作止利」とある。
画像から見るとこの飛鳥寺の本尊、飛鳥大仏とは別だと思われる。
法隆寺にも伝鞍作止利作という国宝作品があり、
一連のかれの作品の内のどれかをモデルとしたものでしょう。
この制作過程では木彫工程が描かれていて、金属製の大仏制作工程の
前段階の様子をわかりやすく見せたものなのでしょうか。

日本社会で「メディア」というものはこのような宗教関連事跡を
多くの民人に「広報普及させる」目的で創始されていった。
聖徳太子信仰という草の根的な「民衆文化」の成立には
このような絵伝、あるいは寺の「縁起もの」が大きな役割を果たしたのだろう。
その延長線上で大好きな「鳥獣戯画」のようなファンタジーを
日本文化は生み出した。すばらしい。
日本で統一国家を生成させるには仏教の普及が大きな役割を果たしたが
民衆に対しての普及啓発手段としてこういうメディアは
きわめて独自の発展を遂げてきたのではないだろうか。
国家の始原の様子をいまに伝えてくれる飛鳥の地からすでに
こういう文化がスタートしていった様子がわかるのだと思う。
仏教普及という大きなテーマに基づいた広報の営為だけれど、
その表現手法に於いて、鳥獣戯画のような突き抜けた独創性の発露も出現する。
他国の文化に比較して日本文化の独自性のルーツがこういった形式だろう。
各寺院がまるで競争するように、こういう広報メディア戦略を推進し、
時代を超えて進化発展を繰り返してきた。

メディアという存在に長く携わり、自分で創始もした経験からすると
常に「もっとわかりやすく、先人を越えていきたい」という
目的意識に導かれていると感じさせられる。
そういうはるかな道程のいまを自分は生きていて、
やがてのちの人々にバトンを渡していくのだとも強く感じる。
この絵伝に描かれた木の職人さんたちの姿と、
それを描いた絵師さんたちの営為を思い浮かべて湧き上がるものがある。

English version⬇

Asuka Historical Testimony-3: The Biography of Prince Shotoku – The Beginning of Japanese Media
Japanese media was born and developed from the spread of Buddhism, which formed the foundation of a unified nation. The following is a brief look at the future of this far-reaching culture. …

Shotoku Taishi E biography is a pictorial biography of the life of Shotoku Taishi.
Literature shows that there was a wall painting of the Taishi picture biography in the picture hall of Shitennoji Temple in the late Nara period (710-794).
The oldest surviving copy is a 1069 shoji-e (sliding door picture) from the former Horyu-ji Temple Picture Hall (National Treasure, kept at the Tokyo National Museum). (National Treasure, kept at the Tokyo National Museum).
It is known to be the work of Hata Chishin. Although repairs have been made several times in later periods
Although several repairs have been made in later periods, the composition of the screen and the design convey the original pattern, and it is valuable as an artifact of the Heian period with a clear author and date of production.
Since the Kamakura period (1185-1333), with the rise of the Taishi faith, many picture scrolls and hanging scrolls have been produced.
I saw this display of temple treasures at Asuka-ji Temple.
The title of the display is “Kurusaku Tadatoshi, who devoted himself to the creation of Buddhist statues at the behest of Emperor Suiko.
From the image, it seems that this is a different statue from the Asuka Daibutsu, the main statue of Asukadera Temple.
Horyuji Temple also has a National Treasure called “Den Kuramasaku Toritoshi” (by Kuramasaku Toritoshi), which is a model of a series of his works.
It is likely modeled after one of his works in the series.
This work depicts the process of wood carving, and clearly shows the preliminary stage of the production process of the metal statue of the Daibutsu.
This work may be an easy-to-understand representation of the preliminary stages in the process of making the metal statue of the Great Buddha.

In Japanese society, the “media” are used to “publicize and disseminate” religious sites such as this to a large number of people.
The “media” in Japanese society was created for the purpose of “publicizing and disseminating” such religious events to a large number of people.
The establishment of a grass-roots “popular culture” of belief in Prince Shotoku was
Such pictorial traditions and temple “lucky charms” must have played a major role in the establishment of the grassroots “popular culture” of Prince Shotoku’s faith.
As an extension of this, Japanese culture produced fantasies such as the “Birds and Beasts Caricatures,” which are a favorite of mine.
Japanese culture has produced fantasies like my favorite “Birds and Beasts Caricatures”. It is wonderful.
The spread of Buddhism played a major role in the creation of a unified nation in Japan.
As a means of spreading awareness among the people, this type of media has developed quite uniquely, hasn’t it?
This kind of media as a means of spreading awareness among the people has developed in its own unique way.
We can already see how this kind of culture started in Asuka, which tells us about the origin of the nation.
The Asuka period, which tells us the origin of the nation, was already the start of this kind of culture.
Although it is a public relations activity based on the major theme of spreading Buddhism
In the method of expression, however, there are also some outlandishly original works such as Birds, Beasts, and Caricatures.
This form of expression is the root of the uniqueness of Japanese culture compared to other cultures.
Temples have been promoting this kind of publicity media strategy as if they were competing with each other, and have continued to evolve and develop over time.
The media has evolved and developed over the ages.

Having been involved in the media for a long time and having created it myself
I have always felt that I am guided by a sense of purpose to “make it easier to understand and surpass our predecessors.
I feel that I am always guided by a sense of purpose, “I want to make things easier to understand and surpass my predecessors.
I am living in the present moment of such a long journey, and I hope to pass the baton to those who will come after me.
I strongly feel that I am living in the present moment of such a long journey, and that I will eventually pass the baton to those who come after me.
The wooden craftsmen depicted in this pictorial biography and the artists who drew them.
I feel something welling up when I think of the wooden craftsmen depicted in this pictorial biography and the activities of the artists who painted them.

Posted on 6月 22nd, 2022 by 三木 奎吾
Filed under: 住宅マーケティング, 日本社会・文化研究 | No Comments »