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【好きです、坂東太郎（笑）】


その土地のことが肌身でわかる、理解できるひとつの象徴的なものとして、雲の様子というものがあるのではないかなぁと思っています。ヘンなんですが（笑）人間、子どもの時には、ごく天然で日々「雲と追いかけっこ」しながら毎日を過ごすのではないでしょうか。
あんまり科学的に捉えたことはないのですが、ググると以下のような答え。
〜①上昇気流のあるところで空気が上に持ち上げられる。②上空に持ち上げられた空気は冷やされる。
100メートルで約1℃ほど冷える。 ③ 冷やされると空気の中の水蒸気が水や氷の粒になって雲ができる。この水分が空気中の小さな「ちり」などの周りに集まり，水滴や氷の粒となる。この粒は0.02ｍｍから0.2mmと小さいけれど，これが集まって雲の形を作っている。〜
で、わたしは北海道生まれなので３才まで過ごしていた土地、一時期を除いて少年期から過ごしている札幌という「定点観測」の土地がある。幼年期の雲の記憶はそう強烈ではないけれど、それでもいっとき生まれ故郷に留まっていることがあると意識下の「なつかしさ」の機縁になっていたりする。
札幌は20-30kmほど離れている石狩川に添って雲が動いている様子が自然に記憶に刷り込まれている。北側の空に浮かんでいる雲たちがいろんな情報を語りかけてくれる存在だった。「嵐が来るぞ、暑くなるぞ」
そんな雲たちとの風土記憶を表現したコトバとして「坂東太郎」というコトバが好きです。

〜[1] (坂東にある第一の川の意) 関東地方を流れる利根川の異称。※随筆・東路記（1685年）江戸より日光へ行道の記「坂東第一の大河なり。故に此あたりの人は坂東太郎と云ふ」[2](利根川の方向に生ずるところから) 夏の白雲をいう。※物類称呼（1775年）一「なつのくも 江戸にて、坂東太郎と云ふ」〜
そもそも板東というのもヤマトタケルの東方遠征の時期に関東を振り返って見る「坂」の途上から東方を見たときの故事にちなんでいる古称とのこと。いかにも語感としてバンドウというのは、やんちゃな子どもの天然ぶりが表現されているようで、その地域性格がまんま板東武者という日本史の主導力にもなっていったのか。
利根川の暴れっぷりとも重なり、土地の空気感が雲のカタチとして表現されているかのよう。
東京では空が小さくなってきているので、あんまり実感できないけれど、広大な関東平野地形に来れば、夏の季節の表現として、視覚的に人のこころにまっすぐ突き刺さってくる。
写真は千葉の九十九里にほど近い場所で見上げていた光景。
関東平野に、広大無辺な太平洋から温度上昇した気団が吹き付けてきて、こうした海洋民族的光景・景観を生み出すのでしょう。広い平野部が日射を受けて気温上昇して水蒸気を上昇させ、関東地域らしい微細な土塊にからみついて結晶される。こうしたさまざまな風土条件が雲のカタチを生んでいくのでしょうね。
どうもはじめて見てから、ずっと好きであり続けています。告白でした（笑）。

English version⬇

[I like you, Taro Bando (laughs).
The vast Kanto Plain and the raging river, Tone River, and the naughty boys generated by the Pacific Ocean’s oceanic air mass rushing into it. Is it also a prime expression of the oceanic race? …

I think that one of the symbolic things that allows us to understand the local area firsthand is the appearance of clouds. I know it sounds strange (laugh), but I think that when we are children, we naturally spend our days “chasing after clouds”.
I have never really taken a scientific view of it, but a quick google search gave me the following answer.
~1) Air is lifted upward where there is an updraft. (2) Air lifted upward is cooled.
It cools about 1 degree Celsius at 100 meters. (3) As it cools, the water vapor in the air turns into water or ice particles and clouds form. This moisture collects around small “dust” in the air and forms water droplets and ice particles. These particles are as small as 0.02 mm to 0.2 mm, but they gather together to form clouds. 〜I was born in Hokkaido, Japan, so I am a native of Hokkaido, Japan.
I was born in Hokkaido, so I have a “fixed point of observation” in Sapporo, where I lived until I was 3 years old and where I have lived since I was a boy, except for a period of time. Although my childhood memories of clouds are not so strong, I still feel a sense of nostalgia when I stay in my birthplace for a while.
In Sapporo, the clouds moving along the Ishikari River, which is about 20 to 30 km away from the city, are naturally imprinted in my memory. Clouds floating in the northern sky were a source of various information. Storms are coming, it’s going to be hot.
I like the phrase “Bando Taro” as a phrase that expresses my climate memory with such clouds.

〜[1] (meaning “the first river in Bando”) A variant name for the Tone River, which flows through the Kanto region. Zuishu, Toji-ki (1685), an account of a journey from Edo to Nikko: “It is the first great river in Bando. It is the largest river in the Bando region, so people around here call it Bando Taro.”[2] (From its origin in the direction of the Tone River) A term for white clouds in summer. In the first place, the name “Bando” is also used to refer to the Yamatotake mushrooms, which are also called “yamatake” in Japanese.
Bando is also an ancient name that comes from the legend of Yamatotakeru’s expedition to the east, when he looked back to the Kanto region and saw the east from the “slope” of the hill. The word “Bando” seems to express the natural behavior of a mischievous child, and the local character of the area became the leading force in Japanese history, just as it was called “Bando Bussha.
The atmosphere of the land seems to be expressed in the form of clouds, which also overlap with the rampaging Tone River.
In Tokyo, the sky is getting smaller and smaller, so we cannot really feel it, but if we come to the vast Kanto Plain, it will visually pierce our hearts as an expression of the summer season.
The photo shows a view from a place near Kujukuri in Chiba.
The Kanto Plain is probably blown by air masses with rising temperatures from the vast and boundless Pacific Ocean, creating this kind of maritime ethnic scene and landscape. The broad plains receive solar radiation, which raises temperatures and raises water vapor, which crystallizes as it clings to the fine clumps of soil typical of the Kanto region. These various climatic conditions must give birth to the shape of the clouds.
Thanks, I have been in love with it ever since I saw it for the first time. That was a confession (laughs).

Posted on 9月 16th, 2023 by 三木 奎吾
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【明治期日本画の大家・橋本雅邦 旧岩崎邸探訪-12】



日本の絵の歴史は、文化一般がそうであるように有力者の邸宅や城郭などを飾る床の間の壁絵、ふすま絵、板絵などにその画業が遺される。権力を装飾するなかで文化性は継承されていくというのが人間の世のならい。芸術作品と建築とはつねに相関的な関係を保ってきたということなのでしょう。
この旧岩崎邸では明治期の日本画壇の巨匠とされる橋本雅邦の作品が描かれている。
橋本雅邦氏はアメリカの東洋美術史家・哲学者で明治時代に来日し日本美術を評価し、紹介に努めたアーネスト・フランシスコ・フェノロサや明治以降における日本美術概念の成立に寄与した岡倉天心などから高い評価を得ていたとされる。
東京芸大の前身である東京美術学校に奉職し、伝統絵画の近代化に大きな役割を果たしたとされる。門下には横山大観、川合玉堂、下村観山、菱田春草など多数の日本画家。
そうしたかれの画業でこの邸宅でのもっとも掉尾と思われるのは広間の床の間の壁絵と思うのですが、それは２番目の写真です。現状では富士山の山頂部と推認できる部位と、たぶん「波」の様子だろうと推測される部位が辛うじて識別されるような保存状態。
どうも下地と画面との相性がよくなかったのだろうか、このあたりは、この邸宅がたどったその後の歴史推移とも合わせて考えれば、やむを得なかった要因も推測できる。ただ、日本画もそのキャンパスは一般的に紙だろうと思うのですが、現状の様子を見るとそういうキャンバスの存在の様子は見られない。どうも視認的には壁の素材、塗り壁の上に直に岩絵の具で描画して行った可能性もありそう。あまり近寄れないように柵も置かれているので、仔細には確認もできませんでした。多くの旧岩崎邸の紹介でも「よくわからなかった」という評価が多く見られています。
一方、上のふすま絵は褪色はしているけれど、そこそこの保存状態。画家の筆使いなどをうかがい知ることができる。こういった歴史的な画業では高松塚古墳の壁画の例のように「保存」管理ということが非常に重要なのでしょうね。このあたりは建築の長寿命性とも相関してくる部分なので気に掛かります。


