さて今週はわたし自身の環境が大きく変わったことで、その節目としてのさまざまな整理整頓が続いています。が、ブログとしては徐々に通常の「人と住まい」というテーマでの深掘りに復帰したいと思います。
長年住宅の取材にベースを置いて生きてきたので、習いが「性」になったのでしょうけれど、建築としての住宅とその住まい手との相関関係ということが基本的な興味分野なのですね。通常の雑誌的な住宅取材で経験してきたことの体験記憶がもとにあって、そこから住まい手の生き方、暮らし方に興味が深まっていく。
そんな経験をしてきて、いろいろな機会を捉えて全国の住空間を見ることがライフワーク化している。
これまではメディア企業としての運営・活動がメインだったわけですが、今回の環境変化からもうちょっと自由度を高めて、この個人的な興味分野を掘り下げていきたいと思っています。よろしく。
で、きょうから芥川龍之介篇であります（笑）。たまたま以前に千葉県の九十九里・一宮周辺に行ったことがあり、この芥川荘の存在を知った次第。上の芥川龍之介の写真は出典：国立国会図書館「近代日本人の肖像」 (https://www.ndl.go.jp/portrait/)より。
芥川龍之介という作家はまるで近代以降の日本を代表する存在。わたしも小中学校の頃に教科書でその作品に慣れ親しんだ経験がある。明治になってそれまでの分権的な封建支配体制から中央集権的体制に変わっていって、日本語自体が「統一」されるようになって、いろいろな「文豪」が輩出してくる。共通言語を作って行く過程でこういう「文化革命」があったのでしょう。そういうなかでもひとりの天才的体現者として芥川さんは登場した。
かれが東大に入学し作家活動を始めて以降、明治の気風の中で「日本言語文化草創」の中心的な存在として東大の教職にも就いていた夏目漱石は、芥川を激賞して引き立てたとされている。


その彗星のような芥川25才の夏、かれは当時ようやく鉄道路線が東京から延伸してきて「観光地」化しはじめてきていた九十九里の一宮館の浜辺の離れに逗留して作品創作活動に明け暮れていた。そして後に夫人となる「文ちゃん」に長文のラブレターを書いたのだそうです（笑）。25才の若々しい男性の率直な恋心。写真の石碑にその状況が語られているので参照ください。
房総九十九里という、いかにも天地の生命力が感受される土地で、当時の日本文学界の期待の星であった芥川が恋文というその率直な思いを綴った庵のような空間。鴨長明が方丈記を書いたとされる「方丈の庵」のような建築と言語表現との関係を彷彿とさせるのですね。ちなみに方丈とはもともと1丈4方の建物という意味。
人と住まいの相関性の探究という意味で強い印象を受けていた次第。ということで写真もそこそこあるので、追体験的にシリーズでまとめます。いちばん上の芥川さんの写真は、その背景とか年齢の感じとか、この芥川荘での執筆当時の雰囲気とも似つかわしい。

English version⬇

Ryunosuke Akutagawa wrote a love letter to his wife at “Akutagawa-so” in Kujukuri.
To delve into the basic theme of people and their homes, a person known to everyone is an excellent subject. The space where Ryunosuke Akutagawa wrote his blatant love letters to his wife. The space for writing Akutagawa Ryunosuke’s blatant love letter.

This week, I have been going through a series of organizational changes to mark the milestone of a major change in my own environment. However, as a blog, I would like to gradually return to my usual in-depth exploration of the theme of “people and housing.
I have been covering housing for many years, so I guess my habits have become my “nature,” but my basic area of interest is the correlation between the house as architecture and its inhabitants. My interest in housing as architecture and its inhabitants is based on my memories of the experiences I have had in covering housing in the usual magazine style, and from there my interest in the way of life of the inhabitants and their way of living has deepened.
Through these experiences, I have made it my life’s work to take various opportunities to look at living spaces across the country.
So far, our main operation and activities have been as a media company, but from this change in environment, I would like to have a little more freedom to delve into this personal area of interest. Best regards.
And so, starting today, I am going to start with the Ryunosuke Akutagawa chapter (laughs). I happened to have visited the Kujukuri/Ichinomiya area in Chiba Prefecture before and learned of the existence of this Akutagawa-so. The above photo of Ryunosuke Akutagawa is from the National Diet Library’s “Portraits of Modern Japanese” (https://www.ndl.go.jp/portrait/).
Ryunosuke Akutagawa is one of the most famous Japanese writers of the post-modern era. I too became familiar with his works through textbooks when I was in elementary and junior high school. In the Meiji era (1868-1912), the Japanese language itself became “unified” as a result of the shift from a decentralized feudalistic system to a centralized system, and a variety of “literary giants” were produced. There must have been a “cultural revolution” in the process of creating a common language. Akutagawa emerged as the embodiment of one of these geniuses.
After Akutagawa entered the University of Tokyo and began his writing career, Natsume Soseki, who was a central figure in the “pioneering of Japanese language and culture” during the Meiji era, and who was also a teacher at the University of Tokyo, is said to have highly praised Akutagawa and praised him highly.

In the summer of that comet-like summer of Akutagawa’s 25th year, he spent all his time creating his works by staying at a remote house on the beach at Ichinomiya-kan in Kujukuri, which was then beginning to become a “tourist spot” with the extension of railroad lines from Tokyo. He wrote a long love letter to “Fumi-chan,” who later became his wife (laugh). 25-year-old young man’s frank love. Please refer to the stone monument in the photo that tells the story of the situation.
In Boso Kujukuri, a place where the life force of heaven and earth can be felt, Akutagawa, who was a promising star in the Japanese literary world at that time, wrote a love letter, a space like a hermitage where he wrote his frank thoughts. It is reminiscent of the relationship between architecture and linguistic expression, as in the “Hojo no Han” where Kamo Chomei is said to have written his Hojo Ki. Hojo, by the way, originally meant a building of one length and four sides.
In the sense of exploring the correlation between people and their homes, I had a strong impression of this building. So, since I have some photos, I will summarize them in a series as a vicarious experience. The photo of Mr. Akutagawa at the top of this page is very similar to the atmosphere of Akutagawa-so, in terms of background and age.

Posted on 10月 6th, 2023 by 三木 奎吾
Filed under: 住宅取材＆ウラ話, 日本社会・文化研究 | No Comments »

きのうまででわたし自身の環境変化の外的な部分が一段落。このブログで書いたことで住宅専門メディアさん（新建ハウジング・デジタル）が着目されて、夕方になって記事掲載許諾の申し出があったりしました。いいですよ、と言ったら折り返しで電話インタビューとかまでされて、写真提供の依頼までありました。
さてどんな掲載になるのか、ちょっと不安（笑）。でもまぁそうやって取り上げていただければ衆知も進むのでたいへんありがたいと思っています。
ということで本日からは平常運転ブログに復帰したいのですが（笑）まだ、ちょっと意識の上では十分な平常心に復帰していません。徐々に時間をかけて「連載もの」などに戻りたいと思っています。

上の写真は先日、東京千代田区北の丸公園の東京近代美術館で開催されていた「ガウディ」展での「撮影OK」の展示から。ザグラダファミリアの内観と空撮の様子です。
世界の公共の美術館・博物館では写真撮影についてはほぼオープンというケースが圧倒的。人類が培ってきた知的蓄積は公共財であり、自由に公開されることでその命が永遠のものになる、という意識が大きい。
最近日本でもこういう意識が強くなってきたのか、公共の博物館・美術館展示でオープン化の動きが加速してきています。しかし、一部の展示については従来通り非許諾のゾーンもある。このガウディ展でも、メインのザグラダファミリアコーナーに至って、撮影OKになっていました。ユーザー側からすると個人としての体験を整理整頓することにもなって、たいへん有意義。
不思議なもので、人間は「忘却力」のほうがはるかに優越するので、一回見た経験だけでは印章が弱くなってしまう。追体験とその整理整頓があると、経験したことが非常に重層化できるものだと思います。
とくに美術品とか絵画のようなものは繰り返し追体験して「味読」するもの。一回見ただけでは気付かないディテールが、繰り返して見ることでさまざまな側面からの把握が深まっていく。一期一会の真剣勝負もいいけれど、すべてがそれでは深みに至らない。
こういう「公開化」の動き、非常に喜ばしいと感じております。

さきほども書きましたが、新建ハウジング・デジタルの記事がどのようにまとめられるのか、興味を持っています。ブログは早朝アップしていますので間に合いませんが、もし確認したらそれについて、明日以降、触れていきたいと思います。

English version⬇

Trends in Permission for Photography at Public Museums and Galleries
In response to an article I wrote yesterday, I received an introductory article from the media. I appreciate the information disclosure. On the other hand, what is the current state of information disclosure for works of art, etc.? …

Until yesterday, the external part of my own environmental changes had come to an end. A media company specializing in housing (Shinken Housing Digital) took notice of what I wrote in this blog, and in the evening they offered me permission to publish an article about it. When I said yes, they called me back for a phone interview, and even asked me to provide photos.
I was a bit nervous about how the article would be published (laugh). But I am very grateful for the publicity, as it will help spread the word.
So, I would like to return to normal blogging today, but I am not yet fully conscious of my normal state of mind (laugh). I would like to take some time to gradually get back to “serialized stuff” and the like.