壁絵の隣には書院がやわらかい光源をたたえていますが、組子には「菱紋」をモチーフとして造形されている。こういったディテールまで重層的にデザインしていくことが、和の空間の日本人的美感に深く投影していくのでしょう。主役と助演者との微妙な掛け合いのような空気感が面白い。こういう静かな応答性が日本人は好きなのでしょうか。
洋館と対比させてみることになる和館の空気感はやはりまったく別の空間美。明治期のスタートからこういった二元的な感覚で日本人は生きてきたのでしょうね。

English version⬇

Exploring the Former Iwasaki Residence of Masakuni Hashimoto, a Japanese Painting Master of the Meiji Era – 12
A tie-up between Japanese architecture and Japanese painting. The fittings master also joined in this symphony of Japanese spatial beauty with various sensitivities. Japanese sukiya. Japanese Suki.

In the history of Japanese painting, as in the case of culture in general, the artwork is preserved in alcove wall paintings, fusuma-e (sliding doors), and board paintings that adorned the residences of powerful people and castles. It is the way of the human world that culture is inherited through the decoration of power. This is probably because works of art and architecture have always maintained a correlative relationship.
In this former Iwasaki residence, there are paintings by Gakuni Hashimoto, who is considered a master of the Japanese painting world in the Meiji period.
Masakuni Hashimoto was an American oriental art historian and philosopher who came to Japan during the Meiji period to evaluate and introduce Japanese art, and is said to have been highly regarded by Ernest Francisco Fenollosa and Tenshin Okakura, who helped establish the concept of Japanese art in the Meiji period and beyond.
He served at the Tokyo Fine Arts School, the predecessor of the Tokyo National University of Fine Arts and Music, and is said to have played a major role in the modernization of traditional painting. His students included Yokoyama Taikan, Kawai Gyokudo, Shimomura Kanzan, Hishida Shunso, and many other Japanese painters.
The wall painting in the alcove of the hall is considered to be the latter end of his painting career in this mansion. Fuji and a part of the “waves” can barely be discerned.
Perhaps the base of the painting was not a good match with the painting, but considering the historical transition of the mansion, we can assume that this was an unavoidable factor. However, although Japanese-style paintings generally use paper as their canvas, there is no indication of the existence of such a canvas when looking at the current state of the building. It seems possible that the paintings were painted directly on the wall material or painted wall with rock paints. Since a fence was placed so that visitors could not get too close to the house, we could not confirm the details. In many introductions to the former Iwasaki Residence, there are many who say that they could not understand it very well.
On the other hand, the fusuma painting above, although faded, is in a reasonably well-preserved condition. The artist’s brushwork, for example, can be seen. As in the case of the mural paintings in the Takamatsuzuka burial mound, “preservation” and management must be very important in this kind of historical painting work. This is an area that correlates with the longevity of architecture, so I am concerned about it.

Next to the wall painting, a shoin (a drawing room) is lit by a soft light source, and the “rhombus crest” motif is sculpted into the kumiko. This kind of multilayered design down to the smallest detail will be projected deeply into the Japanese aesthetic of the Japanese space. The air of subtle interaction between the leading and supporting actors is interesting. Do Japanese people like this kind of quiet responsiveness?
The atmosphere of the Japanese-style house in contrast to the Western-style house is a completely different kind of spatial beauty. I guess Japanese people have lived with this kind of dualistic sense since the start of the Meiji period.

Posted on 9月 15th, 2023 by 三木 奎吾
Filed under: 日本社会・文化研究 | No Comments »

【江戸期以来の豪壮な和のライフスタイル 旧岩崎邸探訪-11】



岩崎家の日常生活は、この「和館」で行われていた。江戸期の城郭建築などでも天守閣のような象徴建築の周囲に城主の日常生活が営まれる和風建築、それも甍を連ねてたくさんの居室が作られる平屋の巨大建築が建てられた。高層性は天守閣でその権力誇示の一要素として表現され、一方で日常の居室空間や政務のための空間はひたすら水平方向への広がりとして平屋の連続で建築され、２階建てのような発展の仕方はあまり見られない。それが最上級日本「住」建築の基本骨格だったのだと思える。維新によって明治の大富豪に上り詰めていった岩崎家でもそういう「伝統」が踏襲された。
畳という床の被覆材は日本独特の住文化の基盤なのでしょう。日本人の精神生活においてこの建材の素材感ほど深く染みわたっていったものは存在しない。よく幸せな死に方として「畳の上で死ぬ」という比喩表現がふつうに成立する。たぶん日本人は赤ん坊が立ち上がってはじめて足裏に感じる質感として、この畳建材の素材感が意識下にもあるのだろうと思う。
岩崎家でも上の写真の「広間」で一族の結婚式や冠婚葬祭が執り行われるなどしていた。床の間を背にして一族の弥栄を祝するというのが極めつけの日本住文化であったのだと思う。家系の安寧を末永く見守り続けるイエ建築のデザインとして、肌身に伝わってくるようなDNA感がそこにはある。
明治維新という大変革、武士階級の消滅という革命によってもこの意識は変わらなかったのでしょう。


その床の間付きの広間には書院や様式化した違い棚などが付設される。床柱・鴨居・長押・欄間・天井板などの部材には檜や杉の大木が使われている。書院造りを基調としたこうした広間、居室が旧岩崎邸の往時には全部で14室も連なっていたのだという。
それらは、敷地が占領軍によって接収されその後日本国家の施設群が建設されることによって順次縮小されていった。現在は合計４室になっているのだという。国の重要文化財指定された建築は洋館が主体で、こちらの和館はそれほど重視されなかったのだろうと推測する。このあたりの「価値判断基準」というものもかなり時代錯誤なのではないだろうか。ライフスタイルとしては接待用の「応接」機能と思える洋館よりも、はるかに魅力的なテーマをこの和館は提示してくれている。
高断熱高気密という住宅の性能革命がほぼ行き渡った北海道人としては、やがて住の興味分野は「暮らし方・生き方」に向かっていくのだろうと思う。現代人の普遍的ライフスタイルの注意深い検証と、その未来発展形を可能な限り見晴らしていく努力が必要不可欠なのではないかと思念している。
わたしたち現代人は江戸期までの日本社会とも、また明治期とも違う生態系を生み出してきているのだと思う。農家住宅のように日常の特定生産手段様式に準拠しそれを反映したライフスタイルに適合した住文化からは現代の日本人ははるかに隔絶している。
そうした未来形を探究していかねばならないけれど、明治の人びとのライフスタイルを伝えてくれているこの旧岩崎邸・和館からは、非常に面白い空気感が発出していると思える。

English version⬇

The former Iwasaki Residence, a grand Japanese lifestyle since the Edo period (1603-1868).
The Japanese-style wing, with a maximum of 14 rooms, was gradually reduced in size. On the other hand, the Western-style building is designated as an important cultural property. This may be the end of the line for exploring the Japanese lifestyle. The Japanese lifestyle

The daily life of the Iwasaki family was conducted in this “wakan. In the castle architecture of the Edo period, Japanese-style buildings, such as castle towers, were built around a symbolic structure such as a castle keep, where the daily life of the lord of the castle was conducted, and these were huge one-story buildings with many apartments built in a row of “Iraka” (roof tiles). The castle’s high-rise nature was expressed in the castle tower as one element of the display of power, while the spaces for daily living and government affairs were constructed as a series of single-story buildings, spreading out horizontally. This seems to have been the basic framework of the highest level of Japanese “residential” architecture. The Iwasaki family, which rose to great wealth during the Meiji Restoration, also followed this “tradition.
Tatami, a floor covering material, is probably the foundation of Japan’s unique housing culture. There is nothing more deeply ingrained in the spiritual life of the Japanese people than the materiality of this building material. It is common to use the metaphor “dying on tatami” as a happy way to die. Perhaps Japanese people are consciously aware of the texture of Tatami as a material that is felt under the soles of babies’ feet when they stand up.
In the Iwasaki family, family weddings, weddings, and funerals were held in the “hiroma” in the photo above. I believe that celebrating the prosperity of the family with the alcove in the background was an extremely important part of Japanese residential culture. The design of the house, which continues to protect the peace and prosperity of the family for many years to come, has a sense of DNA that can be felt in the body of the house.
The Meiji Restoration, the great revolution of the Meiji era, and the disappearance of the samurai class, probably did not change this awareness.

The hall with an alcove is furnished with a shoin-style drawing room and stylized shelves. Large cypress and cedar trees were used for the floor posts, Kamoi (gateway), nagishi (long beam), ranma (balustrade), and ceiling panels. The former Iwasaki residence was once home to a total of 14 such halls and living rooms based on the shoin-style architecture.
These rooms were gradually reduced in size as the occupying forces seized the property and built facilities for the Japanese state. The total number of rooms now stands at four. I assume that the buildings designated as national important cultural properties are mainly Western-style buildings, and that the Japanese-style building here was not given much importance. The “standard for judging value” in this area may also be quite anachronistic. This Japanese-style house presents a much more attractive theme than the Western-style house, which seems to have a “reception” function for entertaining as a lifestyle.
As people of Hokkaido, where the revolution in housing performance in the form of high thermal insulation and airtightness is almost complete, I believe that the interest in housing will soon move toward “ways of living” and “ways of life”. I believe that it is essential to carefully examine the universal lifestyles of modern people, and to make every possible effort to identify the future development of these lifestyles.
I believe that we modern people have created an ecosystem that is different from that of Japanese society up to the Edo period and from that of the Meiji period. The Japanese people of today are far removed from a housing culture that conforms to a lifestyle that reflects a specific mode of daily production, such as the farmhouse.
Although we must continue to explore such future forms, the former Iwasaki Residence and Japanese-style house, which conveys the lifestyle of the people of the Meiji period, seems to emit a very interesting atmosphere.

Posted on 9月 14th, 2023 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 »

【洋館から和のいごこちへの結界 旧岩崎邸探訪-10】



さてコテコテの西洋文化の木造建築デザイン空間から、三菱創業家の当主は普段着の世界に移動する。和館と名付けられた別棟に「帰っていく」のですね。この感覚についての推測はわたしの感じ方です。
この旧岩崎邸の探訪で、わたし的にもっとも惹かれていたのはこの「渡り」的な廊下空間。これから和館に移動する結界のような空間ですね。しかし、上の写真などからは幾何学的なふしぎな「還元」感、空間要素の単純化的なデザイン意図を感じる。
たしかに日本建築って言うのは面というよりは線の方を強調する美感世界なのでしょうか。まるでモンドリアンの絵画のようなふしぎな象徴性を感じさせてくれる。むしろ洋館よりもはるかに「モダン」を感じる。こういう空間設計はひょっとして英国人建築家・コンドルがデザインしたのではないかとも錯覚する。このあたりの調査は詳らかではないけれど、ふしぎと心に強く印象づけられている。
明治の人びとは、それまでの暮らし方の価値感から西洋の感覚・価値感を旺盛に受容した。同じ設計者のコンドルが設計した鹿鳴館などでは夜ごと、欧米的「社交」までが受容されてそれが「文明開化」として大車輪のように社会変革がされていった。
しかし、明治人の内面について考えてみる。明治国家が欧米文化を体得させるために前途有望な若者たちに２年間欧米渡航見学させたのだけれど、その体験者である夏目漱石が書き残した日記などからは、強い葛藤が伝わってくる。司馬遼太郎はそれを「明治の悲しさ」のように表現した。
たぶん時代の最先端を走っていた三菱創業家のひとびとも同様の心理を抱いたのではないか。
西洋近代の合理主義的な社会進化・発展の基本には同意して、その方向で日本社会は自己変革を旺盛に推進してきていた。しかし、かれらは江戸期までの日本人的ライフスタイル文化によって精神性を形成されていた人びとであることは間違いがない。花鳥風月的なものを耽美性としてこころの基底に持っている。


戦国期、大航海時代の西洋文明と接した後、まるで「文明の衝突」のような体験を経て、わびさび的な精神世界を作った日本人としては、この明治期の、ふたたびの西洋文明との正面からの対峙は、強烈な自己分裂を生んだのではないか。まるで心のバランスを取るように、平衡感覚を復元するかのように、和館は対置された。
ディテールまでコテコテに人工的な装飾性主体の洋館の空間デザインに対して、庭木と陽射しが生み出す微妙な「自然との対話」、花鳥風月的な感受性にこころを解き放っていた、と感じさせられるのですね。
さてさらに、この旧岩崎邸からもすでに130年近い時間経過後の北海道人としては、なんとも微妙（笑）。
北海道人は進んでこうした花鳥風月的な和室文化から離脱しつつある。いまや畳を敷いた部屋は北海道住宅から消滅しそうになっている。でも、畳の部屋はほぼなくなったけれど、北海道らしい外部景観との対話、いわば素肌で感じる花鳥風月的感覚は健在でもあると思っている。柔軟にこころが変容する日本人。・・・

English version⬇

The boundary from a Western-style house to a Japanese-style comfort Former IWAZAKI Residence Visit-10
The boundary to a Japanese space that feels simple and modern like a Mondrian painting. Kacho-fu-getsu is the motivation for nature interactive eco-friendly architecture. …

Now, from the wooden architectural design space of cottage Western culture, the head of Mitsubishi’s founding family moves to the world of everyday wear. He “returns” to the annex, named the Japanese-style building. My guess about this sensation is how I feel.
In this visit to the former Iwasaki residence, I was most attracted to this “crossing” corridor space. It is a space like a boundary that leads to the Japanese-style building. However, from the above photo and others, I feel a mysterious geometric “reduction” and a simplified design intention of spatial elements.
Indeed, Japanese architecture is a world of aesthetics that emphasizes lines rather than planes. It gives us a sense of mysterious symbolism like that of Mondrian’s paintings. Rather, it feels much more “modern” than a Western-style building. I have the illusion that this kind of spatial design might have been designed by the English architect Condor. Although I have not been able to research the details of this area, it has left a strong impression on my mind.
The people of the Meiji period (1868-1912) were eagerly receptive to Western sensibilities and values, which had been the norm for their way of life up to that time. The same architect, Conder, designed the Rokumeikan, where Western-style “socializing” took place night after night, and social reform was carried out like a big wheel as “civilization opening.
However, let us consider the inner life of the Meiji people. The Meiji government sent promising young people on a two-year tour of Europe and the United States to learn about Western culture, and the diary of Soseki Natsume, who experienced the trip, conveys a strong sense of conflict. Ryotaro Shiba described it as “the sadness of the Meiji era.
Perhaps the founding families of Mitsubishi, who were at the forefront of the times, must have felt the same way.
They agreed with the basic rationalistic social evolution and development of the Western modern era, and Japanese society had been vigorously promoting self-improvement in this direction. However, there is no doubt that they are people whose spirituality was shaped by the Japanese lifestyle and culture until the Edo period. They have an aesthetic sense of Kacho-fu-getsu (flowers, birds, winds, and the moon) at the base of their hearts.