The photo above is from the “photography OK” exhibit at the “Gaudi” exhibition at the Museum of Modern Art, Tokyo in Kitanomaru Park, Chiyoda-ku, Tokyo the other day. This is an interior view of the Zagrada Familia and an aerial view.
In the overwhelming majority of cases, public museums and galleries around the world are almost always open to photography. There is a great awareness that the intellectual accumulation that mankind has cultivated is public property, and that its life is eternal when it is freely disclosed to the public.
Recently, this awareness has become stronger in Japan as well, and the movement toward openness in public museum and art museum exhibitions is accelerating. However, there are still some zones that are non-permitted as before for some exhibitions. Even in this Gaudi exhibition, when it came to the main Zagrada Familia corner, photography was allowed. From the user’s point of view, this is very meaningful as it helps to organize the experience as an individual.
Strangely enough, since human beings are far superior to “forgetfulness,” the seal is weakened by the experience of seeing it only once. When there is reliving and organizing of the experience, the experience can be very multi-layered.
Especially with things like art or paintings, you have to repeatedly relive and “taste” them. Details that you don’t notice just by looking at it once can be grasped from various aspects through repeated viewings. While it is good to have a serious one-time-only encounter, that does not lead to a deeper understanding of everything.
I am very pleased to see this trend toward “openness” in the industry.

As I mentioned earlier, I am interested to see how the articles of Shinken Housing Digital will be compiled. I will not be able to make it since my blog is up early in the morning, but if I confirm it, I will mention it from tomorrow onward.

Posted on 10月 4th, 2023 by 三木 奎吾
Filed under: 住宅マーケティング | No Comments »

さて本日は10月２日。弊社とわたし自身についてお知らせがあるのですが、本日付で仕事関係のみなさまに正式に封書でのお知らせが届きますので、ブログ上での報告は明日にいたします。なにとぞご了承ください。
そういうことから先週末に東京出張していたのですが、象徴っぽく本日ブログは東京駅駅舎について。
東京駅には1988年開設の「東京ステーションギャラリー」という美術館があります。皇居に向かって右側の煉瓦塔状建築内部に作られています。出張の起点・終点になりやすい東京駅なのでこういった美術館は格好の時間調整になっております。
また、わが家も煉瓦を使っているので、この東京駅のノスタルジーを大切にする姿勢には共感を感じています。展示の途中で煉瓦階段室を経由する動線になっているのですが、美術展示と共にこの階段室に滞留している時間が数寄であります。明治の創建時のときの工事の工夫などがわかって、興味深い。
建築は人びとの記憶に強く働きかける営為。その痕跡は味わい深く空気を伝えている。
上の写真は〜東京駅創建時の杭基礎「松丸太」〜と名付けられた説明パネルの写真。その「松丸太」実物はこちらの写真です。

「松丸太」という呼称は1914年の東京駅創建後にまとめられた工事記録「東京停車場建築工事報告」によるのだそうです。この記録によれば松丸太は青森大林區署（現在の青森森林管理署）から購入し直径21cm以上、長さは地質に応じて約5.5mから7mが用意され、およそ3.7m掘り下げられた地面に蒸気杭打機によって等間隔に埋めた（総数11,050本)。杭の上にはコンクリート、花岡岩の石材、レンガを積んで建物の基礎としそこに鉄骨の柱が建てられた。
おお、であります。当時は汽車ネットワークはできていたとはいえ、遠く青森から日本の玄関口になる東京駅のそれも「基礎」になる材木丸太が搬送され、土台を支えたということ。いちばん上の写真は、1909年２月に撮影された東京駅基礎工事の様子。ここに１万本を超える大口径松丸太が打ち込まれた。ニョッキと立っているのが「蒸気杭打機」だと推測できます。
そして2007年から2012年にかけて行われた東京駅丸の内駅舎保存・復原工事の主な目的は、駅舎を創建当時の姿に戻すことと建物の「免震化」。地下に免震層をつくるためこれら明治時代の基礎は撤去された。切断して掘り出された松丸太は腐食もなく良好な状態だったそうです。
過去から未来へ、日本の建築のひとつの象徴と感じさせていただきました。