For the Japanese, who had created a wabi-sabi spiritual world after coming into contact with Western civilization during the Warring States period and the Age of Discovery, as if they were experiencing a “clash of civilizations,” this head-on confrontation with Western civilization in the Meiji period must have caused a strong self-division. As if to balance the mind and restore a sense of equilibrium, the Wadokan was placed in opposition.
In contrast to the Western-style building, which was designed to be highly decorative and artificial down to the smallest detail, the garden trees and sunlight created a subtle “dialogue with nature” that freed the mind from its sensitivity to the beauty of flowers, birds, winds, and the moon.
As a Hokkaido native, I find it hard to believe that nearly 130 years have already passed since the former Iwasaki Residence was built.
Hokkaido people are willingly moving away from this kind of Japanese-style room culture. Nowadays, rooms with tatami mats are almost disappearing from Hokkaido houses. However, although tatami rooms have almost disappeared, I believe that the sense of dialogue with the outside landscape that is typical of Hokkaido, the sense of “Kacho-fu-getsu,” or “bird-and-flower-and-gaze” sensation felt on the skin, is still alive and well. Japanese people’s minds are changing in a flexible manner. The Japanese mind is changing flexibly.

Posted on 9月 13th, 2023 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 »

【1795⇒1896年「一族の家」100年の推移 旧岩崎邸探訪-9】



この旧岩崎邸は明治29年（1896年）建築とされている。いまから127年ほど前ですが、日本人というのは「家系」としてのイエ意識が非常に強く意識するもの。
岩崎弥太郎の生家は土佐の高知から40kmほど東に位置する安芸市に保存されている。〜岩崎彌太郎の先祖は安芸国虎の家臣だったようで、のち長宗我部の安芸支配の時代は長宗我部に仕え、山内氏が土佐入国後は開墾に従事し農業を営んでいました。〜という市のHPでの記述。写真もそちらから参照した。
で、この「生家」は以下のような経緯でいまから228年前、1795年に建てられた。〜この家は、彌太郎の曽祖父 弥次右衛門が郷士の株を売って1795年ごろ建築したもの。〜
いかにも「郷士の株を売って」帰農した経緯を体現したような農家住宅。土佐では旧国主の長宗我部家の家臣たちは、占領軍として入国した山之内家家臣（上士）からは一段、家格の低い「郷士」という特殊な身分とされた。そうだけれど、武士階級ではあるということで、江戸期にはその身分が株として売買されたのですね。
身分を売ったことで得られた金額が家一軒に相当したということなのですが、普通に考えれば農家としては領主に対して年貢を負担する役務を負った自作農なので、そういった身分ごと入手したことになる。住宅としての家の建築費用とは言えないのでしょう。そもそも江戸期には地方の藩の支配構造のなかでは、家の建築費が商品化されることはなかっただろう。弥太郎の曾祖父はそういう経緯で家を得たのでしょうね。
その後、岩崎弥太郎は実家に加えられた理不尽に憤って反抗して罰を受けることになるけれど、この「郷士の身分を売った」ことが屈折した身分意識への感情として潜在・持続し続けていた家系だったのではないか。
ふつうの感覚から言えば素朴なたたずまいが感じられる農家住宅であり、ステキだと思うけれど、弥太郎さんにはこのような屈折した心情が、想像すればあったのかもしれない。
安芸市の農家住宅は、建坪約30坪の藁葺きの平屋。表が８帖、その脇に４帖半２間、茶の間９帖になっていて、その左が通り庭、通り庭から茶の間の床下をのぞくと芋壷（芋貯蔵穴）がみえる。また風呂と便所は別棟に設置されている。
一方の100年後に一族が入手した上野の邸宅は、建築面積531.5m2、二階建、煉瓦造地下室付（撞球室及び大広間との接続部を含む）、玄関部塔屋付、スレート葺という大豪邸。

そういう意識を持った上で「おまんは経済をやれ」と言われ、強烈な家系意識を燃やし続け、そこから100年後に東京上野の高台に広大な邸宅地を購入したように思える。住居と家系の日本人的「イエ」意識の心理的な相関関係が立ち上ってくるように思える。
こういった施主としての心理領域みたいなものはあんまり記録がないだろうけれど、岩崎弥太郎さんという人物と一族の経歴から類推すると、こんな消息が浮かんでくるように思えてならない。

English version⬇

1795⇒1896 “The Family’s House” 100 Years of Transition: Exploring the Former Iwasaki Residence – 9
Residence architecture and the Japanese people’s strong sense of “Ye”. The strong attachment to his birthplace, which he obtained by “selling” his samurai status, and his subsequent economic success. …

This former Iwasaki Residence is said to have been built in 1896 (Meiji 29). It is about 127 years old now, but Japanese people are very conscious of their yeh consciousness as a “family lineage”.
Yataro Iwasaki’s birthplace has been preserved in Aki City, about 40 km east of Kochi in Tosa Prefecture. 〜Yataro Iwasaki’s ancestors were vassals of the Aki Kunitora, and later served Chosokabe during Chosokabe’s rule of Aki. 〜The description on the city’s website. The photo was also taken from there.
The house was built 228 years ago in 1795 as follows. 〜The house was built around 1795 by Yataro’s great-grandfather Yajiemon, who sold his shares in a local merchant family. 〜The house was built around 1795 by Yajiemon, Yataro’s great-grandfather.
This farmhouse embodies the story of how Yataro returned to farming after selling his shares in his hometown. In Tosa, the vassals of the Chosokabe family, the former feudal lord of the country, were considered “goshi,” a special status that was a step lower than that of the Yamanouchi family vassals (joshi) who entered the country as part of the occupying forces. Yes, but they were still of the samurai class, and their status was traded as stocks during the Edo period.
The amount of money obtained by selling the status was equivalent to a house. If we think about it in a normal way, as a farmer, you are a tenant farmer who owed tribute to the lord, so you obtained the entire status as such. It would not be the cost of building a house as a residence. In the first place, the cost of building a house would not have been commercialized in the ruling structure of a local clan during the Edo period. Yataro’s great-grandfather must have obtained a house through such a process.
Later, Yataro Iwasaki would be punished for his rebellion against the unreasonableness inflicted on his parents’ family, but this “selling of the status of a township samurai” must have been latent and persistent in the family as a refracted emotion toward status consciousness.
From an ordinary point of view, this farmhouse is a beautiful and simple house, but Yataro may have had these refracted feelings, if we can imagine them.
The farmhouse in Aki City is a straw-thatched one-story house with a building area of approximately 30 tsubo. The front room is 8 square meters, flanked by two 4.5 square meters rooms and a 9 square meter tea room, and to the left is the street garden. The bathroom and toilet are located in separate buildings.
On the other hand, the Ueno residence acquired by the family 100 years later is a large mansion with a building area of 531.5m2, two stories, brick construction with a basement (including the connection with the chess room and the hall), an entrance tower, and a slate roof.

With this awareness, he was told to “take care of the economy,” and it seems that he continued to burn with a strong sense of family lineage, from which he purchased a vast mansion site on high ground in Ueno, Tokyo, 100 years later. The psychological correlation between the residence and the family’s Japanese “yeh” consciousness seems to emerge.
Although there are probably not many records of this kind of psychological realm as a client, by analogy with Yataro Iwasaki and his family’s background, it is hard not to think that such a story might come to mind.

Posted on 9月 12th, 2023 by 三木 奎吾
Filed under: 住宅取材＆ウラ話 | No Comments »

【明治期建築テラス「異世界」と和館 旧岩崎邸探訪-8】


旧岩崎邸では表玄関側の表情以上に、庭園に面した裏側の外観表情がまことに異国風。
いかにも西洋人の建築デザインの素性を表しているのではないかと思う。日本建築でも庭園との視覚的な一体感というのは追究されてきたけれど、それは「よく似た」感覚であっても西洋には「高さ」への強い希求があって、その高い地点から「広大に見晴るかす」という心情への強い思いを感じる。
庭から見る洋館外観には建物全面にテラスが回され江戸から変貌しつつある首都東京の街並みが広大に、江戸城から目的変化した皇居までもが一望されたに違いない。
明治期に来日した多くの西洋人たちは江戸期の統一された屋根瓦の街並みを見て、その美感に圧倒された感想を「ためいき」にも似た感覚で伝えてくれている。いくつか残っている街並み写真には、たしかに日本人とその社会が大切にしてきた価値感が凝縮されているように思える。
そういう江戸の街を見晴るかし見下ろす心理、いわば征服者的な視線が西洋社会の「支配的」感覚であったのか。このテラス外観からはそういった思いが迫ってくる。
一方で日本建築での庭園との一体感には、庭木と同じ目線でいわば「自然と共生する」感覚への追究心が強く感じさせられる。


岩崎家は日常生活は「和館」と名付けられた別棟で起居していたと伝わる。この上の写真はその和館での庭園との「一体感」の様子。一方、そのすぐ下の写真は洋館２階からの眺望。
見比べてみれば、和洋の建築とその使い方・生活目的性において明確に違いがあると思える。
「おまんが経済をやれ」と明治の志士たちからその才能を認められた三菱創業家として、このビジネス上の応接接待専門館で西洋のビジネスマンに対しては「わたしたち日本社会はこういうあなたたち西洋の価値感を共有できますよ」とアナウンスし、同時にごく少数の文化理解者に対しては、「和館」にも特別に招待することもあったように想像できる。
「そういうわたしたちですが、ホンネとしてはこういった価値感を大切にしてきたのです」と、現代にまで至る日本社会の２面性を伝えたように思うのです。

このような明治人の西洋の受容にかかわる心情について、夏目漱石の心理に即して司馬遼太郎は「街道をゆく〜本郷」において深層分析している。西洋文明が十数世紀かけて作ってきた価値感を、人間世代１世代ほどで柔軟に受容するということの日本人の屈折した心情に迫っている。
しかし文学者・夏目漱石ともまったく違う日本人類型として、岩崎家はいわば「先覚者」としての成功を築き上げていったのだと思える。
応接が終わったあと、和館にもどった岩崎家当主は、湯漬けなどを食しながらこの灯籠の火明かりに映える静かな庭木たちと、どんな対話をしていたのだろうか。

English version⬇

Meiji Period Architectural Terrace “Another World” and Japanese-style House: Exploring the Former Iwasaki Residence-8
A Meiji man who meets for business overlooking the old Edo district from the Western-style building of reception and entertainment that amazes the eye, and returns home at midnight to view the garden lanterns. …

The exterior of the former Iwasaki residence looks more exotic on the back side facing the garden than it does on the front entrance side.
I believe that this is a true expression of Western architectural design. Japanese architecture has also pursued a visual unity with the garden, but even though this is a “similar” feeling, there is a strong desire for “height” in the West, and I sense a strong desire for a “vast view” from a high point.
The exterior of the Western-style building, viewed from the garden, must have had terraces all around the building, offering a vast view of Tokyo, the capital city that was being transformed from Edo to the Imperial Palace, which had changed its purpose from Edo Castle to the Imperial Palace.
Many Westerners who came to Japan during the Meiji period (1868-1912) expressed their overwhelming impression of the beauty of the uniform roof tiles of the Edo period (1603-1912). The few remaining photographs of the cityscape seem to reflect the sense of values that the Japanese people and their society have cherished.
The “conqueror’s” view of the city of Edo, so to speak, may have been the “dominant” sense of Western society. The exterior of this terrace gives us such a feeling.
On the other hand, the sense of unity with the garden in Japanese architecture strongly suggests the pursuit of a sense of “coexistence with nature” from the same perspective as the garden trees.

It is said that the Iwasaki family lived in a separate building named “Wadokan” for daily life. The photo above shows the “unity” of the Japanese-style house with the garden. On the other hand, the photo immediately below shows the view from the second floor of the Western-style building.
Comparing the two, there seems to be a clear difference between the Japanese and Western architecture and their usage and purposefulness in daily life.
As the founding family of Mitsubishi, whose talents were recognized by the Meiji era patriots, who were told by the Meiji era patriots to “do business with the economy,” this building specializing in business reception and entertainment was used to announce to Western businessmen that “we Japanese society can share your Western values,” and at the same time, to the very few who understood the culture, the “Japanese-style building” was also used as a special place to entertain guests. At the same time, it seems that a small number of people who understood Japanese culture were invited to the “Japanese-style pavilion” as a special guest.
I think he was conveying the duality of Japanese society that has continued to the present day: “We are such people, but in truth we have cherished these values.

Ryotaro Shiba analyzed in depth the sentiments of the Meiji people regarding the acceptance of the West in “Kaido yuku – Hongo” in line with the psychology of Soseki Natsume. In “Hongo,” Ryotaro Shiba examines the Japanese people’s refractory feelings of flexibly accepting values that have been created by Western civilization over more than a dozen centuries in the span of one human generation or so.
The Iwasaki family, however, seems to have built their success as “pioneers,” so to speak, as a type of Japanese that is completely different from Soseki Natsume, a literary scholar.
After the reception, what kind of conversation did the head of the Iwasaki family have with the quiet garden trees reflected in the firelight of the lanterns as he returned to the Japanese-style house to eat hot-spring pickles and other dishes?

Posted on 9月 11th, 2023 by 三木 奎吾
Filed under: 日本社会・文化研究, 海外住宅事情 | No Comments »

【父命日に実家にて、仏像・伝承品】


連載で旧岩崎邸探訪記を続けているなかですが、本日は閑話休題であります。
きのうは9月9日重陽。父の祥月命日でして長兄の実家にて参拝。残念ながらお坊さんが例の流行病に罹患されたということで、ひさしぶりに兄弟だけで近況報告会。
なんですが、そういうことだったので久しぶりに実家の仏壇と正面から向かい合って、きれいなお顔のお仏像とじっくり対面させていただいていました。幼少期からずっと見ていたはずの仏像ですが、お経を小声で上げさせていただきながら、拝顔。
わが家は1905年（明治38年）、いまから118年前に北海道に渡って来ている。それまで広島県福山市近郊・今津の地で営んでいた商家の経営が幕末から明治の時期に傾いて、その挽回のために当主であった祖父が一念奮起して北海道移住を決意した。
この仏壇・仏像は「仏壇背負って」という本家意識をあらわす言葉が残っているように、祖父の家系への使命感そのものとして北海道に渡ってきたと伝えられる。祖父としては北海道の地で衰退した家運を盛り上げたいという希望を持っていたに違いないので、この仏像も「本家」の証として、来道したに違いない。少なくとも118年前からはわが家にあり続けている。ご本尊仏像は、なかなかに美麗。
下に小さい像があるけれど、これは真言の開祖、空海さんの仏像だと聞かされている。たぶん、江戸期のご先祖の祖母が四国八十八箇所巡礼したといわれ、記念に入手したものだろうか。
わたしは末っ子なのでこういった「家意識」はそう濃厚ではないけれど、加齢とともにご先祖様の思念と徐々に親しさの念が強まってくる。南無大師遍昭金剛・・・。