English version⬇

The foundation of Tokyo Station in 1914, supported by Aomori pine timbers.
From the past to the future, Nippon is passed down from generation to generation. The construction history of Tokyo Station, the starting point of human flow. A total of more than 10,000 pine logs with a diameter of more than 21 cm were driven into the foundation piles. …

Today is October 2nd. I have an announcement to make about our company and myself, but I will not post it on this blog until tomorrow, as I will be sending a formal letter to all of my business associates as of today. Please understand.
As such, I was on a business trip to Tokyo last weekend, and symbolically, today’s blog is about the Tokyo Station building.
Tokyo Station is home to the Tokyo Station Gallery, which opened in 1988. It is located inside the brick tower building on the right side facing the Imperial Palace. Since Tokyo Station is often the starting and ending point of business trips, this kind of museum is a great place for me to adjust my time.
Also, as my house is made of bricks, I feel sympathy for the nostalgic attitude of Tokyo Station. The flow line of the exhibition takes visitors through the brick stairwells, and they spend a lot of time in these stairwells along with the art exhibits. It is interesting to learn about the ingenuity of the construction at the time of the building’s founding in the Meiji period.
Architecture is an activity that strongly affects people’s memories. The traces of the work are tasteful and convey the atmosphere of the building.
The photo above is a picture of an explanatory panel named “Matsumaruta,” a pile foundation at the time of Tokyo Station’s construction. The actual “pine log” is shown in this photo.

The name “Matsumaruta” comes from the construction record “Tokyo Station Construction Report” compiled after the construction of Tokyo Station in 1914. According to this record, pine logs were purchased from the Aomori Dairin District Office (present-day Aomori Forest Office), with diameters of 21 cm or more and lengths of approximately 5.5 to 7 m, depending on the geological conditions, and buried at equal intervals by a steam pile driving machine (total of 11,050 piles) in the ground dug approximately 3.7 m below the ground. Concrete, Hanaokaishi stone, and bricks were piled on top of the piles to form the foundation of the building, on which steel columns were erected.
Oh, and then, the train network was built at that time. Even though the train network was already in place at that time, the logs used for the “foundation” of Tokyo Station, the gateway to Japan, were transported from as far away as Aomori to support the foundation. The photo above shows the foundation of Tokyo Station taken in February 1909. More than 10,000 large-diameter pine logs were driven into the ground here. You can guess that the “steam pile-driver” is the one standing gnarled.
The main objectives of the preservation and restoration work of the Tokyo Station Marunouchi Station Building from 2007 to 2012 were to restore the station building to its original appearance and to “seismically isolate” the building. The Meiji-era foundations were removed to create a seismic isolation layer underground. The pine logs that were cut and dug out were in good condition with no corrosion.
From the past to the future, we were made to feel that this is one of the symbols of Japanese architecture.

Posted on 10月 2nd, 2023 by 三木 奎吾
Filed under: 日本社会・文化研究, 歴史探訪 | No Comments »

猛暑に明け暮れていたことしの夏。９月もいよいよ最終盤でありますが、札幌では朝晩には結構な冷気を感じるようになってきました。毎朝の散歩に出掛けるにも、ジャンパーを重ね着して出掛けています。
最近、道東の方で家畜襲撃の被害をもたらせていた高名なヒグマ個体、OSO18が駆除されたという情報が流れておりましたが、その後、仕留めた公務員職員でもある方に対して、その自宅にまでいやがらせの電話が多数かかってくるという、ありえない異常反応があったという。
それに対して北海道のX、twitterアカウントで「冷静に考えてください」というような意見を発出したところ、異例なまでにバズって、2000万くらいにまで反響数が伸びているとのこと。〜「OSO18」を駆除したハンターに「クマがかわいそう」の抗議相次ぐ ⇒ 北海道庁が声明「捕獲は地域の安全に欠かせないもの」〜
毎朝の散歩道の写真です。この場所、北海道神宮の神域鳥居にも近接していますが、ここにことしの春先にヒグマ出没情報があった。
当然ながら一般人としては、より注意深い対応を考えさせられました。散歩ルートをしばらくの間は変更してより安全な場所にしたり、一定期間の経過後に徐々に、あまり早朝ではない時間帯にずらすなどの対応を取ってきていました。
ヒグマたちの世代更新のスピードはわたしたちよりもはるかに早いので、いま現在のヒグマたちは人間社会への危険認識が非常に低下してきているのでしょう。人間の側からの「危険警告」があまりにもレベル低下すると野放図な越境行為が繰り返されるようになる。
自然にはさまざまな表情があり、過酷な面もある。そういうなかで共生していくのが人間社会というものだろうと思います。ヒグマとの共生も適正なレベルというものを考えて行かねばならない。人間社会として、危害を加える存在に対して防衛的反応をしっかり担保することは絶対に必要。その上で自然との「折り合い」をつけていくということなのだと思います。
そういう人間社会と自然との折り合いのために駆除ということはもっとも大事なルール発信でもある。類としてのヒグマに対して人間側の明確な意志を示すことなのです。かれらは賢い。人間社会からの警告はかれらにしっかりと伝わっていくのだと思います。