また、きのうは兄からこんな「塗り物」を受け取った。漆塗りの食器。
「阿」と「三」の文字が金字で屋号として描かれている。伝承では、家系は江戸期に「あがや・三木家」として商家を営んでいて、その時期に一種の「贈答品」として作らせたものだと言われている。
あがや、というのは兵庫県姫路市の「英賀保」の「あが」とされて、戦国期の秀吉に攻められ落城した「英賀城」なのだと伝わっている。落城後、三木の一族は各地に分散し、そのうちの一統が瀬戸内の商都・尾道で商家になって名乗ったという家系伝承。
兄も高齢になったので、お裾分けとして弟たちにということなのか。
ほかの話題に終始していたので、この分配についてきちんとした話は聞いていなかった。お坊さんが不在だったので、つい話すきっかけを失ったのかも知れない（笑）。
こういった漆塗りの食器を使っての格式的な会合とか、食事会とかとは無縁で人生を過ごしてきたので、まことに「猫に小判」のような気持ちでありますが、ありがたく受け取ってきた次第。
ちょっとご先祖さまたちと近づいたような気分で、神妙にしております・・・。

English version⬇

At my parents’ house on the anniversary of my father’s death, a Buddha image and a traditional artifact.
The soft expression on the face of the main Buddha image conveys the feelings that my grandfather and father held so dear to their hearts. As the youngest child, I was forced to talk with myself, who had lived a life of wild abandon. The statue is a symbol of the Buddha’s life as the youngest child.

In the midst of my continuing series of articles on the former Iwasaki Residence, I would like to take a break today.
Yesterday was Chou-you, September 9. It was the anniversary of my father’s death, and I paid my respects at my eldest brother’s parents’ house. Unfortunately, the monk had contracted an epidemic disease, so for the first time in a while, we had a status report meeting with just my siblings.
I was facing my parents’ Buddhist altar for the first time in a long while, and I had a good look at the Buddha statue with a beautiful face. I must have been looking at this Buddha image since I was a child, but I was allowed to whisper sutras while I worshipped the face.
My family came to Hokkaido in 1905, 118 years ago now. My grandfather, who was the head of the family, decided to move to Hokkaido to recover from the financial difficulties of his family’s business in Imazu, a suburb of Fukuyama City, Hiroshima Prefecture, during the late Edo and Meiji periods.
As the phrase “carrying the altar on his back,” which expresses the family’s awareness of its importance to the family, remains, it is said that this Buddhist altar and statue came to Hokkaido as a part of the grandfather’s sense of mission to the family. My grandfather must have hoped to revitalize his family’s declining fortunes in Hokkaido, and this Buddha image must have come to Hokkaido as a sign of his “head family. It has been in our house for at least 118 years. The main Buddha image is quite beautiful.
There is a smaller statue below, which I am told is of Kukai, the founder of the Shingon sect of Buddhism. It is said that the grandmother of one of my ancestors in the Edo period made a pilgrimage to 88 temples in Shikoku and probably acquired this statue as a commemorative gift.
I am the youngest child in the family, so I do not have a strong sense of “family” as such, but as I get older, I gradually feel more and more close to the memory of my ancestors. Namu Daishi Hensho Kongo…

Also, yesterday I received this “lacquered” item from my brother. Lacquered tableware.
The characters “a” and “three” are painted in gold letters as a store name. According to tradition, the family was a merchant family during the Edo period (1603-1868), and the tableware was made as a kind of “gift” during that period.
Agaya” is said to be the “Aga” of “Egaho” in Himeji City, Hyogo Prefecture, and is believed to be the name of “Ega Castle,” which was attacked by Hideyoshi in the Warring States period and fell. After the castle fell, the Miki family dispersed to various places, and one of the families became a merchant family in Onomichi, a commercial city in the Seto Inland Sea, and took the name of the family tradition.
The older brother is now old, so he has decided to pass the family legacy on to his younger siblings.
Since I was occupied with other topics, I did not hear a proper story about this distribution. The monk was away, so I may have lost the chance to talk about it (laugh).
Since I have spent my life without having any formal meetings or dinners using such lacquered tableware, I felt like a “cat with a pair of koban,” but I was grateful to receive it.
I feel as if I have become a little closer to my ancestors.

Posted on 9月 10th, 2023 by 三木 奎吾
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【西洋的階段フェッチ・財閥版「鹿鳴館」 旧岩崎邸探訪-7】




日本建築では城郭建築でも、階段というのはほぼ機能性空間とだけ考えられているように思う。そもそも城郭とか、塔の建築などはそれ自体がある機能に特化した建築であって、そのなかで人間が暮らすということを想定していないのでしょう。居住が目的の建築の場合は、おおむね平屋で２階というのはあまり想定していない。たぶん地震国であってまた建築はほぼ木造文化であったことが大きい。
日本建築ではむしろ「廊下」などへのフェッチは強く感じるけれど、それは庭の景観を楽しむという生活文化に立脚しているものの要素が要因なのだと思う。
一方で西洋の住宅建築ではあんまり地震の被害が少ない地域性もあるので石造の文化が主流。その伝統があるせいか、高さへの潜在欲求が強くて室内要素としての階段への思いが強いように思う。
この旧岩崎邸の洋館では、社交の場という側面に大きな力点が置かれて、これでもかと装飾性が強調されている。階段室では、その荷重を支える柱も重厚にデコレーション処理されているし、階段の上り方向も回遊的動線が採用されている。上りやすさと装飾性のバランスがコンセプトか。
そして天井にも格天井のようにデコレーションされ、手を触れられる手すりと支柱などでも家具的な装置として考えられている。まぁ完全に「見せる建築」ということに徹しているのでしょう。
岩崎家の家族生活は、接続して建てられた「和館」の方で営まれていたということで、台所などの生活装置もこの洋館では参観できなかった。公開されていない地下階などでそういう応接料理は用意されていたのかもしれない。現代の和洋折衷の日本住宅で一般的な家族が集まる「居間」という概念は、歴史的にも比較的に新しく、大正から昭和にかけてなのだとされる。そう考えるとこの洋館建築って、いわば財閥家としては一種の城郭建築であるのかもしれない。
社交というカタチでの「営業活動」拠点であって、その最上級顧客の応接、そういうかれらの「目を奪う」ということが最優先された建築だったと結論づけられる。

英国人建築家コンドルは鹿鳴館の設計でも知られている。明治16(1883)年、政府や貴族の社交場として建設されたが鹿鳴館は現存していない。政府の直接管理建築だったのでさまざまな政争の具にもなり、政治外交の舞台としてはドロドロの政争の舞台でそれなりの機能は果たしたのだろうけれど、明治20年にそうした役割を終えたといわれる。その後明治23年からは華族会館として使用されたけれど1941年（昭和16年）に取り壊された。建物があったのは現在の帝国ホテルと日比谷U-1ビルの境目。
この建物は鹿鳴館とほぼ同じ設計コンセプトだったのだろう。財閥家として、鹿鳴館的な営業接待活動は民間経済のことなので政争的に批判を受けるということはなかったのだろう。
鹿鳴館の雰囲気を追体験するという意味で、旧岩崎邸は日本建築の句読点に位置するのだと思う。

English version⬇

Western-style stair fetch zaibatsu version of “Rokumeikan,” the former Iwasaki residence
The name “mansion” suggests a residence, but its function is that of a high-class “reception” building. The function of the building is to serve as a high-class “reception” building. It is appropriate as a place for business for a political and commercial zaibatsu of the Meiji era. The building was built in the late 1880s.

In Japanese architecture, even in castle architecture, staircases seem to be considered almost exclusively as functional spaces. In the first place, castles and towers are buildings that specialize in a certain function and are not intended for human habitation. Buildings intended for residential use are generally one-story buildings, not two-story buildings. This is probably due to the fact that Japan is an earthquake-prone country and its architecture is almost exclusively wooden.
In Japanese architecture, there is a rather strong fetish for “corridors” and the like, but I think this is due to the fact that it is based on the lifestyle culture of enjoying the view of the garden.
On the other hand, in Western residential architecture, masonry construction is the norm in regions that are less prone to earthquakes. Perhaps because of this tradition, there is a strong latent desire for height and a strong desire for staircases as interior elements.
In this Western-style building of the former Iwasaki Residence, great emphasis is placed on the aspect of a place for socializing, and the decorative aspect is emphasized as much as possible. In the stairwells, the pillars that support the load are heavily decorated, and the staircase has a circular flow. The concept of the staircase is to strike a balance between ease of ascent and decorativeness.
The ceiling is also decorated like a coffered ceiling, and even the handrails and pillars that can be touched are considered as furniture-like devices. Well, it is completely devoted to “architecture for show,” isn’t it?
The family life of the Iwasaki family was conducted in the “Japanese-style building,” which was built in connection with the house, so the kitchen and other living devices could not be observed in this Western-style building. It is possible that such a reception area may have been prepared on the basement floor, which is not open to the public. The concept of a “living room” for family gatherings, which is common in modern Japanese houses with a blend of Japanese and Western styles, is relatively new historically, dating from the Taisho and Showa periods. In that sense, this Western-style building may have been a kind of castle architecture for the Zaibatsu family.
It was a base for “business activities” in the form of socializing, and it can be concluded that the building was designed to receive the highest level of customers and to “catch their eyes” as a top priority.

English architect Conder is also known for his design of the Rokumeikan. Built in 1883 as a social gathering place for the government and aristocracy, the Rokumeikan is no longer extant. As a building under the direct control of the government, it was the scene of various political disputes, and although it may have served a certain function in the sordid political and diplomatic arena, it is said to have ended such a role in 1887. The building was used as the Kakuza Kaikan from 1890, but was demolished in 1941. The building was located on the border between the Imperial Hotel and the Hibiya U-1 Building.
The design concept of this building was probably almost the same as that of the Rokumeikan. As a zaibatsu family, the Rokumeikan-like business entertainment activities were probably not subject to political criticism because of the private economy.
In the sense of reliving the atmosphere of Rokumeikan, the former Iwasaki residence is a Japanese punctuation mark.

Posted on 9月 9th, 2023 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 »

【金唐革紙／日本の国産壁紙技術 旧岩崎邸探訪-6】




さてきのうは、明治期ニッポンの旺盛な西洋文明受容ぶりに着目したけれど、もう一方で、旧岩崎邸には明治の職人魂、日本のものづくりの痕跡も刻印されている。
壁紙という文化は江戸期までの日本住宅文化では、茶室などでの壁面下部に使い古しの和紙、多くは手紙などがそのまま張られる事がある程度。なんですが、あれはあれで非常に面白い日本文化だと思っています。実用としては茶室に座ったときに、着衣が塗り壁に直接触れてこすれることを防止する役割だったと思うのですが、まことに日本人らしい実用性と、茶室での会話の切り口として、亭主のセンスも表現していたのだろうと思える。まことに茶亭での会話にふさわしそう。
で、こちらの旧岩崎邸では、基本デザインは「洋館」であり英国人建築家による空間イマジネーションになるものですが「壁紙」が各室毎に違いがあって特徴的な空間性を醸し出している。
で、２階の解説コーナーで、説明が加えられていた。
〜この旧岩崎邸では壁紙として「金唐革紙ーきんからかわし」が使われている。これは江戸期にオランダとの貿易で交易船がもたらした金唐革を和紙で模造加工した「擬革紙」の一種です。17世紀後半期に袋物用として渋紙あるいは油紙を活用した小判の擬革紙つくりがはじまり、江戸末期には浮き凸模様を打ち出して、顔料・油・漆・金属箔などで高度に装飾加工したものが作られるようになっています。
そして明治初期には壁装用として大判の擬革紙を創製して明治６年のウィーン万国博覧会に「金革壁紙」として出展。海外輸出の道が開かれました。昭和初期から「金革革紙」の名前が定着した。いずれにしてもメイドインジャパンの当時最高の加工技術を施した和紙工芸品であり、東西文化交流を象徴する文物といえるでしょう。〜

革紙というのは、動物皮革で壁面を装飾するものとされる。わたし自身はそういう実物建築例を見たことはない。「革紙」というコトバでググっても「擬革紙」と自動変換されてその情報しか得られないほどに、希少例なのだろうと思います。しかし江戸期の交易で得られた実物を見ながら、それを和紙で変換してあらたな製品を生み出していく江戸期日本のものづくり魂は素晴らしい。
そしてそういう壁紙技術に着目した英国人建築家コンドルは、この極東の最高級住宅建築に、各室毎に違うデザインの壁紙として採用させている。1896年建築のこの邸宅で、すでに日本のものづくりの実力にリスペクトしてくれたコンドルの審美眼に感謝したくなる。いや、コンドルはこうした日本の技術に魅了され世界最高品質と認めて、ごく自然に利活用したのだろうか。
圧倒的な西洋文化の移植の明治期にあっても、優れた日本の職人技術はすでに世界レベルを超えるものが数多くあったということなのだろう。深く頭が下がる思い。

English version⬇

Kinkarakawakami / Japanese Domestic Wallpaper Technology: A Visit to the Former Iwasaki Residence-6
Inspired by animal hide leather paper traded with the Dutch during the Edo period, Japanese craftsmen created “imitation leather paper” using Japanese paper, which drew the respect of the English architect Conder. The…

Yesterday, I focused on Japan’s vigorous acceptance of Western civilization during the Meiji period, but on the other hand, the former Iwasaki residence also bears traces of Meiji-era craftsmanship and Japanese manufacturing.
In the Japanese residential culture until the Edo period, wallpaper was used in tea ceremony rooms and other places where used Japanese paper, often letters, were stretched over the lower part of the wall. I think this is a very interesting aspect of Japanese culture. I think that the practical purpose was to prevent the clothes from rubbing directly against the painted walls when sitting in the tea room, but I think that it had a very Japanese practicality and also expressed the sense of the owner as an opening for conversation in the tea room. It seems to be a very appropriate for a conversation at a tea ceremony house.
The basic design of the former Iwasaki Residence is a “Western-style house,” and the space was imagined by a British architect, but the wallpaper in each room is different, creating a distinctive spatiality.
The wallpaper is different in each room, creating a distinctive spatial effect.
〜The wallpaper used in the former Iwasaki Residence is “Kin Karakawashi” (gold-embossed paper). In the latter half of the 17th century, the production of imitation koban leather paper began using astringent or oiled paper for bags, and by the end of the Edo period, highly decorated paper with raised and convex patterns was produced using pigments, oil, lacquer, metal foil, and other materials. By the end of the Edo period, koban fukigami was being made with raised and convex patterns and highly decorated with pigments, oil, lacquer, and metal foil.
In the early Meiji period (1868-1912), large-size imitation leather paper was created for wall coverings and exhibited as “gold-leather wallpaper” at the Vienna World Exposition in 1873. This opened the way for overseas exports. Since the early Showa period, the name “gold-leather leather paper” has been established. In any case, it is a Japanese paper craft product made in Japan with the best processing technology of the time, and is a cultural artifact that symbolizes the cultural exchange between East and West. ~ (Japanese only)