わたしたち人間は自然のいとなみのなかで生かされている。その中で人間社会の安全を担保するために、必要なルール作りは行っていかなければならないと思います。

English version⬇

[Hokkaido’s abundant nature and human society, the rules of coexistence
A response of slander from some people to a hunter who exterminated a dangerous brown bear OSO18. As a citizen of Hokkaido, I would like to ask you to “think calmly. …

This summer has been a hot and humid one, and although September is now in its final stage, it has become quite chilly in the mornings and evenings in Sapporo. Every morning, I put on a jumper when I go out for a walk.
Recently, information was circulating that OSO18, a highly renowned brown bear individual that had been causing damage from livestock attacks in the eastern part of Hokkaido, had been exterminated, but afterwards, the person who killed it, who is also a government employee, received numerous harassing phone calls even to his home, which was an impossible anomalous reaction.
In response to this, Hokkaido’s X, issued an opinion on its twitter account, saying, “Please think calmly,” and the buzz was unusually strong, with the number of responses growing to about 20 million.

This is a picture of the path I take every morning. This location is also in close proximity to the sacred torii gate of the Hokkaido Jingu Shrine, and there was information of a brown bear appearing here early this spring.
Naturally, as a member of the public, this made us think about taking more careful measures. We have been taking measures such as changing our walking routes to safer areas for a while and gradually shifting them to less early morning hours after a certain period of time.
The brown bears are renewing themselves at a much faster rate than we are, so they are becoming much less aware of the dangers of human society. If the level of “danger warning” on the part of humans declines too much, unrestrained cross-border activities will be repeated.
Nature has many faces and harsh aspects. I believe that human society should live in harmony with nature in such circumstances. We must consider the appropriate level of coexistence with brown bears. As a human society, it is absolutely necessary to ensure a defensive response to those who would harm us. On top of that, I believe that we must come to an “accommodation” with nature.
Extermination is the most important way of communicating rules to help human society and nature come to terms with each other. It is a clear statement of human will toward the brown bear as a species. They are smart. I believe that warnings from human society will be conveyed to them.

We human beings live in the midst of nature. In order to ensure the safety of human society, I believe that we must make the necessary rules.

Posted on 9月 30th, 2023 by 三木 奎吾
Filed under: 日本社会・文化研究 | No Comments »

これらの写真は特別展で示されていたアステカ文明の特徴を彩る造形作品たち。
わたしは少年期、マンガ少年を志していました。友人たちと作画にふけり、才能豊かな友人ともめぐり会って大いに刺激を受けてその文化領域の無限の可能性を感じていた。しかし父は「こんなポンチ絵は絶対ダメだ」「食っていけるわけがない」と描き溜めていたわたしの作品群をボイラー焼却した（泣）。
驚くとともに情けないことに半分は「そうだよな、これで食べて行くのは相当の困難だ」とも感じて、父を恨んだりすることはまったくなかった。漫画家になるということは素直にスッパリと諦めた後、今度は新左翼運動にのめり込んでいったので、親不孝については誰にも負けなかった。あ、いまはそういうのも無縁であります、一応念のため（笑）。しかし結局、住宅写真メディアというカタチで出版の領域で生きてきたことを考えると、少年期の「素志」が知らずに強く影響したとも思えています。
そして、一出版人という立場にもなってみて日本文化を考えて見るとやはり京都・高山寺に納められている鳥獣戯画という巨大な存在が民族の巨人として迫って来てならない。