Leather paper is a type of wall decoration made of animal hides. I myself have never seen such an actual architectural example. I think it is so rare that even if you Google the word “kakawakami,” it is automatically converted to “pseudo-hide paper,” and that is all the information you can get. However, it is wonderful to see the spirit of Japanese craftsmanship during the Edo period, which saw actual products obtained through trade and converted them into new products using washi paper.
It is a great honor for the British architect Condor to have such wallpaper technology used in the Far East’s finest residential buildings, with each room having a different wallpaper design, and we should be grateful to his aesthetic eye for respecting Japanese craftsmanship in this 1896 residence. Or perhaps Condor was fascinated by such Japanese technology, recognized it as the highest quality in the world, and utilized it very naturally.
Even during the Meiji period, when Western culture was overwhelmingly transplanted to Japan, there were already many excellent Japanese craftsmen’s techniques that exceeded the world’s level. I am deeply humbled.

Posted on 9月 8th, 2023 by 三木 奎吾
Filed under: 住宅マーケティング, 住宅性能・設備 | No Comments »

【土佐藩士から経済人へ岩崎弥太郎 旧岩崎邸探訪-5】




現代の中国を見ていると、ちょうど幕末期の江戸幕府体制を見ているような錯覚にとらわれる。
現代世界というのは西欧文明の自由・平等という人権概念と、自由競争の資本主義によって基盤が形成されている。やはり人類発展の方向性の基本だろう。
そういう文明を受容するのに、日本は明治という時代を持ち、圧倒的なその文明総体を受け入れていった。その明治の日本の状況が現代の中国ではかなり異質に追体験されているように思える。
日本では基盤になる経済というものはあくまでも民間にその主体を委ねた。たしかに官による公共投資財の払い下げなどで不正があったりはしたけれど、そのことをきちんと告発し、不正をただすという常識的ルールが社会に浸透していった。基本的には政治はあくまでも制度の設計・立法に専念し、経済主体としては産業資本の育成を図っていった。
明治新政権は発足前後、大阪の大商家・資本から資金提供を受けたりして、それがその後の三井住友などの財閥形成に向かっていく。一方で、この岩崎邸の当主である三菱創業家・岩崎家は土佐郷士層の出自。幕末当時、志士としての活動家であり、坂本龍馬の海援隊にも関係している。そして一時期は藩から投獄されたりもしている。しかし獄中で同房の商人から算術や商法を学んだことが、後に商業の道に進む機縁となったと言われる。そんなことから志士たちの結社活動などでも財務関係専門家となっていた。
志士たちから「おれたちは倒幕・政治を担うけれど、おまんは経済をやれ」と言われていたという説話が語られる。少なくとも、政治と経済を分離して理解し国家発展には経済の自立性が不可欠だという共通認識が幕末期の人びとにはあったとされるのだ。
現代中国のいまの状況を見ていると、どうもこのあたりの彼我の相違を感じさせられる。
日本では1868年の明治維新の成立から、1890年（明治23年）7月1日に第１回の衆議院選挙が行われた。維新の混乱期から22年ほどで「民主主義」が成立した。近代国家としての自立的経済発展にはこういう政治の民主化は基本要素だろう。一方の中国ではそういう志向性は常に弾圧される。いまの政権の状況を見ていると、こういう「世界標準」を受容するには相当の距離感がある。危機の根は深く、同じアジアの隣国として深く憂慮させられる。安定した平和な国家社会の実現を願うばかり。
もちろん日本もその後の戦争をはさみ順調ではなかったけれど、基本的価値感として民主主義を受容し、経済は国民の自立性に委ねられ続けてきた。

この岩崎家（洋館）でも設計は英国人建築家にすべて委ねられ、いかにも西洋的価値感が全面的に受容されている様子が伝わってくる。写真はサンルーム的な空間と１階の洋間、階段コーナーなど。西洋木造建築的のディテールデザインが正調で展開する。
ただし、この洋館に接続して「和館」と名付けられた和風建築が建てられてもいる。日本社会というのはさすがに「和の国」らしく、新文明を受容しつつ、伝統的な美感というものも大切にしたいと考えてきたのだと思う。和館についても、いずれ写真で触れていきたい。

English version⬇

Yataro Iwasaki, from a Tosa Clan Soldier to an Economist: Exploring the Former Iwasaki Residence-5
The social situation in the neighboring country is worrisome. The former Iwasaki family is like a political merchant among Japanese capitalist zaibatsu. However, the fundamental principle of the separation of politics and economics has always been conscious in Japan. …

Looking at China today is like looking at the Edo shogunate system at the end of the Edo period.
The modern world is based on the human rights concepts of freedom and equality of Western civilization and the free competition of capitalism. This is, after all, the basis of the direction of human development.
Japan had the Meiji period (1868-1912) to accept such a civilization, and it accepted the overwhelming totality of that civilization. The situation in Japan during the Meiji period seems to be being experienced quite differently in modern China.
In Japan, the economy, which is the foundation of the country’s economy, was left to the private sector. Although there were certainly some irregularities in the government’s use of public investment funds, the common sense rule of properly prosecuting and correcting such irregularities permeated the society. Basically, the political system concentrated on designing and legislating systems, while the economic system sought to nurture industrial capital.
Around the time of its inauguration, the new Meiji government received funding from large Osaka merchant families and capital, which later led to the formation of zaibatsu such as Sumitomo Mitsui. On the other hand, the Iwasaki family, the founding family of Mitsubishi, the head of the Iwasaki Residence, came from the Tosa Goshi class. At the end of the Edo period, they were active as Shishi (patriotic samurai) and were associated with Ryoma Sakamoto’s Kaientai. He was also imprisoned by the clan for a time. However, it is said that while in prison, he learned arithmetic and business from a merchant in the same cell, and this is said to have been an opportunity for him to later pursue a career in commerce. Because of this, he also became a financial expert in the activities of the Shishi, including their associations.
It is said that he was told by the Shishi, “We are in charge of the overthrow of the shogunate and politics, but you are in charge of the economy. At the very least, it is said that people in the final days of the Tokugawa shogunate had a common understanding that politics and economics were separate and that economic independence was indispensable for national development.
Looking at the current situation in modern China, one is reminded of the difference between the two countries.
In Japan, the first election for the House of Representatives was held on July 1, 1890 (Meiji 23), following the establishment of the Meiji Restoration in 1868. About 22 years after the turmoil of the Restoration, “democracy” was established. This kind of political democratization is a basic element for independent economic development as a modern nation. In China, on the other hand, such an orientation is always suppressed. Looking at the current situation of the current administration, there is a considerable distance between it and the acceptance of such “global standards. The roots of the crisis run deep, and as a fellow Asian neighbor, I am deeply concerned. We can only hope for the realization of a stable and peaceful national society.
Of course, Japan has not had a smooth transition since the war, but it has accepted democracy as a fundamental value and has continued to leave the economy to the independence of the people.
The design of the Iwasaki House (a Western-style house) was entrusted to a British architect, and it is clear that Western values were fully embraced. The photo shows the sunroom-like space and the western-style room on the first floor. The detailed design of the Western-style wooden structure is developed in a formal style.
However, a Japanese-style building named “Wakan” was also built in connection with this Western-style building. Japanese society is indeed a “country of harmony,” and while accepting the new civilization, it has also sought to value traditional aesthetics. I would like to discuss the wagwan in the near future.

Posted on 9月 7th, 2023 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 »

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