こういう絵画・造形感覚というのが日本人の民族性の根幹に深く関わっていると思えてならないのです。
中国大陸や朝鮮半島などからは類縁性を感じるこうした文化は少ないなかで、太平洋を遠く隔てた古代メキシコ・アステカ文明の造形群には強い「つながり」感を持ってしまう。
いわば「かわいい」感の共感力のようなものが迫ってくる気分なのですね。
妄想ですが、やはり３万年前に東アジア弧状列島で、残る者と旅立つ者とに別れた人類的DNAが太平洋の両端で、叫び声のようにして共鳴し合っていると思われてならないのです。
たぶん現代に至って日本文化が世界性をより強烈に獲得していくとしたら、マンガ文化が最大のものになっていくと思われる。すでにフランスをはじめとしたヨーロッパには文化浸食を成功させ、また東アジア圏でも日本マンガ文化に帰依してくれている若者たちが増加している。言語で世界有数の難解言語の日本語というハンディを持ちながら、平明な英語以上にわかりやすいビジュアル表現力がマンガにはある。
古代メキシコの造形感覚からはいわば人類的な文化ルーツ感、共通性を感じさせられる。日本の鳥獣戯画の表現が作り出している観念世界と、よく似た感受性表現が、強く迫ってくる。
こうした精神性の部分というのはなかなか解析しにくい領域でしょうが、人間コミュニケーションというプラットホームと考えると、なにか解析の手掛かりはあるのではないでしょうか？表現とか感受性の領域での各民族間での「近似性」をぜひ科学的に解明して欲しい。

English version⬇

Aztec Forms vs. Birds, Beasts, and Caricatures: Manga Culture in Ancient Mexico – 11
I feel that ancient Mexico has something in common in the area of sensitivity and expressiveness. I think there is a commonality that can be uncovered by clarifying the motives for expression. I think there is something in common in the area of sensitivity and expressive power in ancient Mexico.

These photos are of the Aztec civilization’s distinctive artwork that was shown in the special exhibition.
When I was a boy, I wanted to be a cartoonist. I indulged in drawing with my friends and met some talented friends who stimulated me greatly and made me realize the limitless possibilities of this cultural realm. However, my father boiler-burned all of my paintings, saying, “This kind of ponchi-e is absolutely useless” and “There is no way I can make a living from it.
I was surprised, and halfway through, I thought to myself, “Of course, it will be very difficult to make a living doing this,” and I did not resent my father at all. After giving up the idea of becoming a cartoonist, I became involved in the New Left Movement, so I was no less filial than anyone else. I am not involved in such things now, just in case you are wondering (laughs). (laugh) But in the end, considering that I have been living in the field of publishing in the form of residential photographic media, I believe that my “ambition” in my boyhood had a strong influence on me without my knowing it.
And when I think about Japanese culture from the standpoint of a publisher, I cannot help but be reminded of the huge presence of the caricatures of birds and animals housed at Kozan-ji Temple in Kyoto as giants of the nation.

This sense of painting and modeling is deeply rooted in the ethnicity of the Japanese people.
While there are few similar cultures from the Chinese continent or the Korean peninsula, I feel a strong sense of “connection” with the ancient Mexican Aztec civilization, which is located far across the Pacific Ocean.
It is a kind of “cute” feeling of empathy that is pressing in on me, so to speak.
It is a delusion, but I cannot help but think that the human DNA that was split up 30,000 years ago between those who remained and those who departed from the East Asian archipelago is resonating with each other like a cry at both ends of the Pacific Ocean.
Perhaps if Japanese culture is to acquire a more intense global character in the modern era, manga culture will be the biggest one. We have already seen a successful cultural erosion in France and other European countries, and an increasing number of young people in the East Asian region are taking refuge in the Japanese manga culture. Despite the disadvantage of Japanese being one of the most difficult languages in the world to understand, manga has the power of visual expression that is easier to understand than plain English.
The ancient Mexican sense of form makes us feel a sense of cultural roots and commonality, so to speak, among human beings. The expression of sensitivity, similar to that of the conceptual world created by the Japanese caricatures of birds and animals, comes to us strongly.
This area of spirituality may be difficult to analyze, but if we consider it as a platform for human communication, there may be some clues to analyze. I would like to see a scientific clarification of the “similarity” between the various ethnic groups in the areas of expression and sensitivity.

Posted on 9月 28th, 2023 by 三木 奎吾
Filed under: 日本社会・文化研究, 歴史探訪 | No Comments »